Alessandra Spranzi Mani che imbrogliano - With a text by Chiara Camoni 17 November 2018 - 19 January 2019 - P420
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Alessandra Spranzi
Mani che imbrogliano
With a text by Chiara Camoni
17 November 2018 - 19 January 2019
Mani che imbrogliano is the second solo show by Alessandra Spranzi at Galleria P420, after Maraviglia (2014) and the group show Lumpenfotografie, towards a photography without vainglory, curated by Simone Menegoi (2013, with Hans- Peter Feldmann, Peter Piller, Joachim Schmid and Franco Vaccari). The new exhibition features recent works and others dating back to 1995, in a sort of punctuation of thought, or vision, that is always in the present but develops over a wider time span. Alessandra Spranzi works in different ways and forms with the photographic image: she takes photographs of things, photographs of photographs, finding them, cutting them, indicating and erasing them. She intervenes when images and things reach a certain distance from their uses and become, so to speak, unaware of themselves, their possibilities, their beauty. For Mani che imbrogliano the artist has prepared a grand magic show made with limited – very limited – means. Images from manuals, of objects found or gathered in the street, together with others that have always been there in the wings in our homes, gestures that demonstrate, that try to explain something. Like Harry Houdini, who for 50 cents offered to teach you “how to read folded messages in the dark.” Papers folded in the dark, perhaps with an image inside. Alessandra Spranzi was born in Milan in 1962, where she still resides. She studied at the Scuola Politecnica di Design and the Brera Academy of Fine Arts, where she now teaches photography. Since 1992 she has had many solo and group exhibitions: P420, Bologna; Fondazione Sandretto Re Rebaudengo, Turin; Centre National de la Photographie, Ile de France; Arcade, London; Fondazione del Monte, Bologna; MAMbo, Bologna; Galleria Martano, Turin; MAGA, Gallarate; Galleria Nicoletta Rusconi, Milan; Fotografia Europea, Reggio Emilia; Museo di Fotografia Contemporanea, Cinisello Balsamo; Galleria Fotografia Italiana, Milan; MAN, Nuoro; GAMEC, Bergamo; Museo Marino Marini, Florence; Galleria Emi Fontana, Milan; Museo Pecci, Prato; Le Magasin, Grenoble; Careof, Cusano Milanino. Since 1997 she has created many publications and artist’s books. Her latest book Uova, posate e altri oggetti (A&Mbookstore edizioni, Milan) has been published in coordination with the exhibition Mani che imbrogliano.
A.Spranzi, Biggest to smallest egg, 1924, 2018, fotografia in bianco e nero/black and white photograph, cm.16,5x21,5
Interior voice, Dialogue in two, Press release Interior Voice Dialogue in two Press release
by Chiara Camoni
I love Alessandra’s work.
OK, I know that is not a proper way to begin an essay.
But it is true. And it is also my main thesis.
We know each other, though not so well.
It is the work that knows us.
Every morning I get up and look at a row of birds saying
things to each other, that know things, a concentration. Then
two overlapped bicycle tires, two sets, infinity, a promise. They
are photos from the “Vendesi” series. I still haven’t tired
of them, after years. The conjectures, the nuances multiply
infinitely.
The world, the table, the time
First of all we have a need for wonder, even those of us who set
out to create it. We need processes, limits and wonder.
We need proximity, intimacy. At the same time we require a
certain – correct – distance, to be able to look at today. (You
can choose to go the Middle Ages, or the childhood of your
parents.)
Surrounded by a multitude of signs and images, we work
through reduction. We turn a toy around in our hands, the
same toy, but by magic a new story always begins.
Alessandra Spranzi works with Polaroids,
also with those that have expired. After the
shot, sometimes, she removes the instant
film pack and replaces it with regular film.
She then photographs the same subject, and
nonchalantly shifts from non-reproducibility
to reproducibility. The subject is the same
but the photograph is another, original, As a child, I could not believe that white was the sum of all
different. colors and black was a subtraction. Even today I can’t resign
myself: when I mix all the colors, I get a grayish brown.
Collages are ambiguous by nature. They Nothing like white. The black on the sheet always has a certain
bring together images belonging to different thickness.
worlds. Things get complicated when they
are then photographed or reutilized.
A black hole is a point of space-time in
which the gravitational field is so strong that
A flow is created, which I could not define as either linear or it attracts everything to itself, even light.
circular.
I know so much and I no longer know anything.
But what happens then?
