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NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
FREDERICA DE RUVO, born 1981 in Teramo/Italy. She studied sculpture design at Academy of Fine Arts in Bologna/Italy where she learnt to transform her rebellious character into creative acts. After that she moved to Strasbourg/France for a scholarship, and finished an illustration course at École Superieure d'Art Décoratifs. Here creative efforts are concentrated on the expression of herself as human instinctual and thinking being. She presently lives and works in Saint-Étienne/France.
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2020 HO LA LA | Le Crefad Loire, Saint-Étienne/France
2018 DELUGE | Galerie 17, St. Etiènne/France
2016 LES IMAGE FANTÔMES | Le Wonder, Bagnolet/France
THE SAINT ETIÈNNE WALL | Street painting
2015 RIEN / NOTHING | Expo de Grands Dessins, Port du Rhin, Strasbourg
2014 VIRUS | Edition A MORT, Lyon
2013 CIRCULATION/S) | European Young Photography Festival, Paris
TO MY MOTHER / À MA MÈRE | La Zone, Strasbourg/France 2013
RAPE TRIAL / PROCÈS POUR VIOL | Wunder Festival, Bellante/Italy 2013
2012 LES UNIVERS'ELLES | Maison Mimir, Strasbourg/France
LUDOSCOPIE | Bologna/Italy
FRUIT MARKET | Bologna
2011 LA TWALL | Association Démocratie Créative, Strasbourg/France
2010 LA TWALL | Association Démocratie Créative, Strasbourg/France
NO!art involved artists: ARMENTO + ARONOVICI + BAJ + BARATELLA + BECHER + BROWN + BRUNET + BRUS + CHORBADZHIEV + D'ARCANGELO + DAYEN + DE RUVO + EHM-MARKS + ERRO + FABRICIUS + FISHER + GATEWOOD + GEORGES + GERZ + GILLESPIE + GILMAN + GOLDMAN + GOLUB + GOODMAN + HALLMANN + HASS + HJULER + KAPROW + KIRVES + KUSAMA + KUZMINSKY + LEBEL + LEVITT + LONG + LST + LURIE + MASTRANGELO + MEAD + MESECK + PATTERSON + PICARD + PINCHEVSKY + RAMSAUER + RANCILLAC + ROUSSEL + SALLES + SALMON + SCHEIBNER + SCHLEINSTEIN + STAHLBERG + STUART + TAMBELLINI + TOBOCMAN + TOCHE + TSUCHIYA + VOSTELL + WALL + WOLF + WOYTASIK + ZOWNIR
NO!art has continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". Yet the art market hated it, for practical reasons of creating confusion about monetary value. That is the main and real reason for art historians and critics insisting on this untrue measure. - Boris Lurie, 2003.
