Josephine Sassu has the ability to trigger fantastic imaginations by raising multiform vegetation, tropical efflorescence, exotic forests from which ferocious beasts leap out, self-portraits in the form of aggressive-erotic animals and unicellular organisms.

In his works there is all the attraction for the monstrous and the indefinable, the disturbing of childhood imagination; the interest in what we are afraid of and what we intend to fight and push away, but at the same time the source of that morbid seduction towards the marvelous and the different. The temporary monuments are the latest outcome of a research work, which Sassu has been carrying out since the beginning of her career, on artistic practices apparently inadequate for the operation, just as her role outside the codified norms appears inadequate. Each project by Josephine Sassu introduces, into the space that hosts it, an atmosphere always poised between the naivety and purity of childhood and the dismantling of clichés. Staying firmly within a known world, with a solid language, made up of family relationships, of a sense of the other, it moves from time to time into foreign spaces, drawing from new experiences and leaving behind the spores of its own experience, in an exchange as a perfect explorer.

The trips, granted only to literary characters, Josephine Sassu makes them for herself and allows all of us supporting actors, extras and extras, to be part of them. In this site-specific, starting from the title which contains the name of the museum, she establishes a long-distance dialogue, an open relationship with her sources, tracing the threads of a connection with similar artists. Among the animals intruding into the museum rooms, he celebrates the forest of Customs Officer Rousseau, evokes Hokusai’s manga, dialogues with Salvatore Fancello’s infinite bestiary, lets himself be spied on by the disturbing Tona Scano and, finally, re-invents an “elsewhere” to the silent rooms of Francesca Devoto.