Verita Monselles is today considered one of the most committed Italian photographers in the struggle against the patriarchy. In the 1970s, she dedicated an important series to the feminist Paolina Borghese and fiercely defended a woman’s right to her own sexuality. She left Naples for Florence and for years documented the experimental work and designed the sets for the theatre company Magazzini Criminali, which created links between minimal art and Arte Povera. It was Monselles wh [...]
Verita Monselles is today considered one of the most committed Italian photographers in the struggle against the patriarchy. In the 1970s, she dedicated an important series to the feminist Paolina Borghese and fiercely defended a woman’s right to her own sexuality. She left Naples for Florence and for years documented the experimental work and designed the sets for the theatre company Magazzini Criminali, which created links between minimal art and Arte Povera. It was Monselles who introduced the feminist artist Ketty La Rocca to photography. Together, and with other actresses from the troupe, they developed a feminist and occasionally blasphemous imaginary, as in the photo on display in OSMOSCOSMOS.