Anything can happen on that table. There are the near and the
far. The self and the other. There are flowers, houses, stars,
hugs, migrations, hunger and thirst, war, the news of the day.
How to do it? How?
I feel an infinite sharing of the secret of those rested forks, the
eggs of different sizes, the light of each photo, the out of register,
the colors that change of their own accord. A disarming honesty
in the desire to again bestow again an image, the same image.
Perhaps larger this time, or maybe just a detail.
(Or should I change position? A bit further this way, just a little…)
The table is place, measure of space,
indication of the vantage point.
Black
Alessandra Spranzi’s images are mysterious.
They search for something in the darkness,
they find it, but then they stop short, one
pace back, prior to certainty. They do not
shed light on all of it. In the collages and
videos the black can be background, contour,
framing, hole.
Notes I would like to introduce this exhibition, Mani che imbrogliano,
with the history of the titles that led up to the definitive choice.
by Alessandra Spranzi The sleight of hand may make them hard to glimpse, but they
are there, like echoes.
1 L’apport du noir
For more than a year, when I still wasn’t clear on what I was go-
ing to show, this was the title. It was the heading that held the
various thoughts and works together. L’apport du noir was a start-
ing point, a passage, to cross, back and forth, inside and outside.
(Photograph from a French decor magazine from the 1950s)
2 Handle like eggs
An explicit, direct title. The hands, and that rounded fragility
that requires attention. The fall that awaits, that can be avoided.
Must be avoided. (Found on cardboard egg packaging kept for
years on the bookshelves)
Maraviglia (in 2014), and I liked the idea of continuing my dia-
logue with that faraway reader who missed those words. A “mi-
cropanic” can accompany any form of darkness and fragility, the
unexpected transformations of things, or bizarre encounters.
3 Visione umana con gli occhi e senza gli occhi
The title of a book (roughly Human vision with and without the
eyes) purchased precisely for its title at the Sunday book sale on
Piazza Diaz. Page 28 reads: “Clearly this is vision without the
eyes.” “The visualizer”: the person who is able to see a drawing
inside a sealed envelope.
5 Enciclopedia delle meraviglie
Maraviglia was the title of the solo show in 2014 at the old venue
of Galleria P420 (one year after the group show curated by Si-
mone Menegoi, Lumpenfotografie, Towards a photography without
vainglory). While in Maraviglia the extra “a” doubled the mar-
vel, here the “encyclopedia” promises to deliver many, infinite
marvels.
“Enciclopedia delle meraviglie” is the name of a series of pub-
lications. I own only one book from this range: Mani che imbro-
gliano. I bought it this summer, on the way to Acceglio, in a market
amidst the mountains of Val Maira. My son Elia was the one who
found it, called to me and said: “This is for you.”
6 Mani che imbrogliano
At the start of September, when I was asked to finally decide on
4 Micropanico the title of the exhibition that was to open on 17 November, I
From the Dizionario moderno of Panzini, 1930, a word inserted wrote Mani che imbrogliano. At the last minute.
in the copy in my possession by an unknown reader by adding
a clipping. I have already used this dictionary “augmented” by
about thirty definitions in for the words Sortilegio (in 2012) and
Alessandra Spranzi, Mani che Imbrogliano, installation view
Alessandra Spranzi, Mani che Imbrogliano, installation view
