Biography
Elisabetta Benassi (Rome, 1966) is an Italian artist. In her work she critically observes the cultural, political and artistic legacy of modernity, as well as broader, often controversial political and cultural themes of our time. Using diverse media – installation, photography, video – she thus engages and questions the viewer while tracing troubled and contested timelines. From the background of her work emerges a questioning of contemporary identity and of the conditions of the present. Her work has been shown at several venues worldwide, including the Venice Biennale.
Solo Shows
2024
Autoritratto al lavoro, curated by Luca Lo Pinto, MACRO Museo d’Arte Contemporanea di Roma, Rome.
The Drowned World, Peter Freeman, New York.
Testa di Michelangelo, Museo Nazionale Romano – Terme di Diocleziano, Rome, permanent installation.
2023
La fanciulla del West, curated by Ilaria Bonacossa, Antinori Art Project, Cantina Antinori, San Casciano in Val di Pesa, 17 June – permanent collection.
City Lights, curated by Roberto Pinto, ArtLine – Milano Parco d’Arte Contemporanea, CityLife District, Milan, permanent installation.
2022
Empire, Museo Nazionale Romano, Crypta Balbi, Rome, permanent installation.
Pietre di testa, Litografia Bulla, Rome.
2021
Lady and Gentlemen, curated by Gabi Scardi, Fondazione Adolfo Pini, Milan.
2019
Empire, Museo Nazionale Romano, Palazzo Altemps, Rome, Italy; Mostyn, Llandudno Wales, UK;
Italian Cultural Institute, London, UK.
2018
The Sovereign Individual, Gallery Jousse Entreprise, Paris, France.
2017
It Starts with the Firing, Collezione Maramotti, Reggio Emilia, Italy.
Passato e Presente, one day exhibition at Istituto dell’Enciclopedia Italiana, Palazzo Mattei di Paganica, Rome, Italy.
2016
Letargo, Magazzino, Rome.
2015
Mareo Merz, Palazzo Carignano, Turin.
That’s Me in the Picture, Gallery Jousse Entreprise, Paris.
2014
Corsaro, performance within the exhibition Non Basta Ricordare, curated by Hou Hanru, MAXXI Museo Nazionale delle Arti del XXI Secolo, Rome.
031, Villa Mondolfo, Como.
2013
Smog a Los Angeles, CRAC Alsace, Altkirch.
Golden Rock, Hezi Cohen Gallery, Tel Aviv.
Voglio fare subito una mostra, Fondazione Merz, Turin.
2011
Soledad, Fiac! Grand Palais, Paris, France.
2010
All I Remember, Magazzino, Rome, Italy [cat.].
2009
Unlimited, Art| 40 | Basel, Basel, Switzerland.
2007
Site Specific 2. Dopo l’uragano Jorge, Museo MAN, Nuoro.
2006
3, Magazzino d’Arte Moderna, Rome, Italy.
2005
Sequence 2#, Random Gallery (Air de Paris and Praz-Delavallade), Paris.
Abandoned in Place, Base, Florence.
2004
Elisabetta Benassi, MACRO Museo d’Arte Contemporanea, Rome.
2003
Noon, American Academy in Rome.
Un arc-en-ciel dans l’air incurvé, Chapelle des Louanges, École Nationale Supérieure des Beaux-Arts, Paris,.
2001
In moto, Galleria Massimo De Carlo, Milan.
Day’s End, Galleria Antonella Nicola, Turin.
Selected Group Shows
2025
Plein Soleil, curated by Philippe-Alain Michaud, Philippe Bettinelli, Prisca Meslier, De Renava x Centre Pompidou, Caserne Montlaur, Bonifacio
Why Look at Animals? A Case for the Rights of Non-Human Lives, curated by Katerina Gregos, EMST, Athens
The Spanish Steps, Revisited, curated by Luca Caddia and Fulvio Chimento, Keats – Shelley House, Rome
Il campo espanso. Arte e agricoltura dagli anni Sessanta a oggi, curated by Simone Ciglia, Palazzo Collicola, Spoleto.
Experience Pommery #18 Melodies en Sous-Sol, Domaine Pommery – Vranken, Reims.
2024
In una Brezza Leggera, curated by Marcello Smarrelli, Fondazione Memmo, Rome.
L’Accrocco, curated by Ilaria Leoni, Studio SALES di Norberto Nuggeri, Rome
Through the Floods, Collezione Maramotti, Reggio Emilia
Ocean, Louisiana Museum of Modern Art, Humlebæk.
Angels. Cinquant’anni di storia del Pastificio Cerere, curated by Marcello Smarrelli, Fondazione
Pastificio Cerere
6 memo per questo millennio, curated by Simone Ciglia, Museo Michetti, Francavilla al Mare.
2023
E la mia Patria è dove l’erba trema, curated by Giuseppe Appella, Galleria Nazionale d’Arte Moderna e Contemporanea, Rome.
Fuori Tutto, curated by Bartolomeo Pietromarchi, MAXXI Museo Nazionale delle Arti del XXI Secolo, Rome.
Le ferite di Roma, curated by Marco Bassan, Ludovico Pratesi, Galleria Mattia De Luca, Rome.
Back, Peter Freeman, New York.
2022
Pier Paolo Pasolini. Tutto è santo, curated by Hou Hanru, Bartolomeo Pietromarchi, Giulia Ferracci, MAXXI Museo Nazionale delle Arti del XXI Secolo, 16.11.2022 – 12.03.2023.
Pasolini – Ipotesi di raffigurazione, curated by Marco Delogu, Andrea Cortellessa, Silvia De Laude, EUR Photo Project, Rome; Italian Cultural Institute, Madrid.
Building and Dreaming, curated by Francesco Bonami, By Art Matters, Huangzhou.
Videocittà, curated by Damiana Leoni and Rä di Martino, Gazometro, Rome.
Vita Nova, curated by Andrea Bruciati, Villa Adriana, Tivoli
Midnight, Anozero – Bienal de Arte Contemporânea de Coimbra, curated by Filipa Oliveira and Elfi Turpin, Convent Santa Clara a Nova, Coimbra.
2021
Congoville, curated by Sandrine Colard, Middelheim Museum, Antwerp.
Io dico Io-I say I, Galleria Nazionale, Rome.
Panorama, curated by Vincenzo de Bellis, Procida.
The Feuilleton: I will bear witness, curated by Jo Melvin, Edicola, Spoleto, and MACRO Museo d’Arte Contemporanea, Rome.
Ascolto il tuo cuore, città, Magazzino, Rome.
Insieme, Mura Aureliane, Rome.
2020
After Pasolini-Vision of today, curated by Bettina Steinbrugge and Benjamin Fellmann, Center for Contemporary Art, Plodiv, Bulgary.
Q&A Questions & Appearances, a project of @kadistkadist; kadist.org/apparences/
Viaggi da camera, Fondazione Nicola Trussardi, Milan.
Extra Flags, Centro per l’arte contemporanea Luigi Pecci, Prato.
Jomo. Joy of missing out, MACRO, Rome.
Reality Is Not What It Seems, curated by Sophie Vigourous, Galerie Jousse Entreprise, Paris.
Non si può essere incolti al punto da amare solo cose di alta qualità, curated by Valérie Da Costa, Martina Simeti.
Courtesy Emilia-Romagna. L’opera aperta, curated by Eva Brioschi, XV Arte Fiera, Bologna.
