Francesca Seravalle is an award-winning curator and project manager. Over the years she has worked on a number of high profile art projects and exhibitions all over the World. Majored with a first class degree in History of Art, assistant of the critic Ando Gilardi, she has studied in Venice and Paris winning a University fellowship at Magnum Photos Paris’ archives. She also collaborates as an independent researcher and talent scout for Erik Kessels and The Archive of Modern Conflict, edits photos and is a contributor to the magazines Flash Art, Secret Behaviour and DAMN Magazine.
Specialized in signature development, she helps selected photographers to develop and curate their project from the concept to the production, editing, designing and promoting books and exhibitions. Her recent works include Shining in Absence book (AMC – Erik Kessels) Mather Nature (RVB – Kessels); the Dalston Anatomy by Lorenzo Vitturi – book (SPBH) and its shows (The Photographer’s Gallery in London, at the Foam Museum in Amsterdam and IMA in Tokyo); she also has recently curated “Alex & Me” by James Pfaff, now on print (Montanari).
In 2015 with her first personal project “Until Proven Otherwise / On the Evidence of the First Photos”, exhibited at Format Festival, she won the Paul Hill Exposure FORMAT15 Award. The project is an “archaeological research” aiming to proof the authenticity of commonly accepted First Photos (the first times in Photography), from the beginning to digital photography, as well as their history and aesthetic content based four tracks: photographic inventions, scientific and technological discoveries, historical landmarks and first seen in nature. To collate the pictures Francesca has spent nearly two years researching historical archives and contacting museums, institutions and inventors to prove the truth around these photos or to debunk fake myths. Francesca contacted most of the inventors of Photography software such as Photoshop, Web, “Copy and Paste” etc. asking them for evidence, researching in international archives and building new theories about the Aesthetic of Photography in relation with the inventor. The obsession of the First Time continues in her new project “Everything has its First Time” where Francesca digs up many archetypes of our contemporary society and transforms the materials of her research in conceptual art.
Francesca currently lives between London and Venice, where actually leads a group of photo and archival researchers at Fabrica.