Alessandra Spranzi, Mani che Imbrogliano, installation view
Alessandra Spranzi, Mani che Imbrogliano, installation view
Alessandra Spranzi, Mani che Imbrogliano, installation view
Alessandra Spranzi, Mani che Imbrogliano, installation view
A.Spranzi, Cose che accadono #16, 2002-2005, c-print montata su alluminio/c-print mounted on alluminium, cm.40x60, ed.5+2pda
A.Spranzi, Tovaglia sospesa (L'insieme è nero), 2017, stampa ai sali d'argento su carta baritata/gelatin silver print on baryta paper, cm.101x148 ed.3+2pda
A.Spranzi, Alluminio per alimenti (L’insieme è nero), 2018 stampa ai sali d’argento su carta baritata/gelatin silver print on baryta paper, cm.21x39, ed.3+2pda
A.Spranzi, Maniera di tenere un bicchiere (L’insieme è nero), 2018 stampa ai sali d’argento su carta baritata/gelatin silver print on baryta paper, cm.25x27, ed.3+2pda
A.Spranzi, L'ipnotizzatore di animali (L'insieme è nero), 2017 stampa ai sali d'argento su carta baritata/ gelatin silver print on baryta paper, cm.39x26, ed.3+2pda
A.Spranzi, Tavolo #2, 2018, montaggi di polaroid su carta/polaroid montage on paper, cm.160x90
A.Spranzi, Tavolo #2, 2018, montaggi di polaroid su carta/polaroid montage on paper, cm.160x90
A.Spranzi, Tavolo per magia (L’insieme è nero), 2018 stampa ai sali d’argento su carta baritata/gelatin silver print on baryta paper, cm.26x39,5, ed.3+2pda
A.Spranzi, Tavolo per magia con tre scatole e tre stelle (L’insieme è nero), 2018 stampa ai sali d’argento su carta baritata/gelatin silver print on baryta paper, cm.26x39, ed.3+2pda
A.Spranzi, Bicchieri a righe (L’insieme è nero), 2017 stampa ai sali d’argento su carta baritata/gelatin silver print on baryta paper, cm.52,5x80,5, ed.3+2pda
A.Spranzi, L’ipnotismo illustrato, figura 6 (L’insieme è nero), 2017 stampa ai sali d’argento su carta baritata/gelatin silver print on baryta paper, cm.80x54, ed.3+2pda
A. Spranzi, Et Voilà, 2000, video digitale a colori e audio/digital video and sound, 4’02”
https://vimeo.com/272333870
password: SpranziAlessandra Spranzi, Mani che Imbrogliano, installation view
Alessandra Spranzi, Ein Tisch (Un Tavolo), 2018, video digitale a colori e audio/digital video and sound, 4’10’’
https://vimeo.com/304418765
password: SpranziAlessandra Spranzi, Mani che Imbrogliano, installation view
Alessandra Spranzi, Mani che Imbrogliano, installation view
Alessandra Spranzi, Mani che Imbrogliano, installation view
Alessandra Spranzi, Mani che Imbrogliano, installation view
Alessandra Spranzi, Mani che Imbrogliano, installation view
Alessandra Spranzi, Mani che Imbrogliano, installation view
A.Spranzi, Ragazzo con prototipo (L’insieme è nero), 2016 stampa ai sali d’argento su carta baritata/gelatin silver print on baryta paper, cm.80x51, ed.3+2pda
A.Spranzi, Plate 62. Kleinia tomentosa (Cacti and other succulents), 2017, stampa ai sali d'argento su carta baritata/gelatin silver print on baryta paper, cm.28x19, ed.3+2pda
A.Spranzi, Plate 51. Sedum species (Cacti and other succulents), 2017 stampa ai sali d'argento su carta baritata/gelatin silver print on baryta paper, cm.28x19, ed.3+2pda
A.Spranzi, Plate 35. Rhipsalis salicornioides (Cacti and other succulents), 2017 stampa ai sali d'argento su carta baritata/ gelatin silver print on baryta paper, cm.28x19, ed.3+2pda
A.Spranzi, Cavallo che corre verso destra 30, Cavallo che corre verso sinistra 31 (L’insieme è nero), 2017
stampa ai sali d’argento su carta baritata, dittico, cm.28x37,5 cad., ed.3+2pdaA.Spranzi, Sesto continente (Uccelli in movimento), 1996, 9 stampe ai sali d’argento su carta baritata/9 gelatin silver prints on baryta paper, cm.26x38 cad./each, ed.5+2pda
