She divides her time between two islands surrounded by sea and one divided by rivers. A tireless traveller, she has devoted herself to art and photography for over twenty years, specialising in the transposition of real moments of everyday life and environmental phenomena into art and artistic phenomena. Her creative process begins with photography, reinterpreting reality and imagination in a cons
tant creative dialogue, which gives rise to video productions and assembling installations from a mixture of glass, textiles, iron, steel, and wooden structures. She took courses in Painting, Sculpture, Choreography and History of Art at the Academy of Fine Arts in Venice, l’Académie des Beaux Arts in Strasbourg and l’École Martenot in Paris. From 1992 to date she has exhibited her work in Amsterdam, Strasbourg, Venice, Paris, Deauville, the Principality of Monaco at the Yacht Club, Vimoutiers, Canapville, Neuilly sur Seine, Cairo, Nuweba, Ras Saitan, Tenerife, Barcelona, Castello Aldobrandesco in Arcidosso, Acqui Terme, Castello di Morsasco in Piedmont, Castello d’Orba in Liguria, Florence, Siena, Lucca, Villa Barbarigo of Valsanzibio in Padua, Palermo, Catania, Messina, the Archeological Park of Tindari, Malfa in Salina, the Trame delle Mediterranee Museum and Fondazione Orestiadi in Gibellina Nuova, Castello Arabo Normanno in Salemi, Selinunte Archaeological Park, Castelvetrano, the Lilibeo Archaeological Park in Marsala, Taormina, Castelporrona on Monte Amiata in the Province of Grosseto, and Porto Rotondo in Sardinia. In 2015 she displayed her work at Palazzo Monte di Pietà in Palermo, in an exhibition entitled Sicily - The Face of a Humanity, sponsored by ABI, which then travelled around the head offices of various Italian banks. In 2015, she undertook the writing and co-direction of the film The Other Side of Corleone. In 2014, she contributed to the collective exhibition The Power of Diversity for UNESCO DESS, inside the Church of the Three Kings at Serpotta in Palermo, a city that at the time was in the running for being enlisted as a UNESCO World Heritage Site. In 2016, she was selected for the Finnish international exhibition in Helsinki, entitled Piexelache, with a video installation entitledVirtual Mapping Amid Animals Morph Emphatic Physiognomy on the theme of empathy, reworking the principles of Gian Battista La Porta’s camera obscura. In 2016 she was selected by the Polytechnic University of Turin to display her work in the Thetis exhibition space at the Venice International Architecture Biennale 2016 at the Arsenale, between May and November 2016 in the exhibition Gang City, with her work Lupara al Borotalco. She also participated in the 2011 Contemporary Art Biennale in Venice. In February of 2016, she became a co-worker for Dimora Oz, a well-established company of artists from different parts of Europe sharing common themes, space, and time, and who, within this collective body, undergo great mutual development and artistic growth, to the benefit of all members. In both 2016 and 2018 she was selected to participate in the Cairotronica Biennale, curated by Haytham Nawar, at the City University of Cairo. From 2016 to 2020 she was a guest artist at the Dutch foundation Trasformatorio, leading artistic endeavours of regeneration with the curator Federico Bonelli. in 2018, she was selected for the Biennale Donna in Trieste with a triptych on light. Also in 2018/2019, she was selected by the Amsterdam Municipality to display her works of art in the city’s Civic museums, in the exhibition Open ateliers Nieuwmarkt Amsterdam Municipality. In 2018, 2019 and 2020, her work was exhibited in the Binnekant gallery in Amsterdam, inside the house and exhibition space that once belonged to the well-known artist Abramovich. In 2020, she opened the exhibition Sotto Sopra in Cortina to mark the opening of the World Ski Championships. Her works are displayed in the Modern & Contemporary Art Gallery with Cris Contini in Cortina, London and Venice. Also in 2016, Rosa Mundi brought to completion a major project drafted in 2009 (which is repeated every two years with the involvement of different artists found through an open call to the public, with a selection committee made up of university professors and prominent figures in the art world), a large interdisciplinary performance named BIAS - between Venice and Palermo - which selects 77 to 100 artists (from over 2000 coming from all over the world), with the innovative concept of a transnational Biennale of art focused on the spirituality of the artist, as opposed to nationality or language. She holds exhibitions both in Italy and abroad at the Palazzo Belmonte Riso museum, at the Palermo Cathedral, in the Palace of the Eagles and in the Theatiner Church. BIAS (www.biasinstitute.it) is a biennial event that chiefly takes place in Sicily, the island that the artist has named as one of her main inspirations, which then expands to many other historical venues and cities in Europe, Asia and Africa in the weeks that follow the opening. Indeed, BIAS has opened in Israel, Egypt, Spain, Tenerife, Kazakhstan, as well as other places in Italy, including the Castello di Morsasco in Piedmont, the Castello Aldobrandesco in arcidosso, Porto Rotondo, the International Atiyoga Foundation, Villa Barbarigo in Valsanzibio, and numerous archeological parks in Sicily including Selinunte, Tinder and Lilibeo in Marsala, creating a true artistic and cultural revolution from 2016 to date. For the upcoming Biennale, Rosa Mundi is appealing to every contemporary artist, of all nationalities, dialects and religions, to confront a specific theme in their experimental studies, in order to open a lively and ongoing dialogue with the artistic community across the world. BIAS has been described as a kind of large performance by some artists and curators, but Rosa Mundi has always specified that BIAS aims to create a great opportunity for all those working in the art world to meet and encourage each other in ta more authentic way, and to overcome the boundaries in a world in which art, now always a tradable commodity and a financial investment, has lost part of its integrity and its intrinsic essence. For an artist, the role of patronage and the public or private client has assumed and still assumes great importance. The artist, in the language of yesterday and today, looks at the present and the future with an anticipatory eye, never neglecting the canons of the past. As a result, Rosa Mundi has chosen not to reveal her real name since 1992, nor to show her true likeness to a world increasingly centred around cyberspace, in order to let her art simply exist, separate from her appearance and image, and to give full focus to her creations which will outlast her. Rosa Mundi has developed numerous techniques in which three-dimensionality, or even merely two-dimensionality, is not produced through photographic or computerised methods, but through the search for infinite space within the work, and the ability of the work to recreate and reproduce itself in close connection with the place it is located, for which it has been conceived. But there is more to this, the pact between Rosa Mundi and the collector, hidden in the fibres of the work. Fontana’s spacial concept is revived and nurtured in the works of Rosa Mundi. Rosa Mundi’s works evoke a “non-place”, recreating in the transparency of the glass the philosophical essence of her ideas, without ever yielding to simple conceptualism. Rosa Mundi approaches philosophy by deciphering it in reflected images which intersect and encompass one another. The key to her work is partly manifest - it lies hidden in the pact between Rosa Mundi and the collector, the patron, who chooses her work.