2019
Publication Scaffold, curated by Michele Horrigan, Sean Lynch and Jo Melvin, Temple Bar Gallery and Studios, Dublin.
Divergenze, Bibo’s Place, Todi.
Intermezzo, curated by Agata Polizzi, Villa Zito, Palermo.
The Other is Oneself, curated by Fiona Liewehr, Franz Josefs Kai 3 gallery, Vienna.
La morale dei singoli, curated by Andrea Viliani, Parco Archeologico di Pompei, Palestra Grande, Pompei.
Untitled, Peter Freeman, New York City.
2018
Archeologi, Villa Lontana, Rome.
AFFINITé(S), Gallery Jousse Entreprise, Paris.
Sguardi, Manifesta 12, Palazzo Drago, Palermo.
Straperetana 2018, Il tempo svogliato, Palazzo Iannucci, Pereto.
Sculptureless Sculpture, Villa Lontana, Rome.
No Man’s Library, Ex Biblioteca universitaria, Sassari.
Vidéo et après, Cinéma 2, Centre George Pompidou, Paris.
ITALIANA, L’Italia vista dalla moda 1971-2001, curated by Maria Luisa Frisa and Stefano Tonchi, Palazzo Reale, Milan, Italy [cat.].
One Missing Sock After Doing Laundry, The Art Laundrette, Glasgow, UK.
HO HO HO, Frutta Gallery, Rome, Italy.
The Summer Show, Renata Fabbri arte contemporanea, Milan, Italy.
2017
Deposito d’Arte Italiana Presente, Artissima OVAL, Lingotto Fiere, Turin, Italy.
Doppio schermo, Film e video d’artista in Italia dagli anni ’60 a oggi, MAXXI Museo Nazionale delle Arti del XXI Secolo, Rome, Italy [cat.].
Après, curated by Erique Baudelair and Marcella Lista, Galerie 3, Centre George Pompidou, Paris, France [cat.].
The Raft. Art is (not) Lonely, curated by Jan Fabre and Joanna De Vos, Mu.ZEE and various locations Ostend, Belgium [cat.].
MAXXI Collection. The Place To Be, MAXXI Museo Nazionale delle Arti del XXI Secolo, Rome, Italy.
A house, halfway, curated by Andrew de Brún, Inês Geraldes Cardoso, Kateryna Filyuk, Fondazione Sandretto Re Rebaudengo, Turin, Italy [cat.].
On the road, galleria Pio Monti, Rome, Italy.
Parade du Oui et du Non, curated by Kristina Solomoukha and Paolo Codeluppi, Centre d’Art Contemporain Les Capucins, Embrun, France.
2010-2015, Notes on Italian Videoart, Palazzo Valmarana, Vicenza, Italy.
More Than Just Words [On the Poetic], curated by Luca Lo Pinto and Vanessa Joan Muller, Kunsthalle Wien, Vienna, Austria [cat.].
Please Come back. The world as a prison?, curated by Hou Hanru and Luigia Leonardelli, MAXXI Museo Nazionale delle Arti del XXI Secolo, Rome, Italy [cat.].
Sensibile Comune. Le opere vive. GNAM, Galleria Nazionale d’Arte Moderna, Rome, Italy.
2016
D’une Méditerranée – L’autre, FRAC, Marseilles, France.
Lo spazio concavo, Palazzo della Misericordia, Bergamo, Italy.
Par Tibi Roma Nihil, Foro Palatino, Rome, Italy [cat.].
Start up Quattro Agenzie per la produzione del possibile, a project by Gianfranco Baruchello, Fondazione Baruchello, Rome, Italy.
Todo o Património é Poesia curated by Filipa Oliveira, Fórum Eugénio de Almeida, Évora, Portugal.
2015
Industriale Immaginario, Collezione Maramotti, Reggio Emilia, Italy.
SubBrixia, produced by Fondazione Brescia Musei, Brescia Mobilità and Comune di Brescia, Italy.
In gran multitudine, Madonna del Carmine, Palazzo Lanfranchi, Matera, Italy [cat.].
Des écrits aux écrans, Centre Culturel Saint-Raphaël, Saint-Raphaël, France.
Delta ti – tempo reale, Museo Carlo Bilotti, Rome, Italy [cat.].
519+40, Fondazione Pastificio Cerere, Rome, Italy [cat.].
Liberi tutti!, Museo Ettore Fico, Turin, Italy [cat.].
Personnes et les autres – Vincent Meessen and guests, curated by Katerina Gregos, Belgian Pavilion at the 56th International Art Exhibition, Biennale di Venezia, Venice, Italy [cat.].
NERO SU BIANCO, curated by Robert Storr, Lyle Ashton Harris and Peter Benson Miller, American Academy in Rome, Italy [cat.].
2014
You Can’t Take It With You, Institut Culturel Italien de Paris, Paris, France.
Intenzione manifesta. Il disegno in tutte le sue forme, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli, Italy [cat.].
GLITCH, Interferenze tra arte e cinema, PAC, Milan, Italy.
We Have Never Been Modern, SongEun ArtSpace, Seoul, Korea [cat.].
Motopoétique, Musée d’art contemporain de Lyon, France [cat.].
2013
Non basta ricordare, MAXXI Museo Nazionale delle Arti del XXI Secolo, Rome, Italy.
Ikono on Air Festival, curated by Jack Pam, live webstream.
vice versa, curated by Bartolomeo Pietromarchi, Italian Pavilion at the 55th International Art Exhibition, Biennale di Venezia, Venice, Italy [cat.].
AB, Nomas Foundation, Rome, Italy [cat.].
BOOK MACHINE (PARIS), Nouveau Festival 2013, Centre George Pompidou, Paris, France.
Encore, Magazzino d’Arte Moderna, Rome, Italy.
Ritratto di una città. Arte a Roma 1960-2001, MACRO Museo d’Arte Contemporanea, Rome, Italy.
She Says: Propositions by 3 Italian Women Artist, Second Street Gallery, Charlottesville,Virginia, USA.
Art and Press, Martin-Gropius-Bau, Berlin, ZKM | Center for Art and Media, Museum of Contemporary Art, Karlsruhe, Germany [cat.].
2012
Retour à l’intime, la collection Giuliana et Tommaso Setari, La maison rouge, Paris, France.
Newtopia: The State of Human Rights, curated by Katerina Gregos, Exhibition for the City of Mechelen, Mechelen (various venues), Belgium [cat.].
Oltre il muro, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli, Italy.
Mutatis Mutandis, curated by Catherine David, Wiener Secession, Vienna, Austria [cat.].
Blind Spot, curated by Catherine David, Berlin Documentary Forum 2, Haus der Kulturen der Welt, Berlin, Germany.
A proposito di Marisa Merz, riallestimento della collezione, MAXXI Museo Nazionale delle Arti del XXI Secolo, Rome, Italy [cat.].
Silenzi in cui le cose si abbandonano/Silences where things abandon themselves, The Zagreb Museum of Contemporary Art, Zagreb, Croatia [cat.].
2011
Venice Biennale 54th International Art Exhibition ILLUMInazioni | ILLUMInations, curated by Bice Curiger, Arsenale, Venice, Italy [cat.].
Il Bel Paese dell’arte. Etiche ed Estetiche della Nazione, GAMeC, Galleria d’Arte Moderna e Contemporanea di Bergamo, Bergamo, Italy [cat.].