A.Spranzi, Buch der rosen #41 Caprice, #30 Eterna Giovinezza, #37 Queen Mary, #39 Ville de Saverne, 2017
4 collage, cm.22,5x15 cad./eachA.Spranzi, Nero come il carbone #4, collage su carta carbone/collage on carbon paper, cm.31x21
A.Spranzi, Nero come il carbone #1, collage su carta carbone/collage on carbon paper, cm.31x21
A.Spranzi, Foliage pagina 335, 2017, olio su pagina di libro/oil on book paper, cm.24,8x18,5
A.Spranzi, Foliage pagina 332, 2017, olio su pagina di libro/oil on book paper, cm.24,8x18,5
A.Spranzi, Foliage pagina 339, 2017, olio su pagina di libro/oil on book paper, cm.24,8x18,5
A.Spranzi, Foliage pagina 277, 2018, olio su pagina di libro/oil on book paper, cm.24,8x18,5
A.Spranzi, Foliage pagina 327, 2017, olio su pagina di libro/oil on book paper, cm.24,8x18,5
A.Spranzi, Foliage pagina 342, 2017, olio su pagina di libro/oil on book paper, cm.24,8x18,5
A.Spranzi, Tavolo #1, 2018, fotografie in bianco e nero e collage/works on paper, polaroids, black and white photographs and collages, cm.180x90
A.Spranzi, Sul tavolo, #93, 2014/2018, stampa a colori montata su alluminio/c-print mounted on aluminium, cm.30x41, ed.3+2pda
A.Spranzi, Sul tavolo #106, 2018, stampa a colori su alluminio/c-print on aluminium, cm.30x41, ed.3+2pda
A.Spranzi, Sul tavolo, #91, 2014/2018, stampa a colori montata su alluminio/c-print mounted on aluminium, cm.30x41, ed.3+2pda
A.Spranzi, Sul tavolo #97, 2018, stampa a colori montata su alluminio/c-print mounted on aluminium, cm.30x41, ed.3+2pda
A.Spranzi, Sul tavolo #113, 2018, stampa a colori montata su alluminio/c-print mounted on aluminium, cm.30x41, ed.3+2pda
A.Spranzi, Sul tavolo #105, 2018, stampa a colori montata su alluminio/c-print mounted on aluminium, cm.30x41, ed.3+2pda
A.Spranzi, Sul tavolo #110, 2018, stampa a colori montata su alluminio/c-print mounted on aluminium, cm.30x41, ed.3+2pda
A.Spranzi, Sul tavolo #107, 2018, stampa a colori montata su alluminio/c-print mounted on aluminium, cm.30x41, ed.3+2pda
A.Spranzi, Sul tavolo #83, 2014, stampa a colori montata su alluminio/c-print mounted on aluminium, cm.30x41, ed.3+2pda
A.Spranzi, Sul tavolo #101, 2018, stampa a colori montata su alluminio/c-print mounted on aluminium, cm.30x41, ed.3+2pda
A.Spranzi, Maniera di imballare una bottiglia (L’insieme è nero), 2016 stampa ai sali d’argento su carta baritata/gelatin silver print on baryta paper, cm.81x55,5, ed.3+2ap
A.Spranzi, La donna barbuta #1, 2000, fotografia in b-n/b-w photograph, cm.26x38, ed.5+2pda
A.Spranzi, Tre bicchieri (L’insieme è nero), 2018, stampa ai sali d’argento su carta baritata/gelatin silver print on baryta paper, cm.26x39,5, ed.3+2pda
A.Spranzi, Piatto di porcellana (L’insieme è nero), 2017, stampa ai sali d’argento su carta baritata/gelatin silver print on baryta paper, cm.39,5x26, ed.3+2pda
Alessandra Spranzi Verona, Italy
Via Salasco 30 20136 Milano Tel/.02 58308031 339-7976719 alessandraspranzi@tiscali.it Chapter#2. Soprannaturale, Tintoria, Milano, Italy
Born and lives in Milano, Italy Lo sviluppo narrativo, Micamera - lens based arts, Milano, Italy
Italia Happening, 130 libri d’artista, Salon für Kunstbuch, Vienna, Austria
Exhibitions Zoom – Fotografia Italiana, curated by Francesca Pasini, Fondazione Pier Luigi & Natalina
Remotti, Camogli (Genova), Italy
2019 Paola De Pietri - Alessandra Spranzi, Centre Photographique d'Ile de France, Pontault-
Enciclopedia delle meraviglie, Museo d’Inverno, Siena, Italy Combault, France
Alessandra Spranzi e Richard Wentworth, Leçons de choses, Arte Fiera, Bologna, Italy
2014
2018 Maraviglia, Galleria P420, Bologna, Italy (solo)
