Daniela Comani

Daniela Comani (born 4 February 1965 in Bologna, Italy) is an Italian artist. Since 1989, she has lived in Berlin, Germany.[1]

Biography

Comani received a Bachelor of Fine Arts degree from the Accademia di Belle Arti in Bologna, Italy (1988) and a Master of Fine Arts from the Universität der Künste in Berlin, Germany (1993).[2]

The multimedia work of Comani touches on subjects like history, language, gender and identity. She often works with photos and texts from newspapers, television and books that allegedly appear familiar to us. Foreignness and intimacy, history and interpretation, and the mechanisms of comprehension are her concerns. Comani's artistic practice includes photography, texts, drawings, video and installation.

Exhibitions (selection)
  • 1992 – 37 Räume, Kunst-Werke Institute for Contemporary Art (KW), Berlin
  • 1993 – More than zero, Magasin, Centre National d' Art Contemporain, Grenoble
  • 1996 – Lesen, Kunsthalle St.Gallen, CH
  • 2006 – Das Achte Feld – Geschlechter, Leben und Begehren in der Kunst seit 1960, Museum Ludwig, Köln
  • 2007 – History will repeat itself, Kunst-Werke Institute for Contemporary Art (KW), Berlin
  • 2007 – Ich war's, In 32 Tagen um den Alexanderplatz, NGBK / U2 Alexanderplatz, Berlin (E)
  • 2008 – Transmediale 08 – conspire!, Haus der Kulturen der Welt, Berlin
  • 2008 – Bildpolitiken, Salzburger Kunstverein, Salzburg
  • 2008 – HeartQuake, Museum on the Seam, Jerusalem
  • 2008 – Focus on Contemporary Italian Art, MAMbo – Museo d'Arte Moderna, Bologna
  • 2010 – Courier, University Art Museum, University at Albany, State University of New York
  • 2010 – C'était moi. Journal 1900–1999, Centre d'Art Passerelle, Brest (E)
  • 2011 – 54. Biennale di Venezia / Repubblica di San Marino Pavilion, Venedig
  • 2011 – Doublespeak, Utah Museum of Contemporary Art, Salt Lake City, Utah
  • 2012 – Le Printemps de Septembre: History is Mine! Musée Les Abattoirs, Toulouse
  • 2013 – Authoritratti. Iscrizioni del femminile nell’arte italiana contemporanea, MAMbo – Museo d'Arte Moderna, Bologna

Artist books and publications (selection)
  • Eine glückliche Ehe / Un matrimonio felice / A Happy Marriage, Edition Patrick Frey, Zürich, 2014, ISBN 978-3-905929-52-2
  • My Film History – Daniela Comani's Top 100 Films, Revolver Publishing, Berlin, 2013, ISBN 978-386895-301-5
  • Novità editoriali a cura di Daniela Comani, Maurizio Corraini s.r.l., Mantua, 2012, ISBN 978-88-7570-360-8
  • Neuerscheinungen hrsg. von Daniela Comani, Edition Patrick Frey, Zürich, 2009, ISBN 978-3-905509-78-6
  • It was me. Diary 1900–1999, Maurizio Corraini s.r.l., Mantua, 2007, ISBN 978-88-7570-127-7
  • Sono stata io. Diario 1900–1999, Maurizio Corraini s.r.l., Mantua, 2007, ISBN 978-88-7570-126-0
  • comanicasino, REVOLVER Archiv für aktuelle Kunst, Frankfurt am Main, 2006, ISBN 978-3-86588-293-6
  • Ich war’s. Tagebuch 1900–1999, REVOLVER Archiv für aktuelle Kunst, Frankfurt am Main, 2005, ISBN 978-3-86588-138-0
  • Double Drawings, Vice Versa Verlag, Berlin, 2000, ISBN 3-932809-17-3
gollark: Giving one company access to people's accurate location history, conversations, emails and whatnot could probably lead to problems.
gollark: Presumably, somewhat creepy overtargeted advertising, spread it further (which I don't really like in itself), probably (if I was weird and still used Google stuff on my phone) listen into my conversations.
gollark: Thing is, what I'm attempting to say is: what sort of bad things do you think people or companies could do with leaked or bought or whatever data?
gollark: Google does, if not much else, have, as far as I know, a good track record for not letting other people get their precious datas.
gollark: I was asking Solar, but yes, that's actually sensible I guess.

References
  1. Comani, Daniela (1 January 2009). "IMAGES: Installations, 2002—2011". Diacritics. 39 (4): 112–185. JSTOR 23256461.
  2. "Daniela Comani - Autori | Corraini Edizioni". www.corraini.com. Retrieved 5 March 2016.
  • Carolyn Kellogg, What if it were 'Mr. Dalloway'? Book covers revisited", Los Angeles Times, 20 May 2011
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