Tutto è connesso 2, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli, Italy.
When in Rome: Thirty works of art between now and then, Italian Cultural Institue of Los Angeles with support from the Hammer Museum, LAXART and ForYourArt, Los Angeles, California, USA [cat.].
Passwords 11. Spaces of the Self. Femininity in Italian Video, Centro Cultural Montehermoso de Vitoria-Gasteiz, Montehermoso, Spain [cat.].
2010
Chartreuse Jeune, curated by Olaf Nicolai, Casa Tabarelli, Cornaiano, Bolzano, Italy.
Sphères 3, 2010, 7 ènergies autour d’une nouvelle expèrience d’exposition, Galleria Continua / Le Moulin, Boissy-le-Châtel, France.
Pier Paolo Pasolini: We Are All in Danger, Queensland Art Gallery | Gallery of Modern Art, South Brisbane, Australia.
Linguaggi e Sperimentazioni. Giovani artisti in una collezione contemporanea, MART, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto, Italy [cat.].
Artist’s Choice, Röda Sten, Gothenburg, Sweden.
CUE: Artists’ Videos, Vancouver Art Gallery, Vancouver, Canada.
2009
Italian Open, Annet Gelink Gallery, Amsterdam, the Netherlands.
Fuori centro, Hangar Bicocca, Milan, Italy.
Wintry, Magazzino d’Arte Moderna, Rome, Italy.
Meteorite in giardino, Fondazione Merz, Turin, Italy.
2008
Single Channel. Recent Video Works, Galerie Thomas Schulte, Berlin, Germany.
Here Once Again. Where art and cinema interact, SNUMoA (Seoul National University Museum of Art), Seoul.
15 Quadriennale, Palazzo delle Esposizioni, Rome.
Dai tempo al tempo, Fondazione Sandretto Re Rebaudengo, Guarene d’Alba.
Mimétisme, Extra City for Contemporary Art, Antwerp.
The hot season. Italian art now, The Stenerson Museum, Oslo.
2007
annisettanta. Il decennio lungo del secolo breve, Triennale di Milano, Milan.
Franz West Soufflé eine Massenausstellung, Kunstraum Innsbruk, Innsbruck.
Culture Hero, 2nd Biennal of Quadrilateral, Museum of Modern and Contemporary Art, Rijeka.
APT, International Video Art Exhibition, curated by Dan Cameron, Today Art Museum, Beijing.
Art Film, Stadtkino Basel, Art | 38, Basel.
Luce di pietra, Palazzo Farnese, Rome.
2006
Constellations, Artissima, Lingotto, Turin.
Human Game. Winner and losers / Vincitori e vinti, Fondazione Pitti Discovery, Stazione Leopolda, Florence.
Cinema infinito/Neverending cinema, Galleria Civica di Arte Contemporanea di Trento, Trento.
Italy Made in art: Now, MOCA, Museum of Contemporary Art, Shanghai.
Modern Times Volume 2, MAN, Museo d’Arte Provincia di Nuoro, Nuoro.
Frame, a selection of Italian artists, Gertrude Contemporary Art Spaces, Melbourne.
2005
Drive, Galleria d’Arte Moderna di Bologna, Bologna, Italy [cat.].
E-Flux video rental, selected by Catherine David, various locations including KW Institute for Contemporary Art, Berlin, Manifesta Foundation, Amsterdam, Moore Space, Miami, Insa Arts Space, Seoul, PiST, Istanbul, Centre Cultural de Suisse, Paris, Műcsarnok-Kunsthalle, Budapest, Portikus, Frankfurt, Arthouse at the Jones Center, Contemporary Art for Texas, Austin, Texas and other cities.
KunstFilmBiennale Cologne, International Competition, Museum Ludwig, Cologne, Germany [cat.].
Circular, Stadio “Meazza” San Siro, Milan, Italy [cat.].
No Code, Slovak National Gallery, Esterhàzy Palace, Bratislava, Slovakia [cat.].
BYO. Bring Your Own, MAN, Museo d’Arte Provincia di Nuoro, Nuoro, Italy [cat.].
Doppia Visione, Magazzino d’Arte Moderna, Rome, Italy.
Prospectif Cinéma, Centre Georges Pompidou, Paris, France [cat.].
2004
VideoZone2. The Second International Video Biennal in Israel, Tel Aviv, Israel [cat.].
I nuovi mostri: una storia italiana, Fondazione Nicola Trussardi, Milan/Venice, Italy [cat.].
Dazibao d’images, Université Pierre et Marie Curie, Paris, France.
Le opere e i giorni, Certosa di Padula, Italy [cat.].
2003
Lei. Donne nelle collezioni italiane, Fondazione Sandretto Re Rebaudengo, Turin, Italy [cat.].
I Moderni/The Moderns, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli, Italy [cat.].
Moltitudini Solitudini, Museion, Bolzano, Italy [cat.].
Our personal vision, Futura, Prague, Czech Republic.
Italia, Italia, Fondazione Lanfranco Baldi, Pelago, Italy.
L’épreuve de l’étranger, École Nationale Supérieure des Beaux-Arts, Paris, France.
2002
Manifesta 4, Frankfurt am Main, Germany [cat.].
You’ll never walk alone, curated by Lucy Steeds, Arnolfini, Bristol, UK.
De Gustibus, Palazzo delle Papesse – Centro d’Arte Contemporanea, Siena, Italy [cat.].
2001
II Berlin Biennale, Berlin, Germany [cat.].
Anstoss. Kunst, Sport und Politik, Albrecht Dürer Gesellschaft, Kunstverein Nürnberg, Nuremberg, Germany.
SportCult, Apex Art, New York City.
Unreal Presence, SMART Project Space, Amsterdam.
La Folie de la Villa Médicis, Académie de France, Rome.
Le stanze della storia dell’arte, D.A.M.S., Università di Bologna, Bologna.
Boom!, Ex Manifattura Tabacchi, Florence.
2000
Special Projects, P.S.1 Contemporary Art Center, New York, USA.
Mes rendez-vous, Galerie Michel Rein, Paris, France.
Che c’è di nuovo? 2, Casina Pompeiana, Naples, Italy [cat.].
La Ville, le Jardin, la Mémoire, in “La Folie”, curated by Laurence Bossé, Carolyn Christov-Bakargiev, Hans Ulrich Obrist, Académie de France, Rome, Italy.
Videoplace, Palazzo delle Papesse – Centro d’Arte Contemporanea, Siena, Italy.
Artist’s Book
It Starts with the Firing, Nero: Rome, 2017.
The King Leopold’s Soliloquy, Nero: Rome, 2015.
The Dry Salvages, Nero: Rome, 2013.
All I Remember, Nero: Rome, 2011.
Storyboard, Onestar Press, Paris, 2002.
Selected Bibliography
Catalogues, books, articles
Vincenzo De Bellis, Alessandro Rabottini, “Elisabetta Benassi”, in Eid (eds.), Strata: Italian Art Since 2000. The Words of the Artists. Milan/Dijon: Lenz Press/Les presses du Réel, 2023, 90-107.
Stefano Chiodi, “Il senso della vita per la storia/The meaning of life for history”, in Elisabetta Benassi, EMPIRE, exhibition catalogue (London, Istituto Italiano di Cultura di Londra, 17 – 30.4.2019; Rome, Museo Nazionale Romano – Palazzo Altemps, 20.6 – 1.9.2019; Llandudno, Mostyn, 13.7 – 27.10.2019). Rome: Treccani, 2022, 18-37.