Mani che imbrogliano, Galleria P420, Bologna, Italy (solo) I baffi del bambino, Lucie Fontaine, Milano, Italy
Sguardi: omaggio del Gruppo Sisal all’Arte Contemporanea italiana, curated by Mario Gorni 2004-2014 Opere e Progetti del Museo di Fotografia Contemporanea, Triennale di Milano,
& Francesco Pantaleone, Palazzo Drago, Palermo, Italy Milano, Italy
Centrale, La fotografia di ricerca in Italia, curated by Luca Panaro & Marcello Sparaventi, More Materials, a cura di Duro Olowi, Salon 94, New York, USA
Rocca Malatestiana, Chiesa di San Pietro in Valle, Fano (Ancona), Italy Senza meta. Il libro come pensiero fotografico, curated by Elio Grazioli, Fotografia Europea,
L’altro sguardo, Fotografe italiane 1965-2015, curated by Raffaella Perna, Palazzo delle Reggio Emilia, Italy
Esposizioni, Roma, Italy Così Accade, curated by Joao Laia, Kim Nguyen, Marina Noronha, Fondazione Sandretto Re
Jamais laisser les photos trainer, Monica De Cardenas, Milano, Italy Rebaudengo, Torino, Italy
Infrasottile. L’arte contemporanea ai limiti, curated by Elio Grazioli, BACO, Bergamo, Italy Luca Bertolo, Alessandra Spranzi, Arcade Gallery, Londra, United Kingdom (solo)
Highlights, Studio Dabbeni, Lugano, Switzerland
2017
Quadreria Contemporanea 10 anni di committenze fotografiche, curated by Cristiana Colli, 2013
Molteni Compound, Giussano (Monza-Brianza), Italy Il corpo solitario. L’autoritratto nella fotografia contemporanea, curated by Mario Casanova, ,
Il tutto è maggiore della somma delle sue parti, curated by Silvia Camporesi, Savignano sul MACT/CACT, Bellinzona, Switzerland
Rubicone (Forlì-Cesena), Italy With a Little Help from My Friends, Artisti per il MA*GA, MA*GA, Gallarate (Varese), Italy
Madeinfilandia 2017, Filanda di Pieve a Presciano, Pergine Valdarno (Arezzo), Italy Lumpenfotografie, curated by Simone Menegoi, Galleria P420, Bologna, Italy
Da Duchamp a Cattelan. La collezione Tullio Leggeri, Parco Archeologico del Foro Palatino, Autoritratti, Iscrizioni al femminile nell’arte italiana contemporanea, curated by Francesca
Roma, Italy Pasini, MAMBo, Bologna, Italy
Saggi, Schizzi, Studi, Abbozzi, Brogliacci, Esercizi, Brancolamenti. Gran Palazzo, Palazzo Intimo anonimo, curated by Marta Giori & Elio Grazioli, Milano, Italy
Chigi, Ariccia, Italy Alessandra Spranzi, Pierluigi Fresia, Galleria Martano, Torino, Italy
Oltreprima. La fotografia dipinta nell’arte contemporanea, Fondazione del Monte, Bologna, E subito riprende il viaggio, opere della collezione del MA*GA, Triennale di Milano & Reggia
Italy di Monza, Milano & Monza, Italy
2016 2012
L’altro sguardo. Fotografie italiane 1965-2015, curated by Raffaella Perna & Donata Pizzi, Di fronte di schiena, curated by Elio Grazioli, Museo Regionale di Scienze Naturali, Torino,
Triennale, Milano, Italy Italy
Lo specchio concavo, BACO, Bergamo, Italy Richard Wentworth, Alessandra Spranzi, Galleria Nicoletta Rusconi, Milano, Italy (solo)
Persona, curated by Elio Grazioli, Ars, Bergamo, Italy Quando la terra si disfa, 46/b, Milano, Italy (solo)
Dell’infingimento. Quello che noi crediamo di sapere della fotografia, curated by Alberto Terra Film Lounge Programme, curated by Viafarini DOCVA, Stills (Scotland’s Centre for
Zanchetti, Mac, Lissone (Monza-Brianza) , Italy Photography), Edimburgo, United Kingdom
I never read, Archipelago at Art Book Fair Basel, Switzerland Fin dove può arrivare l’infinito?, curated by Daniele De Lonti, Linea di Confine, Rubiera,
Alessandra Spranzi, Museo Magra, Granara (Parma), Italy (solo) Reggio Emilia, Italy
Corale, Frigoriferi Milanesi, Milano, Italy Uno sguardo Italiano, curated by Elio Grazioli, Galleria Frittelli, Firenze, Italy
