Lucia Marcucci is a prominent Italian visual artist and writer, born in 1933 in Florence, where she continues to live and work. Her artistic journey began in earnest when she moved to Livorno in 1955, engaging with an avant-garde theatre called the Grattacielo. There, she honed her skills not only as an assistant director but also as a creator of masks, posters, and scenery. This period marked the beginning of her lifelong exploration of poetry through the medium of collage, where she experimented with and produced literary collages, borrowing phrases and languages of various kinds. Marcucci's artistic expression is deeply rooted in the intermingling of languages and the use of collage to create provocative and often unscrupulous messages. Her work is characterized by a cohesive blend of word and image, which she employs to challenge and critique societal norms. In the late 1950s, she began to devote herself to poetry through the technique of collage, and by the 1960s, she had joined the Gruppo 70, an artistic collective that sought to re-evaluate the word in the age of mass media expansion. The group included notable figures such as Eugenio Miccini, Luciano Ori, Lamberto Pignotti, and occasionally Antonio Bueno and Ketty La Rocca. The Gruppo 70 was known for its verbo-visual code, which Marcucci utilized to create a provocative dialogue between text and image. This approach often incorporated elements from comic balloons, offering an original take on the programmatic lines of the group. However, by the end of 1968, Gruppo 70 disbanded, and Marcucci, along with other visual poets, founded the International Group of Visual Poetry. Marcucci's work is a reflection of post-World War II Italy, a time marked by economic boom, social and political reorganization, and towards the late 1960s, student protests and feminist movements. In this context, many artists, including Marcucci, chose to express themselves through unconventional mediums, embracing new techniques and interdisciplinarity. Her art is a testament to the encounter between "high" and "low" culture, merging literary and everyday language expressed through mass media. Throughout her career, Marcucci has been committed to denouncing the commodification of women's bodies and the exploitation of their beauty. Her collages often analyze the mutation of language and its ambiguity, drawing from the world of mass communication. Her works are known for their ironic and sacrilegious style, and she has been an activist for the female condition and against the commercialization of the female body in contemporary society. Marcucci's art has been showcased in numerous exhibitions, including the International Art Biennale in Venice in 1978, and her contributions to various reviews such as Arte Oggi, Il Portico, Nuova Corrente, La Battana, and Lotta Poetica have demonstrated her ideological commitment to the "artistic struggle." Her compositions, featuring slogans, symbols, images, and colors—particularly blacks and reds—are the result of a playful, eye-catching, and vital creativity that she uses as provocative processes to indict global tragedies. Among her notable works are "Semplice facile divertente" (1966), "Io ti ex-amo" (1966), and "Nove Stanze" (1972), a technological novel, a visual essay, and a series of object/books (1983). Her series "Impronte e Paesaggi" (1976) uses body markings in an autobiographical manner, further showcasing her unique use of visual, gestural, and physical codes. Marcucci's art is not only a form of expression but also a means of communication, as seen in her cycle "Digital Poems" (2010). Her work has been recognized and honored at various international platforms, including four Venice Biennales, and she has been at the center of debates on new feminism and communication in the digital age. Lucia Marcucci's biography is a rich tapestry of artistic innovation, ideological commitment, and a relentless pursuit of expressing the complexities of human experience through visual poetry. Her legacy continues to inspire and challenge the boundaries of art and language.

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