Stefano Chiodi, “Archivi eretici. Storia e immaginazione nel lavoro di Elisabetta Benassi”, in Silvia Botticelli, Giorgia Gastaldon (eds.), Palinsesti, no. 9 (2020), Yet who is the Genius? Women’s Art Criticism in Postwar Italy, II, April 15, 2022: https://teseo.unitn.it/palinsesti/article/view/2220/2210.
Marco Delogu, Andrea Cortellessa, Silvia De Laude (eds.), Pasolini. Ipotesi di raffigurazione, exhibition catalogue (Rome, EUR Photo Project; Madrid, Istituto Italiano di Cultura, 3 – 9.2022). Rome: punctum press, 2022, 42-45.
Andrea Dernbach, “Vordenker der Nation: Pasolini oder: Ein Heutiger wird hundert”,Tagesspiegel, November 30 2022: https://www.tagesspiegel.de/kultur/vordenker-der-nation-pasolini-oder-ein-heutiger-wird-hundert-8938069.html.
Bhambra K. Gurminder, “Impero: concezioni, storie, eredità/Empire: concepts, histories, legacies”, in Elisabetta Benassi, EMPIRE, exhibition catalogue (London, Istituto Italiano di Cultura di Londra, 17 – 30.4. 2019; Rome, Museo Nazionale Romano – Palazzo Altemps, 20.6 – 1.9.2019; Llandudno, Mostyn, 13.7 – 27.10 2019). Rome: Treccani, 2022, 90-103.
Daniel Madeira (ed.), Anozero ’21-22. Biennial de Coimbra. Meia-noite, exhibition catalogue (Coimbra, Moistero de Santa Clara-a-Nova, 9.4 – 26.6.2022). Coimbra: Coimbra University Press, 2022, 152-161.
Sandrine Colard, “Congoville: A Black Flâneur’s Path through a Post-Colonial City”, in Peter Boons, Sandrine Colard (eds.), Congoville, exhibition catalogue (Antwerp, Middelheim Museum, 29.5 – 3.10.2021). Leuven: Leuven University Press, 2021, 28-63.
Emanuele Trevi, “Carissima Betta”, in Gabi Scardi (ed.), Elisabetta Benassi. Lady and Gentlemen, exhibition catalogue (Milan, Fondazione Adolfo Pini, 14.9 – 17.12.2021). Milan: Nero, 2021, n. p.
Gianni Politi (ed.), Insieme, exhibition catalogue (Rome, Mura Aureliane, San Lorenzo, Via di Porta Labicana, 22.10 – 30.11.2020). Macerata: Quodlibet/Ghella, 2021, 90-93.
Paola Ugolini, “Elisabetta Benassi”, in Cecilia Canziani, Lara Conte, Paola Ugolini (eds.), Io dico io/ I say I, exhibition catalogue (Rome, Galleria Nazionale d’Arte Moderna, 1.03. – 23.05.2021). Cinisello Balsamo: Silvana Editoriale, 2021, 240.
Elisabetta Benassi, “Dove va l’umanità? Boh!”, Antinomie. Scritture e immagini, May 52020: https://antinomie.it/index.php/2020/05/05/dove-va-lumanita-boh/.
Vittoria Bonifati, Jo Melvin (eds.), Archeologi. The metadata of Villa Lontana, exhibition catalogue (Rome, Villa Lontana, 13.10 – 10.11.2018). Rome: Fondazione Dino ed Ernesta Santarelli, 2018, 59-61.
Vittoria Bonifati, Jo Melvin (eds.), Sculptureless Sculpture, exhibition catalogue (Rome, Villa Lontana, 16.5 – 6.6.2018). Rome: Fondazione Dino ed Ernesta Santarelli, 2018, 53.
Matteo Lucchetti, “Elisabetta Benassi”, in Jan Fabre, Joanna De Vos (eds.), Theft. Art is (not) lonely, exhibition catalogue (Ostend, Mu.Zee, 18.10.2017 – 15.04.2018). Ostend: Lannoo Books, 2018, 42-45, 204-205.
Zerynthia (ed.), No Man’s Library / La Biblioteca di Tutti, exhibition catalogue (Sassari, Ex Biblioteca Universitaria, 10.5 – 30.5.2018). Sassari: Di Paolo Edizioni, 2018, 44-45.
Gian Maria Annovi, Pier Paolo Pasolini: performing authorship. New York: Columbia University Press, 2017, 1-4, 187-189.
Éric Baudelaire, Marcella Lista (eds.), Après, exhibition catalogue (Paris, Centre Pompidou, 6.9 – 18.9.2017). Paris: Éditions du Centre Pompidou, 2017, n. p.
Andrea Cortellessa, “L’assenza, la paura, la macchina Pasolini e l’arte contemporanea”, in Angela Felice, Antonio Tricomi (eds.), Lo scrittore al tempo di Pasolini e oggi. Tra società delle lettere e solitudine. Venice: Marsilio, 2017, 221-222.
Bruno Di Marino (ed.), Doppio schermo. Film e video d’artista in Italia dagli anni ’60 a oggi, exhibition catalogue (Rome, MAXXI, 19.9 – 9.11.2017). Imola: Manfredi Edizioni, 2017, 120.
Hou Hanru, Luigia Lonardelli (eds.), Please Come Back. Il mondo come prigione?, exhibition catalogue (Rome, MAXXI, 9.2 – 21.5.2017). Rome: Mousse Publishing, 2017, 16-17.
Luca Lo Pinto, Vanessa Joan Müller (eds.), Mehr als nur Worte [Über das Poetische] / More Than Just Words [On the Poetic], exhibiton catalogue (Vienna, Kunsthalle Wien, 8.3 – 7.5.2017). Vienna: Kunsthalle Wien, 2017, n. p.
Pascal Neveux et al. (eds.), D’une Méditerranée, l’autre, exhibition catalogue (Marseille, FRAC Provence-Alpes-Côte d’Azur, 26.11.2016 – 12.2.2017). Toulon: Département du Var, 2017, 20.
Marta Ragozzino, “Una sola moltitudine”, in Achille Bonito Oliva (ed.), L’albero della cuccagna. Nutrimenti dell’arte, exhibition catalogue (Matera, Chiesa del Carmine di Palazzo Lanfranchi, 25.9 – 10.3.2017). Milan: Skira, 2017, 48-51.
Raffaella Frascanelli (ed.), Par tibi, Roma, nihil, exhibition catalogue (Rome, Foro Romano-Palatino, 23.6 – 18.9.2016). Rome: Electa, 2016, 36, 72-73.
Simone Ciglia (ed.), Il campo espanso. Arte e agricoltura in Italia dagli anni Sessanta ad oggi. Rome: Crea, 2015, 123-124.
Katerina Gregos, “Elisabetta Benassi”, in Katerina Gregos, Vincent Meessen (eds.), Personne et les autres. Vincent Meessen and guests, exhibition catalogue (Venice, Belgian Pavilion, 56th Biennale di Venezia, 9.5 – 22.11.2015). Milan: Mousse Publishing, 2015, 76-81.
Peter Benson Miller, “Elisabetta Benassi”, in Lyle Ashton Harris, Robert Storr, Peter Benson Miller (eds.), Nero su bianco, exhibition catalogue (Rome, American Academy in Rome, 26.5 – 19.7.2015). Rome: Nero, 2015, 116.