2015 2011
House of life, a cura di Becky Beasley, Project 78, St. Leonards, United Kingdom Once upon a time, in a land far, far away, curated by Charlotte Artus, John Jones, London,
La giraffa bianca, VideoArtVerona 2015, curated by Andrea Bruciati, Museo dell’Opera, United KingdomCosa fa la mia anima mentre sto lavorando, Opere d’arte contemporanea della collezione The true men show, curated by Chiara Pilati, Galleria d'Arte Contemporanea di Castel San
Consolandi, MA*GA, Gallarate (Varese), Italy Pietro (Bologna), Italy
Premio Santa Croce Grafica, curated by Ilaria Mariotti, Santa Croce Sull’Arno (Pisa), Italy Collezionismi, curated by Elio Graziali, Assabone, Milano, Italy
Lie Detector - la macchina della verità, curated by Daniele Upiglio, Careof DOCVA, Milano, Chiosco culturale, Art for the World curated by Fabiana de Barros, Miart, Milano, Italy
Italy Warburghiana_02>le città/l’Europa, Concerto sinottico, curated by Elio Grazioli, Festival di
Sembianze – la fotografia tra realtà e apparenza, curated by Italo Zannier & Roberto Maggiori, Fotografia europea, Reggio Emilia, Italy
Galleria d’arte moderna e contemporanea, San Marino, Italy
In a favorable light, Galleria Nicoletta Rusconi, Milano, Italy 2006
Never Talk to Strangers, curated by Charlotte Artus & Edel Assanti, Project Space, London, People like us, Villa Noris, Verona, Italy
United Kingdom Dieci artisti di fotografia Italiana, curated by Fabio Castelli, Auditorium della Conciliazione,
Dialogos, curated by Ermanno Cristini & Alessandro Castiglioni, Assabone, Milano, Italy Roma, Italy
Dissipatio humanis Generis, Chiostri di Voltorre, Varese, Italy Catodica, curated by Maria Campitelli, Teatro Miela & Galleria Lipanj e Puntin, Trieste, Italy
Media 06-Fiera di Bologna, curated by Mario Gorni, Galleria D’Accursio, Bologna, Italy
2010 Venti inediti, curated by Fabio Castelli, Galleria Fotografia Italiana, Milano, Italy
Cosa fa la mia anima quando sto lavorando?, MA*GA, Gallarate (Varese), Italy Strade BluArte, curated by Chiara Pilati, Castel San Pietro Terme, Imola (Bologna), Italy
Premio d’arte città di Treviglio, curated by Sara Fontana, Treviglio (Bergamo), Italy La donna oggetto, a cura di Luca Beatrice e Laura Carcano, Vigevano (Pavia), Italy
Roaming, Off cells. Practices of no vision, curated by Alessandro Castiglioni, Museo d’arte Videopassages, curated by Simona Bordone, Mario Gorni, Alessandra Pioselli, Careof, Milano,
contemporanea di Villa Croce, Genova, Italy Italy
Riti del caso imperfetto: l’incanto. Sotto la buona stella, curated by Elio Grazioli, Festival della Tre visioni al femminile, curated by Piero Cavellini & Francesco Tedeschi, Biennale di
fotografia europea, Reggio Emilia, Italy (solo) Fotografia di Brescia, Brescia, Italy
Nella deriva di tutte le incertezze, curated by Alessandro Castiglioni & Lorena Giuranna, Premio Cairo, Palazzo della Permanente, Milano, Italy
Centro Artistico Alik Cavaliere, Milano, Italy La casa e i nomi, curated by Elio Grazioli, Mariottini Gallery, Arezzo, Italy
2009 2005
Una collezione trasversale, curated by Fabio Cavallucci, Alt, Alzano Lombardo (Bergamo), Cose che Accadono, curated by Francesca Pasini, Galleria Fotografia Italiana, Milano, Italy
Italy (solo)
Acquisizioni 2004-2009, curated by Roberta Valtorta, Museo di Fotografia Contemporanea, Heavy Food, curated by Paola Tognon & Laura Nozza, Teatro Sociale di Bergamo Alta,
Cinisello Balsamo (Milano), Italy Bergamo, Italy
Da Guarene all’Etna, 1999-2009, curated by Filippo Maggia, Fondazione Sandretto Re Italian Camera, curated by Raffaele Gavarro, Isola di S. Servolo, Venezia, Italy
