Caterina De Nicola

For her solo exhibition at Istituto Svizzero in Milan, Caterina De Nicola (b. 1991) creates a new series of sculptures, drawings as well as a performance, related among others to the idea of the glitch, or an inversion of functions, to questions of how to break with traditional ideas and concepts in the present or to the presence of female artists in the context of noise music.

Caterina De Nicola is an artist born in Ortona (Italy) in 1991, currently based in Zurich. In her practice she resorts to fiction, sound and objects investigation to shape formal and discursive patterns by developing an analysis of cultural symbols and motifs, as well as their circulation in a larger cultural system. In her practice a post-postmodernist skepticism becomes a recurring mechanism through which generic images-symbols allow us to feel part of a common and undifferentiated social environment. As a music producer, Caterina De Nicola is mostly affiliated with the Zurich-based music label and collective Czarnagora. To influence her musical production are sub-genres of Noise music, which can sometimes be musical, bringing no-fi aesthetics to its extensions. Caterina De Nicola studied at the Academy of Fine Arts of Brera in Milan and at ECAL in Lausanne for the Master’s degree. A selection of recent solo exhibitions include: Infedele at Baleno International (Rome, 2022), We Unleash Storms, Yet We Like The Sun at Last Tango (due show, Zurich, 2022), Lonely Fans at Chickentown (Zurich, 2021), Embarrassed and Conciliatory at Il Colorificio (Milan, 2019). A selection of her group shows include: Werkschau 2021 at Museum Haus Konstruktiv for the Werkbeiträge des Kantons Zürich (Zurich, 2021), Lemaniana at Centre d’Art Contemporain (Geneva, 2021), FUORI! at the XVII Quadriennale d’arte 2020 (Rome, 2020), Capriccio 2000 at Fondazione Sandretto Re Rebaudengo (Turin, 2019). She was selected for the Swiss Art Awards in 2022 and took part in several residencies, including: La Becque (La Tour-de-Peilz, 2021), Cripta 747 (Turin, 2020), XXII CSAV (Como, 2016).