Elfi Turpin, “Elisabetta Benassi. Gli spettri”, Flash Art, no. 321, June 4 2015: https://flash—art.it/article/elisabetta-benassi/.
Beatrice Merz, Marianna Vecellio (eds.), Intenzione manifesta. Il disegno in tutte le sue forme / Manifest Intention. Drawing in all its forms, exhibition catalogue (Rivoli, Castello di Rivoli, 11.10.2014 – 25.1.2015). Mantua: Corraini Edizioni, 2014, 158-161.
Lorenzo Micheli Gigotti, Fabio Marco Pirovano (eds.), Space is the place, exhibition catalogue (Basel, 20.6.2014). Basel: Nero, 2014, n. p.
Maria Centonze, “Elisabetta Benassi | Voglio fare subito una mostra”, in Elisabetta Benassi | Voglio fare subito una mostra, exhibition catalogue (Turin, Fondazione Merz, 15.5.2012 – 8.9.2013). Turin: Fondazione Merz, 2013, 72-75.
Rachele Ferrario, “Storia e immaginario, nel segno di Pasolini”, Corriere della Sera, December 19 2013.
Luca Lo Pinto, Olaf Nicolai, “Vogliamo fare subito una domanda?”, in Elisabetta Benassi | Voglio fare subito una mostra, exhibition catalogue (Turin, Fondazione Merz, 15.5.2012 – 8.9.2013). Turin: Fondazione Merz, 2013, 23-27.
Beatrice Merz, “Dal garage al mare”, in Elisabetta Benassi | Voglio fare subito una mostra, exhibition catalogue (Turin, Fondazione Merz, 15.5.2012 – 8.9.2013). Turin: Fondazione Merz, 2013, 12-13.
Elfi Turpin (ed.), Elisabetta Benassi. Smog à Los Angeles, exhibition catalogue (Altkirch, CRAC Alsace, 27.10.2012 – 26.1.2013). Altkirch: CRAC Alsace, 2013, n. p.
Riccardo Venturi, “Sistema/Frammento, Gianfranco Baruchello/Elisabetta Benassi”, in Bartolomeo Pietromarchi (ed.), vice versa, exhibition catalogue (Venice, Italian Pavilion, 55th Biennale di Venezia, 1.6 – 24.11.2013). Milan: Mousse Publishing, 2013, 184-191.
Catherine David (ed.), Mutatis Mutandis, exhibition catalogue (Vienna, Wiener Secession, 29.6 – 2.9.2012). Vienna: Wiener Secession, 2012, n. p.
Alessio Fransoni, Ilaria Valbonesi (eds.), Silenzi in cui le cose si abbandonano/Silence where things abandon themselves, exhibition catalogue (Zagreb, Muzej Suvremene Umjetnosti, 3.2 – 4.3.2012). Zagreb: Muzej Suvremene Umjetnosti, 2012, 20-29.
Katerina Gregos, Elena Sorokina (eds.), The State of Newtopia Human Rights, exhibition catalogue (Mechelen, 1.9 – 10.12.2012). Antwerp: Laudion 2012, 162-163.
Walter Smerling, “Die Ereignisse hinter dem Bild”, in Walter Smerling, Peter Weibel (eds.), ARTandPRESS. Kunst, Wahrheit, Wirklichkeit, exhibition catalogue (Berlin, Martin-Gropius-Bau, 23.3 – 24.6.2012; Karlsruhe, ZKM, 16.9.2012 – 10.2.2013). Cologne: Wienand Verlag, 2012, 110-113.
Ester Coen, Francesca Romana Morelli, Una memoria contemporanea. Dalla collezione di Bianca Attolico. London: Trolley Books, 2011, 174-175.
Gabriele Guercio, The Great Subtraction. Brussels: ASA Publisher, 2011, 9-38, 95-99.
Jessica Lack, “Elisabetta Benassi”, in Bice Curiger (ed.), ILLUMInazioni / ILLUMInations, exhibition catalogue (Venice, 54th Biennale di Venezia, 4.6 – 27.11.2011). Venice: Marsilio Editori, 2011, 140-141.
Bartolomeo Pietromarchi, Italia in opera. La nostra identità nelle arti visive. Turin: Bollati Boringhieri, 2011, 98-99, 107, 170-171, 188.
Zerynthia (ed.), Compagni di viaggio/Traveling companions, exhibition catalogue (Ljubljana, Mestna Galerija, 20.1 – 6.3.2011). Ljubljana: Mestna Galerija, 2011, 83.
Achille Bonito Oliva, Cecilia Casorati (eds.), Squares of Rome, exhibition catalogue (Shangai, Museum of Contemporary Art-MoCA, 29.4 – 4.6.2010). Shangai: MoCA, 2010, 134-135.
Roberto Cavasola, “Verso un nuovo statuto dell’oggetto d’arte?”, in Elisabetta Benassi, All I Remember, exhibition catalogue (Rome, Galleria Magazzino, 11.05 – 31.07.2010). Rome: Nero, 2010, n. p.
Stefano Chiodi, “La discordanza inclusa. Arte e politica dell’arte”, in Gabriele Guercio, Anna Mattirolo (eds.), Il confine evanescente. Arte italiana 1960-2010. Milan: Mondadori Electa, 2010, 186-188.
Andrea Cortellessa, “Crediti”, in Elisabetta Benassi, All I Remember, exhibition catalogue (Rome, Galleria Magazzino, 11.05 – 31.07.2010). Rome: Nero, 2010, n. p.
Elena Volpato, “Elisabetta Benassi. Lucignolo”, in Rebecca De Marchi, Elena Volpato (eds.), Eco e narciso. Cultura materiale/video, exhibition catalogue (Villar Pellice, Ecomuseo Feltrificio Crumiére, 10 – 5.2010). Turin: Agit Mariogros, 2010, 18-19.
Costantino D’Orazio (ed.), Speranze e dubbi. Arte giovane tra Italia e Libano, exhibition catalogue (Turin, Fondazione Merz, 22.1 – 15.3.2009). Turin: Fondazione Merz, 2009, 16-19.
Ilaria Bonacossa et al. (eds.), Dai tempo al tempo, exhibition catalogue (Guarene d’Alba, Palazzo Re Rebaudengo, 25.5 –27.6.2008). Guarene d’Alba: Fondazione Sandretto Re Rebaudengo, 2008, 3-4.
Stefano Chiodi, “Vent’anni di solitudine”, in Id., La bellezza difficile. Saggi e interventi sull’arte contemporanea. Florence: Le Lettere, 2008, 10-12.
Anselm Franke, Lotte De Voeght, “Elisabetta Benassi”, in Eid. (eds.), Mimétisme, exhibition catalogue (Antwerp, Extra City, 25.1 – 30.3.2008). Antwerp: Extra City Center for Contemporary Art, 2008, 14.
Bartolomeo Pietromarchi, Lorella Scacco (eds.), The Hot Season. Italian Art Now, exhibition catalogue (Oslo, Stenersen Museum, 17.1 – 8.3.2008). Rome: Nero, 2008, 12-15.