Rebaudengo, Guarene (Cuneo), Italy FIAV 2005 (Festival International d'images artistiques video), Centro d'arte contemporanea
Arte contemporanea per i rifugiati, VIII edizione, UNHCR-Open Care, Milano, Italy Santa Monica, Barcelona, Spain
Fotomontaggi, Via Padova 2009, Assabone-Triennale, Milano, Italy Video it 2005, VII edizione, curated by Mario Gorni & Elena Volpato, Milano, Italy
Terzo paesaggio. Fotografia italiana oggi, curated by Enrico de Pascale, Gam, Gallarate
(Varese), Italy 2004
Rileggere l’immagine. La fotografia come deposito di senso, curated by Luca Panaro, Bergamo, Time in Jazz, la follia, XVII edizione, curated by Giannella Demura & Gabi Scardi, Berchidda
Italy, & Biennale di Praga, Czech Republic (Olbia-Tempio), Italy
Lo sguardo ostinato, curated by Elio Grazioli, Galleria Man, Nuoro, Italy
2008 On Air: video in Onda dall’Italia, curated by Andrea Bruciati & Antonella Crippa, text by
Selvatico (o colui che si salva), curated by Simone Menegoi, Galleria Fotografia italiana, Marco Scotini, Galleria Comunale d’Arte Contemporanea, Monfalcone (Gorizia), Italy
Milano, Italy (solo) Green islands. Piazze, isole e verde pubblico, un progetto urbano di arte, fotografia,
Spazio bianco, curated by Giorgio Verzotti, St. Moritz, Switzerland architettura e design, curated by Claudia Zanfi, Milano, Italy
Nessun’onda può pettinare il mare, curated by Luigi Fassi, Milano, Italy Da Guarene all'Etna, curated by Filippo Maggia, Cantieri Zisa, Palermo, Italy
Segni disegni Diversi, Banca del Gottardo, Bergamo, Italy
2007
Ereditare il paesaggio, curated by Giavanna Calvenzi, Biella, Italy 2003
Storie immaginate, luoghi reali, curated by Roberta Valtorta, Museo di fotografia, Cinisello In natura, curated by Anna Detheridge, Biennale di Fotografia, Palazzo Bricherasio, Torino,
Balsamo (Milano), Italy Italy
Movimento emozione, curated by Elio Grazioli, Pordenone, ItalyDa Guarene all'Etna, IVAM, Valencia, Spain Alessandra Spranzi, Marti Llorens, Murray Guy, New York, USA (solo)
F.A.Q. Frequently Asked Questions, XVI edizione della rassegna di Arte Contemporanea, Bochynek Gallery, Dusseldorf, Germany
curated by Gino Mannuzzi & Mauro Manara, Castel San Pietro (Bologna), Italy Da Guarene all’Etna, Itinerante Taormina, Modena, Napoli, Milano, Italy
Imperfect marriages, Galleria Emi Fontana, Milano, Italy
1998
2002 Pollution, Galleria Gian Ferrari, Milano, Italy
Nel bosco, Galeria Monica De Cardenas, Milano, Italy People, Galleria Monica De Cardenas, Milano, Italy
Con Art: Magic / Object / Action, curated by Helen Varola, Site Gallery, Sheffield, United Alessandra Spranzi, curated by Giorgina Bertolino, Luigi Franco Arte Contemporanea, Torino,
Kingdom Italy (solo)
Da Guarene all'Etna, Padiglione Italia, Giardini di Castello, Venezia, Italy Subway, Linee Metropolitane, curated by Roberto Pinto, Milano, Italy
Paradiso perduto, curated by Ambra Stazzone, Palazzo dell’Arengo, Rimini, Italy Pagine di fotografia italiana 1900-1998, curated by Roberta Valtorta, Fondazione Galleria del
Rassegna video, curated by Marijan Krivak, MarioGorni & Ivan Paic, MMCentar, Zagreb, Gottardo, Lugano, Switzerland
Croatia Disidentico, Maschile femminile e altro, curated by Achille Bonito Oliva, Palazzo Branciforte,
Kiss me I’m Italian, Perimetier Editon Gallery, London, United Kingdom Palermo, Italy
Il buon giorno si vede dal mattino, Il Graffio, Bologna, Italy
2001 Immagina 20100, Galleria Enja Wonneberger, Kiel, Germany
Equilibri, curated by Gabi Scardi, Castel San Pietro (Bologna), Italy Eccentrica, XII Edizione della Rassegna di Arte contemporanea, curated by G. Giannuzzi e M.
