Irene Pittatore — MONUMENTA ITALIA

Recontemporary / Lounge

6 March — 28 March 2024

Opening 6 March, 6:00 pm


Preview at Recontemporary
6 March 2024 / 11,00am – 1,00pm
Opening at Recontemporary
6 March 2024 / 6,00 – 9,00pm
Exhibition hours: Wed. / Sat. – 3.30pm / 7.30pm
Free entry

For more infos, guided tours and workshops
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Monumenta Italia is a public art project by Irene Pittatore, curated by Lisa Parola and Tea Taramino.

Do we still need heroes? A question that cyclically resurfaces in history is the starting point of Monumenta Italia, an artistic project of awareness, dissemination, and production that aims to engage the public in reflecting on the scarcity of monuments dedicated to women: an opportunity for civic reflection on urban artistic heritage and what it means today to speak of monumentality, memory, and heritage in relation to women’s history.

The Monumenta Italia project is based in Turin and was created to operate nationwide, bringing together the expertise of cultural and art workers accompanied by a series of works conceived by artist Irene Pittatore. The project is based on the research project of the Centro Studi e Documentazione Pensiero Femminile APS Monumentale dimenticanza, aimed at cataloging the presence of monuments dedicated to historical female figures in the cities and municipalities of Piedmont.

The project kicks off on February 26 in Piazza Bottesini, with the display of posters featuring data and questions regarding the presence of women in the public monumental heritage of Piedmont. The posters will also be displayed at the Piazza Bengasi Metro station (March 6-31, 2024) and at the URP of the Piedmont Regional Council in Via Arsenale 14/G (March 4-29, 2024).

Monumenta Italia continues at the Recontemporary spaces, at the foot of the Mole Antonelliana, where from March 6 to 28, an exhibition-laboratory is presented to investigate the themes of the presence of women’s history in public space and its narration. Irene Pittatore’s works will be presented to the public as tools for reflection on the research themes and will be the starting point for workshops and meetings open to schools, universities, and a diverse audience.

The exhibition, conceived as an itinerant project, is designed as a “working kit” that includes posters, a banner, videos, and photographs of artistic performances that will be used each time as the starting point for meetings with experts and activists.

Why Monumenta Italia? If history is not told, history does not exist. Now more than ever, we need to reflect on the idea of public heritage in relation to women’s history and the concept of monumentality itself. The artistic heritage in public space is still predominantly male. We move in an urban scenography predominantly composed of men “who have made history.”

Often erected and almost never inclined, the monument can be interpreted as a masculine “I” that never foresees a “We.” The monument does not question history; it wants to be history. The public body is therefore the male body. Women’s statues have no names, do not document facts, and often present themselves as archetypes, symbols, muses: prosperity, homeland, justice, often represented reclining or kneeling at the feet of the hero, are symbols, rarely women protagonists of facts or actions. Based on these premises, Monumenta Italia questions, investigates, researches with the intention of challenging the idea of monumentality in favor of a profound reflection on the public presence of women.

Part of the data collected by Monumenta Italia comes from Monumentale dimenticanza (2018),a research project by Centro Studi e Documentazione Pensiero Femminile APS, aimed at cataloging the presence of monuments dedicated to historical female figures in the cities and municipalities of Piedmont and Italy. The census was supported by the Piedmont Regional Council and the Consulta delle Elette del Piemonte in 2018. This census highlighted unequivocal data: in Turin, in the provincial capitals of Piedmont, and in the 1088 municipalities with more than 5000 inhabitants, the number of monuments dedicated to women is minimal, if not zero. The dissemination and contextualization of this data will allow citizens to observe the monumental heritage of their cities with different eyes, becoming aware of the so-called “epistemicide”: the liquidation and burial of women’s thinking, which also manifests itself through the lack of public recognition of civil, intellectual, political, artistic, and scientific merits. A first step to advance, together and consciously, towards new paradigms of equity and equality.

A Nomadic Project
Monumenta Italia will start from Turin but aims to reach other cities and contexts over an extended period to propose other public displays and moments of meeting in institutional and non-profit spaces and contexts.

The data reported in the works are taken from Monumentale Dimenticanza, a research project of the Centro Studi e Documentazione Pensiero Femminile APS aimed at surveying the presence of monuments, fountains and statues on public land, dedicated to historical female figures in Piedmontese cities and municipalities.


Presented by: Fermata d’Autobus Onlus, Oglianico (TO)
With the support of:Consiglio regionale del Piemonte e Consulta femminile regionale del Piemonte, Fermata d’autobus Onlus, Oglianico (TO), Forme in bilico APS
With the support of: Associazione Flashback , Associazione Recontemporary, Centro Studi e Documentazione Pensiero Femminile APS, Torino Città per le Donne APS ETSCentro Antiviolenza e Centro Arte Singolare e Plurale della Città di Torino e Infra.To – Infrastrutture per la mobilità
Graphic design: Elyron
Basement design: Lucia Nazzaro
3D basement model: Parsifal Pirani
Mold development:
Ice basement realization: Cubetto
Jelly basement realization: Mara dei Boschi

Press releaseDownload PDF 1

Author biography

Irene Pittatore (Turin, 1979) is a visual artist and performer whose work explores, through the dimension of play and the creation of environments open to gentle collisions, the possible forms of sisterhood and solidarity to counteract the isolation and precariousness that accompany artistic and social work in our time. She employs visual, narrative, and participatory tools to create works that reflect on marginalization, discrimination, and their symptoms from a feminist and intersectional perspective. Her projects, dedicated to gender-based violence (L’amavo troppo e le ho sparato), diversity and inclusion (You as me / Nei panni degli altri), homelessness (Homeless heroines), body positivity (Floating portraits), and remote photography (From a distance), unfold in collaboration with museums, festivals, universities, non-profit organizations, including Politecnico di Torino, University of Turin, Fondazione Sandretto Re Rebaudengo (Turin), Camera – Italian Centre for Photography (Turin), Museum of Contemporary Photography (Cinisello Balsamo, Milan), Es Baluard Museu d’Art Modern i Contemporani (Palma de Mallorca), Capacete (Rio de Janeiro and Sao Paulo), Festival Jeu de l’Oie (MUCEM and Aix-Marseille Universitè), Biennale des Jeunes Créateurs d’Europe et de la Méditerranée, and 12 Bienal de la Habana OFF.

Lisa Parola, an art historian, has curated public art projects, exhibitions, photographic campaigns, workshops, and conferences, promoting the relationship between art, territory, and citizenship. She is a founding member of a.titolo: a non-profit organization active since 1997 with the aim of investigating and experimenting with the potential of contemporary art in the public and social sphere. She was a cultural consultant for the candidacy of Matera as the Capital of Culture in 2019. Over the years, she has also collaborated with institutions such as the Sardi Foundation for Art, the Merz Foundation, and the University of Turin. For Einaudi, she published Giú i monumenti? Una questione aperta (2022).

Tea Taramino is a relational artist, curator, and creator of PARI – Polo delle Arti Relazionali e Irregolari dedicated to the dialogue between mainstream and outsider art. Since 1993, she has curated events in collaboration with public and private institutions, particularly for the City of Turin: Arte Plurale (from 1993 to 2013) and the Singolare e Plurale festival (since 2008). From 2004 to 2007, she was involved in project planning for the Parco Arte Vivente, Contemporary Art Center in Turin. She is the creator of the project group Mai Visti e Altre Storie, a project for the protection and enhancement of Irregular Art. She is the president and founder of Forme in Bilico APS for the development of projects useful for the circulation of ideas between the worlds of education, art, school, and therapy.