Caterina Riva, “Elisabetta Benassi”, in Hyunjoo Byeon, Ilaria Gianni, Jungmin Kwon (eds.), Here Once Again. Where art and cinema interact, exhibition catalogue (Seoul, SNUMoA, Seoul National University Museum of Art; Alternative Space LOOP, Seoul 25.7 – 23.8.2008). Seoul: SNUMoA, 2008, 27.
Alessandro Sagramora et al. (eds.), 15a Quadriennale d’Arte di Roma, exhibition catalogue (Rome, Palazzo delle Esposizioni, 19.6 – 14.9.2008). Venice: Marsilio Editori, 2008, 70-71.
Maria Rosa Sossai (ed.), Elisabetta Benassi. Suolo, 2007, exhibition catalogue (Nuoro, MAN, 25.5 – 2.9.2007). Cinisello Balsamo: Silvana Editoriale, 2008.
Maria Rosa Sossai, Film d’artista. Percorsi e confronti tra arte e cinema. Cinisello Balsamo: Silvana Editoriale, 2008, 50-51.
Marco Belpoliti, Gianni Canova, Stefano Chiodi (eds.), Annisettanta. Il decennio lungo del secolo breve, exhibition catalogue (Milan, La Triennale di Milano, 27.10.2007 – 30.3.2008). Milan: Skira, 2007.
Valentina Rossi, “Elisabetta Benassi”, in Danilo Eccher (ed.), Les fleurs du mal, exhibition catalogue (Benevento, ArCos Museo, 6.9.2007 – 31.01.2008). Milan: Electa, 2007, 28.
Marcello Smarrelli, “I raggi del sole fanno il giro d’Italia”, in Marcello Smarrelli, Olivier Descotes (eds.), Luce di Pietra, exhibition catalogue (Rome, Palazzo Farnese, Villa Medici, San Luigi dei Francesi, San Nicola dei Lorenesi, 24.3 – 15.4.2007). Milan: Skira, 2007, 27, 68-69.
Elisabetta Benassi, “The Dark Horse of the Festival Year”, in Marcello Faletra, Ida Parlavecchio (eds.), Girato a Palermo. Dieci racconti video, exhibitio catalogue, (Palermo, Ex Deposito Locomotive S. Erasmo, 9 – 24.09.2006). Milan: Skira, 2006, 46-47.
Francesco Bonami, Maria Luisa Frisa, Stefano Tonchi (eds.), Human Game. Vincitori e vinti, exhibition catalogue (Florence, Fondazione Pitti, Stazione Leopolda, 21.6 – 21.7.2006). Milan: Charta Edizioni, 2006, 136-137.
Andrea Bruciati (ed.), Videoreport Italia 2004-05, exhibition catalogue (Monfalcone, GCAC – Galleria Comunale d’Arte Contemporanea di Monfalcone, 13.10 – 1.11.2006). Cinisello Balsamo: Silvana Editoriale, 2006, 54-55.
Ida Parlavecchio, “Cartografie video”, in Marcello Faletra, Ida Parlavecchio (eds.), Girato a Palermo. Dieci racconti video, exhibition catalogue (Palermo, Ex Deposito Locomotive S. Erasmo, 9 – 24.09.2006). Milan: Skira, 2006, 35.
Holger Steinemann, Ursula Diehr (eds.), Art Unlimited. Art 40 Basel, exhibition catalogue (Basel, Messeplatz, 16.6 – 20.6.2009). Basel: Art Basel/Hatje Cantz Verlag, 2009, 38-39.
Adachiara Zevi, “Memoria come dissonanza”, in Ead. (ed.), Arteinmemoria2, exhibition catalogue (Ostia, Sinagoga, 28.1 – 15.3.2005). Rome: Edizioni Incontri Internazionali d’Arte, 2006, 23-71.
Alessandra Galasso, “Elisabetta Benassi: History is Us”, in Giulio Di Gropello (ed.), Young Artists in Italy at the Turn of the Millennium. Milan: Charta Edizioni, 2005, 52-55.
Salvatore Lacagnina (ed.), Ma non al sud, exhibition catalogue (Siracusa, Galleria Civica d’Arte Contemporanea Montevergini, 24.9 – 30.11.2005). Cinisello Balsamo: Silvana Editoriale, 2005, 118-119.
Adachiara Zevi, “Elisabetta Benassi: la storia come sosia”, L’architettura/The Architecture, no. 592, February 2005, 124-126.
Luca Beatrice, “Nuova Narrativa”, Flash Art, no. 246, 2004, 104-107.
Marco Belpoliti, “Dieci scene per fantasmi. Una storia per adulti”, in Gianfranco Maraniello (ed.), Elisabetta Benassi. Tutti morimmo a stento, exhibition catalogue (Rome, MACRO, 30.1 – 9.5.2004). Milan: Electa, 2004, 48-73.
Carolyn Christov-Bakargiev, “Elisabetta Benassi”, in Gianfranco Maraniello (ed.), Elisabetta Benassi. Tutti morimmo a stento, exhibition catalogue (Rome, MACRO, 30.1 – 9.5.2004). Milan: Electa, 2004, 14-43.
Helen Hirsch Kempf, “Machines die better”, in Ead. (ed.), Speed up, exhibition catalogue (Basel, Sportmuseum Schweirz, 3.12.2004 – 13.2.2005). Basel: Schwabe Verlag, 2004, 30-31.
Gianfranco Maraniello, “La figura antieroica dell’artista”, in Id. (ed.), Elisabetta Benassi. Tutti morimmo a stento, exhibition catalogue (Rome, MACRO, 30.1 – 9.5.2004). Milan: Electa, 2004, 74-96.
Maria Perosino, “Un istante autentico. Arte e fotografia: una storia a ritroso”, in Uliano Lucas (ed.), Storia d’Italia. L’immagine fotografica 1945-2000. Turin: Giulio Einaudi, 2004, 565-579.
Bartolomeo Pietromarchi, “Italici vizi e virtù”, Flash Art, no. 253, 2004, 72-73.
Lorenza Pignatti, “Bettagol”, Kult, no. 8, 2004, n. p.
Maria Rosa Sossai, “Elisabetta Benassi”, Flash Art, no. 246, 2004, 128.
Valentina Tanni, “Elisabetta Benassi”, Zu, no. 4, 2004, 10-11.
Francesca Zanza, “Elisabetta Benassi. Tutti morimmo a stento”, Exibart.onpaper, no. 13, 2004, 32.
Stefano Chiodi, “Elisabetta Benassi”, in Carolyn Christov-Bakargiev (ed.), I Moderni /The Moderns, exhibition catalogue (Rivoli, Castello di Rivoli, 16.4 – 3.8.2003). Milan: Skira, 2003, 69-73.
Carolyn Christov-Bakargiev, “Elisabetta Benassi”, in Ead. (ed.), Cream 3. London: Phaidon, 2003, 60-63.
Maria Luisa Frisa, “Fuga”, in Chiara Parisi (ed.), La Folie de la Ville Médicis, exhibition catalogue (Rome, Académie de France, 9.4 – 23.7.2001). Milan: Silvana Editoriale, 2003, n. p.
Cornelia Lauf, “Benassi’s Fairy Tale”, Afterart News, no. 1, 2003, n. p.
Bartolomeo Pietromarchi, “L’urgenza dello spazio”, Flash Art, no. 240, 2003, 116-120.
Letizia Ragaglia, “Elisabetta Benassi”, in Sergio Risaliti (ed.), Moltitudini – Solitudini, exhibition catalogue (Bolzano, Museion, 7.6. – 31.8.2003). Florence: Maschietto Editore, 2003, 24-25.