Il Graffio, Bologna, Italy (solo) Manara, Castel S. Pietro, Imola (Bologna), Italy
La donna barbuta, Galerie Drantmann, Brussels, Belgium (solo)
Dinamiche della vita dell'arte, curated by Giacinto Di Pietrantonio, Galleria d'Arte Moderna & 1997
Contemporanea, Bergamo, Italy Vertigo, Galleria Emy Fontana, Milano, Italy
Frontiere. Quando il pensiero si emoziona, curated by Mauro Panzera, Fondazione Cicogna Romantica. Immagini del cuore e della colpa, VII Biennale Internazionale di Fotografia,
Rampana, Palazzolo sull'Oglio (Brescia), Italy Palazzo Bricherasio, Torino, Italy
CORPOrate Identity, le percezioni del Sé e dell'Altro, curated by Guido Curto & Olga Gambari, Des Histoires en Formes, Le Magasin, curated by Gabi Scardi, Grenoble, Francia Aperto Italia
En Plein Air, Pinerolo (Torino), Italy ‘97, Trevi Flash Art Museum, Trevi (Perugia), Italy
A Sense of Wellbeing. Loss, History and Desires, curated by Marco Scotini, Karlovy Vary, Openstudios, curated by Giacinto di Pietrantonio e Cloe Piccoli, Milano, Italy
Czech Republic L’angelo del focolare, CareOf, Cusano Milanino (Milano), Italy (solo)
2000 1996
Tempo, Passagen, curated by Asa-Victoria Wihlborg, Linköping, Sweden Sesto continente, curated by Filippo Maggia, Dryphoto, Prato, Italy (solo)
ArtBeat 2, curated by Guido Bartorelli & Fabriano Fabbri, Acquario Romano, Roma, Italy She sells sea-shell, curated by Giancarlo Norese, Via degli Artisti, Torino, Italy
Museo Entr’acte, a cura di Marco Scotini, Museo Marino Marini, Firenze, Italy Coincidenze e contaminazioni, curated by Paolo Campiglio & Rachele Ferrario, Arona
Artificiale, Image Gallery, Bologna, Italy (Novara), Italy
Futurama, Arte in Italia 2000, curated by Bruno Corà, Raffaele Gavarro, Marco Meneguzzo,
Museo Pecci, Prato, Italy 1995
La donna barbuta, Galleria Emi Fontana, Milano, Italy (solo) Immagini come luoghi, curated by Walter Guadagnini, Forte di Bard (Aosta), Italy
Banana Factory, Barcelona, Spain
1999
Non solo fotografia, Centro d’arte Contemporanea, Bellinzona, Switzerland 1993
Quando la terra si disfa, Metronom, Barcellona, Spain (solo) Le Meraviglie d'Italia, Galleria CareOf, Cusano Milanino (Milano), Italy
Animals animaux tiere animali, curated by Michele Dantini, Galleria Continua, S. Giminiano Dietro la porta chiusa, curated by Sarah Alison Jacques, Milano, Italy
(Siena), Italy
Landscapes, curated by Ludovico Pratesi & Paola Magni, Galleria Banchi Nuovi, Roma, Italy Books
Biennale di Melbourne, Padiglione Italia, curated by Roberto Pinto, Melbourne, Australia Alessandra Spranzi, Uova, posate e altri oggetti, A&M bookstore, 2018
Zone di Visibilità, sala Comunale ex-fienile, Castel S. Pietro Terme (Bologna), Italy Alessandra Spranzi, Brighter Interior Doors for your Home, 2015
Dove sei?, Galleria Emi Fontana, Milano, Italy (solo) Alessandra Spranzi, Nello Stesso Momento, texts by Matteo Terzaghi
ArtBeat, curated by Guido Bartorelli & Fabriano Fabbri, Spazio Salara, Bologna, Italy e Clément Chéroux, curated by Marco Zürcher, Humboldt Books, 2015
The Female touch, curated by Asa-Viktoria Wihlborg, Gallery 54, Göteborg, Sweden Alessandra Spranzi, Dalla Balaustra, 2013Alessandra Spranzi, Vendesi, text by Matteo Terzaghi, curated by Marco Zürcher, edizioni CCRZ, 2013 Alessandra Spranzi, Una casa su misura, 2011 Alessandra Spranzi, Nel 1988 ho studiato Ad Reinhardt. Nel 1988 ho studiato con Ad Reinhardt, 2010 Alessandra Spranzi, Fotomontaggi, Assabone for Incontemporaea, 2009 Alessandra Spranzi, Selvatico (colui che si salva), text by Simone Menegoi, Fotografia Italiana Edizioni, 2008 Alessandra Spranzi, Cose che accadono, text by Francesca Pasini, Fotografia Italiana Edizioni, 2005 Alessandra Spranzi, Storie naturali, Pitti, 2006 Alessandra Spranzi, Quando la terra si disfa, Galleria Emi Fontana, 2002 Alessandra Spranzi, La donna barbuta, Galleria Emi Fontana, 2000 Alessandra Spranzi, Tornando a casa., A&M bookstore edizioni, 1997 Teaching From 2003 al 2007 she was visiting professor at Laboratorio di Fotografia, Università Cattolica di Brescia, Stras From 2007 until 2013 she was teaching Photography at Naba, Nuova Accademia di Belle Arti di Milano From 2009 she is teaching Photography at Accademia di Belle Arti di Brera di Milano
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