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
2022
Empire, Museo Nazionale Romano, Crypta Balbi, Rome, permanent installation
Pietre di testa, Litografia Bulla, Rome, 10.12.2022 – 28.02.2023.
2021
Lady and Gentlemen, curated by Gabi Scardi, Fondazione Adolfo Pini, Milan, 14.9.2021 – 17.12.2021
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
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
Stefano Chiodi, Archivi eretici. Storia e immaginazione nel lavoro di Elisabetta Benassi, “Palinsesti”, no. 9 (2020): “Yet who is the Genius?” Women’s Art and Criticism in Postwar Italy, II, 2022, edited by Silvia Bottinelli, Giorgia Gastaldon, p. 131-172. Link: https://teseo.unitn.it/palinsesti/article/view/2220/2210
Andrea Cortellessa, Il morto vivente come artista visivo, in “Alias – Il manifesto”, November 3, 2017
Andrea Cortellessa, Ghost in the Machine. Pasolini oltre il mito, in “Le parole e le cose”, October 15, 2017. Link: https://www.leparoleelecose.it/?p=29421
Rosalind McKever For 10 years this contemporary art institution has had two faces, in “Apollo”, September 2017.
Rosalind McKever, The contemporary vision of Collezione Maramotti, in “Apollo”, August 29, 2017. Link: https://www.apollo-magazine.com/the-contemporary-vision-of-collezione-maramotti/
Giorgio Verzotti, Sguardi totali – I modi di Elisabetta Benassi, in “Arte” no. 528, August 2017, pp. 112-115.
Paola Tognon, Would you pay money for this?, in “Exibart”, August 29, 2017.
Sara Dolfi Agostini, Elisabetta Benassi, It starts with the firing, in “KLAT” (online publication), May 30, 2017.
Elena Bordignon, A brick is a brick is a brick….Elisabetta Benassi alla Collezione Maramotti, in “ATP diary”3 November 2017, May 29, 2017. Link: https://atpdiary.com/brick-benassi-collezione-maramotti/
Sam Steverlynck, Elisabetta Benassi Hits the Brick At Max Mara, in “DAMN∞ Magazine” no. 62, May 2017.
Charlotte Jansen, Bricking It, in “Elephant”, 2017.
Stefano Luppi, La Benassi e i filistei, in “Il Giornale dell’Arte”, no. 375, May 2017.
Silvia Bottani, Sculpture as place (of memory), in “Doppiozero”, May 26, 2017. Link: https://www.doppiozero.com/sculpture-place-memory
Martin Herbert, Around Town: Rome, Italy, in “Frieze”, p. 214, May 2017.
Hou Hanru, Luigia Lonardelli eds., Please Come Back, The World as Prison?, catalogue of the exhibition at MAXXI Museo Nazionale delle Arti del XXI Secolo, Rome, pp. 12-23, 2017.
Lucia Tozzi, Elisabetta Benassi – “Letargo”, in “ZERO”, February 2017.
Marta Silvi, Elisabetta Benassi, in “ARTFORUM” (Critics’ picks), February 2017.
Cristiana Perrella, Elisabetta Benassi. Magazzino / Rome, in “Flash Art”, February 28, 2017.
Lucia Tozzi, in fuga dal mondo-prigione con Koolhaas e Superstudio, in “pagina 99”, February 4, 2017.
Andrea Cortellessa, Elisabetta Benassi. Alla ricerca del sonno perduto, in “Doppiozero” (online publication), January 5, 2017.
Andrea Cortellessa, Un risveglio simile alla morte, in “il manifesto”, December 31, 2016.
Elfi Turpin, Elisabetta Benassi. Gli spettri di Elisabetta Benassi, in “Flash Art”, n. 321, May – June 2015.
Katerina Gregos , Elisabetta Benassi, in “Personne et les autres”, exhibition catalogue, Belgian Pavilion, 56° Esposizione Internazionale d’Arte La Biennale di Venezia, published by Mousse, 2015, pp. 76-81.
Peter Benson Miller, Elisabetta Benassi, in “Nero su bianco”, exhibition catalogue, published by NERO, 2015, p. 116.
Beatrice Merz, Marianna Vecellio, Intenzione manifesta. Il disegno in tutte le sue forme, exhibition catalogue, Castello di Rivoli, Corraini Edizioni, 2014.
Patricia Cohen, A Collector Bets His Eye and His Gut, in “The New York Times”, December 7, 2013.
Luca Lo Pinto, Olaf Nicolai, Vogliamo fare subito una domanda?, in “Elisabetta Benassi | Voglio fare subito una mostra”, exhibition catalogue, Fondazione Merz, Turin, 2013, pp. 23-27.
Beatrice Merz, Dal garage al mare, in “Elisabetta Benassi | Voglio fare subito una mostra”, exhibition catalogue, Fondazione Merz, Turin, 2013, pp. 12-13.
Maria Centonze, Elisabetta Benassi | Voglio fare subito una mostra, in “Elisabetta Benassi | Voglio fare subito una mostra”, exhibition catalogue, Fondazione Merz, Turin, 2013, pp. 72-75.
Elfi Turpin, Smog a Los Angeles. Elisabetta Benassi, exhibition catalogue, Centre Rhénan d’Art Contemporain, CRAC Alsace, Altkirch, France, 2013.
F.Poli, Benassi ripesca l’auto di Merz, in “La Stampa”, September 2, 2013.
