The Donnaregina Foundation for Contemporary Arts - Madre Museum presents the exhibition Euforia Tomaso Binga, curated by Eva Fabbris with Daria Kahn, exhibition design Rio Grande, from April 18 to July 21: it is her most extensive museum retrospective and showcases forty years of her artistic practice through over one hundred and twenty works including visual poems, installations, photographs, collages, documents, performance testimonies - many of which are shown for the first time or decades after their first exhibition - from museums and private collections.

The title of the exhibition emerged during conversations between the artist and Eva Fabbris: Euforia - a word particularly loved by Binga because it contains all the vowels, phonetically universal and extroverted - becomes "a manifesto title - explains the curator - a wish, a political necessity of resistance" and distinguishes both her approach to verbo-visual practice and feminism.

"Binga's work challenges social and cultural conventions - says Angela Tecce, president of the Donnaregina Foundation - exploring themes related to gender and language criticism. (...) Emblematic examples of her contribution are the alphabets in which the artist's body takes on the forms of the letters, a synthesis between verbal and visual language."

Tomaso Binga, the artistic name of Bianca Pucciarelli Menna (born in Salerno in 1931, lives and works in Rome), an artist who since 1971 has chosen to enter the art world with a male pseudonym to highlight men's privileges even in the cultural field: "My male name - says Binga - plays on irony and disorientation; it aims to expose the male privilege that prevails in the art field, it is a protest through the paradox of a superstructure that we have inherited and that, as women, we want to destroy. In art, gender, age, nationality should not be discriminating factors. The Artist is not a man or a woman but a PERSON."

In her forty-year practice, she has spoken of the female body as a signifier of freedom through her original visual poetry and performances, playing with words to affirm a joyful feminism characterized by irreverence, humor, and denunciation.

The exhibition is the result of two years of research carried out in close collaboration with the artist and her archive and unfolds with a thematic path in the eighteen rooms of the museum's third floor with an experimental layout designed by the multidisciplinary collective Rio Grande in dialogue with Tomaso Binga.