Gianfranco Maraniello, “C’est un problème de temps. Notes sur l’art italien d’aujourd’hui”, Art Press, no. 279, 2002, 24-30.
Lorenza Pignatti, “Elisabetta Benassi”, Kult, no. 6, 2002, 69.
Maria Rosa Sossai, Artevideo. Storie e culture del video d’artista in Italia. Milan: Silvana Editoriale, 2002, 93-95.
Maria Rosa Sossai, “Declinazione video”, Flash Art, no. 234, 2002, 96-99.
Euridice Arratia (ed.), SportCult, exhibition catalogue (New York, Apexart, 7.9 – 3.11.2001). New York: Apexart, 2001, n. p.
Elisabetta Benassi, “What the crow says”, in Saskia Bos, Waling Boers (eds.), Berlin Biennale 2, exhibition catalogue (Berlin, KW Institute, Postfuhramt, Treptowers, 20.4 – 20.7.2001), vol. 1. Berlin: Oktagon, 2001, 62-63.
Donatella Bernabò Silorata, “Che c’è di nuovo?”, Flash Art, no. 226, 2001, 140.
Maria Luisa Frisa, “Il potere dell’immagine”, Case da abitare, no. 52, 2001, 143.
Samuel-Fuyumi Namioka (ed.), Small narratives: Unreal Presence, exhibition catalogue (Amsterdam, SMART Project Space, 16.6 – 22.7.2001). Amsterdam: Smart Papers, 2001, 4.
Stefano Chiodi, “Observation of intentions; Elisabetta Benassi”, in Sergio Risaliti (ed.), Espresso. Art now in Italy. Milan: Electa, 2000, 28, 52-53.
Claudia Colasanti, “Lazio. La passione e la determinazione”, Flash Art, no. 220, 2000, 95.
Salvatore Lacagnina, “Il medioevo della nuova comunicazione”, Tema Celeste, no. 78, 2000, 93.
Sergio Risaliti, “Elisabetta Benassi”, in Mario Franco, Eugenio Giliberti, Nino Longobardi (eds.), Che c’è di nuovo? 2, exhibition catalogue (Naples, Casina Pompeiana, 16.12.2000 – 28.1.2001). Naples: Electa, 2000, 10-12.
Ludovico Pratesi (ed.), La leggerezza. Arte in classe, exhibition catalogue (Rome, Istituto Areonautico G. Galilei, 16.4 – 4.5.1999). Rome: Fincotex s.p.a, 1999, n. p.
Reviews
David Jager, “Elisabetta Benassi at Peter Freeman”, Whitehot Magazine of Contemporary Art, February 26 2024: https://whitehotmagazine.com/articles/elisabetta-benassi-at-peter-freeman/6240.
Ana Vukadin, “Inside the world’s oldest lithography store, printer to Giorgio de Chirico and Cy Twombly”, FT Magazine, Financial Times, August 5 2023: https://www.ft.com/content/c807bcd1-9295-43f6-b73f-44ad1d3a1c5d#comments-anchor.
Elio Grazioli, “Milano, Fondazione Pini: Elisabetta Benassi. Lady and Gentlemen”, Doppiozero, October 10 2021: https://www.doppiozero.com/elisabetta-benassi-lady-and-gentlemen.
Lara Caccia, “Elisabetta Benassi: Memoria Futuri”, Titolo. Rivista scientifico-culturale d’arte contemporanea, n. 22 (83), summer/autumn 2021, 20-22.
Ginevra Bria, “Elisabetta Benassi. Sottrarsi al tempo della produzione”, Domus, July 8 2019: https://www.domusweb.it/it/arte/2019/07/03/elisabetta-benassi-sottrarsi-al-tempo-della-produzione.html.
Andrea Cortellessa, “Benassi, il passato ritornerà in forma di mattoni”, il manifesto – Alias Domenica, July 21 2019: https://ilmanifesto.it/benassi-il-passato-ritornera-in-forma-di-mattoni, also as “Il muro del destino”, Antinomie, January 13 2023: https://antinomie.it/index.php/2023/01/13/elisabetta-benassi-il-muro-del-destino/.
Silvia Bottani, “Elisabetta Benassi alla Collezione Maramotti di Reggio Emilia. Sculpture as place (of memory)”, Doppiozero, May 26 2017: https://www.doppiozero.com/sculpture-place-memory.
Elena Bordignon, “A brick is a brick is a brick… Elisabetta Benassi alla Collezione Maramotti”, ATPDiary, May 29 2017: https://atpdiary.com/brick-benassi-collezione-maramotti/.
Andrea Cortellessa, “Letargo / Elisabetta Benassi. Alla ricerca del sonno perduto”, Doppiozero, January 5 2017: https://www.doppiozero.com/elisabetta-benassi-alla-ricerca-del-sonno-perduto.
Andrea Cortellessa, “Il morto vivente come artista visivo”, il manifesto – Alias Domenica, October 3 2017: https://ilmanifesto.it/pasolini-il-morto-vivente-come-artista-visivo.
Andrea Cortellessa, “Ghost in the Machine. Pasolini oltre il mito”, Le parole e le cose, October 15 2017: https://www.leparoleelecose.it/?p=29421.
Sara Dolfi Agostini, “Elisabetta Benassi. It starts with the firing”, Klat, May 30 2017: https://www.klatmagazine.com/art/elisabetta-benassi/57026.
Martin Herbert, “Around Town: Rome”, Frieze, no. 187, March 22 2017: https://www.frieze.com/article/rome-around-town.
Charlotte Jansen, “Bricking It”, Elephant, May 16 2017: https://elephant.art/bricking-it/.
Stefano Luppi, “La Benassi e i filistei”, Il Giornale dell’Arte, no. 375, May 7 2017: https://www.ilgiornaledellarte.com/articoli/la-benassi-e-i-filistei/97586.html.
Rosalind McKever, “The contemporary vision of Collezione Maramotti”, Apollo, August 29 2017: https://www.apollo-magazine.com/the-contemporary-vision-of-collezione-maramotti/.
Cristiana Perrella, “Elisabetta Benassi. Magazzino / Rome”, Flash Art, no. 331, February 28 2017: https://flash—art.com/2017/02/elisabetta-benassi-magazzino-rome/.
Marta Silvi, “Elisabetta Benassi”, Artforum (Critics’ Picks), February 2017: https://www.artforum.com/picks/elisabetta-benassi-66428.
Sam Steverlynck, “Elisabetta Benassi Hits the Brick At Max Mara”, DAMN∞ Magazine, no. 81, May 2017: https://www.damnmagazine.net/wordpress/2017/05/22/colezionne-maramotti-benassi/.
Paola Tognon, “Would you pay money for this?”, Exibart, August 29 2017: https://www.exibart.com/progetti-e-iniziative/would-you-pay-money-for-this/.
Lucia Tozzi, “In fuga dal mondo-prigione con Koolhaas e Superstudio”, Pagina99, February 4 2017.
Lucia Tozzi, “Elisabetta Benassi – Letargo”, ZERO, February 2017: https://zero.eu/en/eventi/58942-elisabetta-benassi-letargo,Rome/.
Giorgio Verzotti, “Sguardi totali. I modi di Elisabetta Benassi”, Arte, no. 528, August 2017, 112-115.