Andrea Cortellessa, La pescatrice di stelle, in “Alfabeta2”, n.31, Luglio Agosto 2013, p. 15.
Riccardo Venturi, Sistema/Frammento, Gianfranco Baruchello/Elisabetta Benassi, in “vice versa”, Italian Pavillon at Venice Biennale 55th International Art Exhibition, catalogue, Mousse, Milan, 2013, pp. 184-191 [with English text].
Walter Smerling, Die Ereignisse hinter dem Bild, in “Art and Press”, pp. 110-113, Wienand Verlag, Köln, 2012.
Alessio Fransoni, Ilari Valbonesi, in “Silenzi in cui le cose si abbandonano/Silence where things abandon themselves”, catalogue published by Muzej suvremene umjetnosti, Zagreb, 2012, p. 20-29.
Gabriele Guercio, The Great Subtraction, ASA Publisher, Brussels 2011, p. 19-21, 95-99.
Gianluigi Ricuperati, Un catalogo di didascalie ci svela il lato B del mondo, in “la Repubblica”, December 11, 2011.
Elena Volpato, Elisabetta Benassi, in “Flash Art”, n.296, October 2011, pp. 84-86.
Jessica Lack, Elisabetta Benassi, in “ILLUMInazioni/ILLUMInations”, 54° Esposizione Internazionale d’Arte La Biennale di Venezia, catalogue [with English cat.], Marsilio Editori Venice, 2011, pp. 140-141.
Anna Mecugni, Elisabetta Benassi, in “Art in America”, n. 11, December 2010, p. 162.
Andrea Cortellessa, Crediti, in “All I Remember”, Nero, Rome, 2010 [with English text].
Roberto Cavasola, Verso un nuovo statuto dell’oggetto d’arte? in “All I Remember”, Nero, Rome, 2010 [with English text].
Marco Belpoliti, Benassi, Cosa c’è sul retro della Storia, in “La Stampa”, June 7, 2010.
Stefano Chiodi, La discordanza inclusa. Arte e politica dell’arte in “Il confine evanescente. Arte italiana 1960-2010” curated by Gabriele Guercio and Anna Mattirolo, Mondadori Electa, Milan, 2010, pp. 186-188.
Barbara Casavecchia, Fuori Centro, dieci video d’artista nel far west dell’Hangar Bicocca, in “la Repubblica”, September 30, 2009.
Stefano Chiodi, Vent’anni di solitudine in “La bellezza difficile. Saggi e interventi sull’arte contemporanea”, Le Lettere, Florence, 2008, pp. 10-12.
Marco Belpoliti, Megafoni di potere e di inganno, in “La Stampa”, August 18, 2008
Andrea Lissoni, Elisabetta Benassi, in “Work”, n. 23, 2008, pp. 80-81.
Barbara Casavecchia, Time is in our side, in “Flash Art International”, n. 260,
2008, pp. 112-115.
Ilaria Bonacossa, Dai tempo al tempo, in “Art Key”, n. 5, June | July 2008, pp. 36-37.
Joseph del Pesco, Fiona Parry, Pelin Uran, in “Dai tempo al tempo”, catalogue, Fondazione Sandretto Re Rebaudengo, 2008, pp. 3-4.
Anselm Franke with Lotte De Voeght, Elisabetta Benassi in “Mimétisme”, catalogue, Antwerp 2008, p. 14.
Two Way Monologue, conversation between Elisabetta Benassi and Ra di Martino, in “Nero Magazine”, n. 15, 2008, pp. 60-63.
annisettanta, catalogue, curated by M. Belpoliti, G. Canova, S. Chiodi, La Triennale di Milano, Skira, Geneva-Milan, 2007, p. 546.
Francesco Stocchi, Elisabetta Benassi, in “Artforum”, April 2007.
Maurizio Cattelan (in dialogue with), I professori vanno mangiati in salsa piccante, in “Il Manifesto”, March 25, 2007.
Lorenzo Bruni, Elisabetta Benassi. Intervista a rovescio, in “Flash Art”, n. 262, 2007, pp. 82-84.
Beppe Sebaste, Il dominio delle luci genera ombre, in “L’Unità”, March 24, 2007, p. 26.
Human Game, catalogue, curated by F. Bonami, M.L. Frisa, S. Tonchi, Edizioni Charta, Milan, 2006, pp. 136-137.
Stefano Chiodi, Una sensibile differenza: Conversazioni con gli artisti italiani di oggi, Fazi Editore, Rome, 2006, p. 34-51.
Maria Perosino, Un istante autentico. Arte e fotografia: una storia a ritroso, in “Storia d’Italia. L’immagine fotografica 1945-2000”, Giulio Einaudi Editore, Turin, 2004, p. 565-79.
Marco Belpoliti, Dieci scene per fantasmi. Una storia per adulti, in “Elisabetta Benassi”, catalogue, MACRO Museo d’Arte Contemporanea Roma, Electa, Milan, 2004, p. 48-73 [with English text].
Gianfranco Maraniello, La figura antieorica dell’artista, catalogue, MACRO Museo d’Arte Contemporanea Roma, Electa, Milan, 2004, pp. 74-96 [with English text].
Stefano Chiodi, Elisabetta Benassi, in “I Moderni /The Moderns”, catalogue, Skira, Milan, 2003, pp. 69-73 [with English text].
Carolyn Christov-Bakargiev, Elisabetta Benassi, in “Cream 3”, Phaidon, London, 2003, pp. 60-63.
