Italy

Rossella Biscotti uses montage as a gesture to reveal individual narratives and their relation to society. In her cross-media practice, cutting cross filmmaking, performance and sculpture, she explores and reconstructs obscured moments from recent times, often against the backdrop of state institutions. In the process of composing her personal encounters and oral interrogations into new stories, the site of investigation tends to leave its mark on her sculptures and installations. By examining the relevance of the recovered material from a contemporary perspective, Biscotti sensibly weaves a link to the present. 

In the series Other, Rossella Biscotti interrelates there histories the use of punch cards to program both early data-processing machines and automated looms (called Jacquard), the modeling of demographic records through census taking, and the legacy of modern design so as to question how statistics and qualitative analysis not one represent a given reality, but how such illustrations may also hid knowledge contained in contemporary profiling methods and other displays. 

The monumental textiles are the product of Biscotti’s analysis of the 2001 and 2006 Brussels censuses.