Andrea Cortellessa, “Un risveglio simile alla morte”, il manifesto, December 31 2016: https://ilmanifesto.it/un-risveglio-simile-alla-morte.
Elena Volpato, “Elisabetta Benassi”, Flash Art, September 8 2015: https://flash—art.it/article/elisabetta-benassi-2/.
Patricia Cohen, “A Collector Bets His Eye and His Gut”, The New York Times, December 6 2013: https://www.nytimes.com/2013/12/07/arts/design/a-collector-bets-his-eye-and-his-gut.html%20/h.
Andrea Cortellessa, “La pescatrice di stelle”, Alfabeta2, no. 31, July-August 2013, 15.
Francesco Poli, “Benassi ripesca l’auto di Merz”, La Stampa, September 2 2013.
Gianluigi Ricuperati, “Un catalogo di didascalie ci svela il lato B del mondo”, la Repubblica, December 11 2011.
Elena Volpato, “Elisabetta Benassi-The Innocent abroad”, Flash Art, no. 296, October 2011: https://flash—art.it/article/elisabetta-benassi-2/.
Marco Belpoliti, “Benassi, Cosa c’è sul retro della Storia”, La Stampa, June 7 2010: https://www.lastampa.it/cultura/2010/06/07/news/benassi-cosa-c-e-sul-retro-della-storia-1.37010326/.
Anna Mecugni, Elisabetta Benassi, Art in America, no. 11, December 2010, 162.
Barbara Casavecchia, “Fuori Centro. Dieci video d’artista nel Far West dell’Hangar Bicocca”, la Repubblica, September 30 2009.
Marco Belpoliti, “Megafoni di potere e di inganno”, La Stampa, August 18 2008: https://duemilaragioni.myblog.it/2008/08/22/marco-belpoliti-megafoni-di-potere-e-di-inganno/.
Ilaria Bonacossa, “Dai tempo al tempo”, Art Key, no. 5, 2008, 36-37.
Barbara Casavecchia, “Time is in our side”, Flash Art International, no. 260, 2008, 112-115.
Andrea Lissoni, “Elisabetta Benassi”, Work, no. 23, 2008, 80-81.
Eric Alliez, Giovanna Zapperi, “Multitudes icônes versus documenta magazine”, Multitudes, no. 30, March 2007, 140, 152, 161.
Pier Paolo Pancotto, “L’arte dei segni del tempo”, L’Unità, January 3 2007.
Beppe Sebaste, “Il dominio delle luci genera ombre”, L’Unità, March 24 2007.
Francesco Stocchi, “Elisabetta Benassi”, Artforum, April 2007: https://www.artforum.com/events/elisabetta-benassi-201441/.
Roberta Vanali, “Elisabetta Benassi Nuoro Man”, Exibart, June 16 2007: https://www.exibart.com/sardegna/fino-al-2-ix-2007-elisabetta-benassi-nuoro-man/.
Francesca De Nicolò, “Benassi / Jeane / Parlac / Peris / Umbaca”, Arte e Critica, no. 43, 2005, 61.
Francesco Marmorini, “Elisabetta Benassi BASE/Progetti per l’arte”, Arte e Critica, no. 43, 2005, 54.
Matteo Chini, “Elisabetta Benassi”, Flash Art, no. 253, 2004, 123.
Luca Beatrice, “I Moderni”, Flash Art, no. 240, 2003, 138.
Alberto Mugnaini, “Italia Italia”, Flash Art, no. 242, 2003, 144.
Maria Rosa Sossai, “Elisabetta Benassi e Joan Jonas”, Flash Art, no. 239, 2003, 85.
Massimiliano Tonelli, “Elisabetta Benassi”, Exibart, April 2003, 16.
Marcello Smarrelli, “Elisabetta Benassi”, Flash Art, no. 234, 2002, 101.
Guido Curto, “Elisabetta Benassi”, Flash Art, no. 228, 2001, 148.
Olga Gambari, “Sale tra tempo e spazio l’ascensore di Elisabetta Benassi”, La Stampa, no. 108, May 9 2001.
Stefano Chiodi, “Ars Medica. Fuori Uso 99”, Tema Celeste, no. 76, 1999, 11.
Adriana Martino, “Ars Medica”, Flash Art, no. 218, 1999, 136.
Interviews
Lorenzo Madaro, “Da tutta l’arte di Roma, una eterna ispirazione”, La Repubblica, September 9 2019: https://roma.repubblica.it/cronaca/2019/09/09/news/elisabetta_benassi_da_tutta_l_arte_di_roma_una_eterna_ispirazione_-235557902/.
Cloe Piccoli, “Elisabetta Benassi”, in Laura Cherubini (ed.), Paesaggio Italiano II. Milan: Manfredi Edizioni/Accademia di Belle Arti di Brera, 2017, 33-55.
Cloe Piccoli, “All I Remember. Intervista”, in Elisabetta Benassi, All I Remember, exhibition catalogue (Rome, Galleria Magazzino, 11.05 – 31.07.2010). Rome: Nero, 2010, n. p.
Elisabetta Benassi, Rä Di Martino, “Two Way Monologue”, Nero Magazine, no. 15, February-March 2008: https://issuu.com/www.neromagazine.it/docs/neromagazine_n15.
Maria Rosa Sossai, “Conversazione/A conversation”, in Ead., Elisabetta Benassi. Suolo, 2007, exhibition catalogue (Nuoro, MAN, 25.5 – 2.9.2007). Cinisello Balsamo: Silvana Editoriale, 2008, 17-27.
Lorenzo Bruni, Elisabetta Benassi, “Intervista a rovescio”, Flash Art, no. 262, February-March 2007: https://flash—art.it/article/elisabetta-benassi-3/.
Maurizio Cattelan, Elisabetta Benassi, “I professori vanno mangiati in salsa piccante”, il manifesto, March 25 2007; also in Roberta Tenconi, Vicente Todolí, Fiammetta Griccioli (eds.), Index. Maurizio Cattelan with Marta Papini and Michele Robecchi. Venice: Marsilio Editori, 2021, 448.
Stefano Chiodi, “Intervista a Elisabetta Benassi”, in Id., Una sensibile differenza. Conversazioni con artisti italiani di oggi. Rome: Fazi Editore, 2006, 34-51.
Marcello Smarrelli, “Elisabetta Benassi”, in Giusy Cariplo (ed.), Intramoenia Extrart, exhibition catalogue (Andria, Castel del Monte, 18.12 – 26.2.2006). Barletta: Editrice Rotas, 2006, 93-103.
Maria Rosa Sossai, “Elisabetta Benassi”, in Ead. (ed.), Modern Times, exhibition catalogue, (Nuoro, MAN, 23.9 – 23.10.2005). Cinisello Balsamo: Silvana Editoriale, 2006, 68-69.
Lorenzo Bruni, “Elisabetta Benassi”, Around Photography, no. 6, 2005, 32-34.
Lorenzo Benedetti, “Elisabetta Benassi”, Arte e Critica, no. 28, 2001, 16-17.
Marina Sorbello, “Elisabetta Benassi”, Tema Celeste, no. 86, 2001, 88-89.
Marina Sorbello, “Partita doppia con Pasolini”, il manifesto, April 20 2001.
Marina Sorbello, “Una biennale meno berlinese per artisti più altruisti. Intervista a Saskia Bos”, Il Giornale dell’arte, no. 198, 2001, 32.
