I have a background in Art History (La Sapienza, Rome) and Comparative Literatures (Sorbonne Nouvelle, Paris), and I am currently undertaking a CHASE-funded PhD in Art History at the University of Sussex. My research focuses on art writing and feminist practices, with particular attention to the late work of Carla Lonzi (1931–1982). I am interested in how consciousness-raising transformed the assumptions, methods, and forms of art criticism, opening it to dialogue, lived experience, and processes of self-articulation. More broadly, my work explores what happens when personal experience enters critical writing, challenging its claims to neutrality and authority. Micro, self-, queer, and feminist publishing form a key part of my research, both as a historical field and as a contemporary practice. Across my research, I investigate how texts circulate, create relations, and challenge dominant structures of knowledge production.

I am interested in working with artists whose practices feel fearlessly authentic, reflect and challenge contemporary languages and institutions, provoke a sense of surprise and a compulsion to deepen knowledge of their work. My focus lies in the attitude towards process rather than any specific medium. I am particularly interested in artists who engage with text-based practices—whether visibly displayed or woven into paratextual elements and constructed personae. Above all, I am drawn to encounters that foster mutual learning and transformation.

In 2015, I co-founded La Plage, a project space in Paris. The project was developed collaboratively in its early years before I continued to direct it independently from 2019 onwards. Located in a 5×2-metre vitrine in a passageway in Paris’s 3rd arrondissement, La Plage emerged out of economic constraints and is grounded in structural precarity, both a reflection of and a response to the conditions shaping independent curatorial practices today. It engages critically with notions of visibility, display, and spatial negotiation, exploring how exhibition-making can operate within conditions of limited space and resources. Over time, La Plage has developed into a distinctive exhibition model that reconfigures the relationship between centre and margin, treating this tension as a generative site for artistic and curatorial practice. You can explore the programme here.

Much of my writing centres on other writers, including Carla Lonzi, Gloria Anzaldúa, Ariana Reines, and Dodie Bellamy. You can read a few of these pieces here. I also write and collect texts around themes such as addiction, nostalgia, and rituals, including a daily journal addressed to Rita, the barista at the library where I work, who is a Taylor Swift fan.

In 2023, I took part in a collective translation workshop led by Allison Grimaldi Donahue at ICA Milan, where we translated (from English to Italian) texts by Stacy Szymaszek, Mary-Kim Arnold, Kimberly Alidio, Mirene Arsanios, and Kyle Dacuyan. The project culminated in a publication, now out of print.
I’ve also worked on duo translations (from Italian to French): with Julien Marchand , on Narciso (1966–67), a short film by Marinella Pirelli, presented by Terzo Fronte at Art-o-Rama in Marseille (2024); and with Luc Benezet, on the 1977 manifesto of Rivolta Femminile, Io dico io (I say I) which appeared in niqui causse review n. 6 (January 2026), and on the second part of Non sempre ricordano (1977–1985), the epic poem by Patrizia Vicinelli, forthcoming in the volume Dire je est une solidarité, to be published by Éditions P.O.L.