Giosetta Fioroni was born in Rome on December 24, 1932, to a family of artist, her father was a sculptor and her mother puppeteer. Key to her work are the experiences she get in the Roman art scene of the 50s at the academy of fine arts – where she gets lessons from Toti Scialoja – and through the closeness with Alberto Burri and Afro during the same period in which he frequented Willem De Kooning and Cy Twombly during their stays in Rome. According to herself, the family environment also plays a significant role in her career as an eclectic and experimental artist. Very young, she participated in the 1955 Quadriennale in Rome and, the following year, in the XXVIII Venice Biennale, but her real debut came in 1957 with a solo exhibition at the Galleria Montenapoleone in Milan, presented by Emilio Vedova. Between 1958 and 1963 she spends long periods in Paris, where the Nouveaux Réalistes are active and Ileana Sonnabend’s gallery presents American artists-Jim Dine in 1963 while a solo show of the artist is held at Galerie Breteau- but also Europeans and Italians such as Mario Schifano and Michelangelo Pistoletto. The artist worked in Tristan Tzara’s studio, exhibited at the Salon des Réalités Nouvelles and in Germany at the Leverkusen Museum, without losing contact with Rome where in 1961 she exhibited with Umberto Bignardi at Galleria La Tartaruga. Described by Alberto Boatto as the first lady of Italian Pop art, in the early 1960s Giosetta Fioroni is the only female exponent of the movement known as the “Scuola di Piazza del Popolo” With Franco Angeli, Mario Schifano, Tano Festa, Mimmo Rotella, Cy Twombly, Jannis Kounellis and others, she participated in events organized by Plinio De Martiis at the Tartaruga, including a solo exhibition of her own in 1965 and the review “Il Teatro delle Mostre,” which in 1968 opened with a performance by the artist entitled La spia ottica. In 1964 she exhibited at the XXXII Venice Biennial, the edition that defined the success of Pop art, however, Fioroni’s painting, unlike the Americans, is characterized by a constant inner search and a craftsmanship exercised through the paintbrush, far from the mechanical realization of Andy Warhol’s screen-printed canvases. Her canvases capture the instant of a glance or an emotion, whether in moments of everyday life, stolen from the tabloids and the news, or in quotations from the Renaissance masters. The so-called silvers are images projected onto canvas and painted with industrial enamel paints, in the aluminum-colored mirror effect that made the paintings of the 1960s famous. Fioroni often uses signs that she calls stenograms: an allusive shorthand, sometimes made of very recognizable signs (hearts, hands, objects), but always symbolic and metaphorical. Meanwhile, since 1964 she has been linked to the writer Goffredo Parise, her life partner, and since 1963 her work has found a natural development in her collaboration with poets and writers, starting with the Gruppo ’63 – in especially with Alberto Arbasino and Nanni Balestrini – up to her later connections with Alberto Moravia, Cesare Garboli, Mario Quesada, Guido Ceronetti, Andrea Zanzotto, Erri De Luca, Elisabetta Rasy, Franco Marcoaldi and Nadia Fusini. The works known as teatrini, initially created from a wooden model used by her mother for puppet shows, date from the late 1960s, while she made her first experiments with the camera (16 mm. film and Super 8 now conserved at the GAM Video Library in Turin) and with photography, which she would later develop in the cycles of works “Foto da un Atlante di Medicina Legale” e “Fototeca”. In 1970 she participated in the “Vitalità del Negativo” exhibition curated by Achille Bonito Oliva at the Palazzo delle Esposizioni in Rome. In the Venetian countryside, where she stayed in the 1970s with Goffredo Parise, the artist conceived the “Spiriti Silvani” cycle, born of an interest in rural legends that she developed further through her reading of Vladimir Propp’s texts The Morphology of the Fairy Tale and The Fairy Tale of Magic. From here come the wooden boxes, known as teche, compositions of leaves, feathers, small relics picked up in the countryside with short annotations about elves, goblins and imaginary woodland dwellers. In the late 1970s she returned to painting, first to watercolor and enamel and oil on canvas, then to pastel with the cycle inspired by Giandomenico Tiepolo’s affreschi in the Villa Valmarana in Vicenza (1984-1987). There are many solo and anthological exhibitions that museums have dedicated to her work, as well as public collections that possess her works, including the Galleria Nazionale d’Arte Moderna e Contemporanea and MACRO Museo d’Arte Contemporanea in Rome, the Galleria Civica d’Arte Moderna e Contemporanea in Turin, MAMBo Museo d’Arte Moderna in Bologna, and CSAC, Centro Studi dell’Università di Parma. Her main solo exhibitions include a retrospective at the Calcografia Nazionale in Rome in 1990, presenting her entire artwork on paper, and in 1993 she was invited by Achille Bonito Oliva to set up a solo room for the XLV Venice Biennale. In the same year she began working with ceramics at the Bottega Gatti in Faenza, where she brought to life the common themes of her poetics (little theaters, houses, fairy tales of magic, the clothes of literary heroines). For the Regina Mundi church in Torrespaccata, Rome, in 1999 she made a large multi-ethnic Madonna statue with three faces, one European, one African and one Asian. With ceramics she works, among others, on subjects related to nature such as the “100 alberi” – created in 1998 for the collection of the current MACRO Museum of Contemporary Art in Rome – the 100 flowers and the dogs of the “Animalia” series (2006). At the end of 1999, in Ravenna, the Pinacoteca at the Loggetta Lombardesca brought together in an anthological exhibition the paintings executed from the 1960s up to that time. The exhibition “Giosetta Fioroni, lettere a Amici, Artisti, Poeti…”, at theGalleria Corraini di Mantova in 2000, instead highlighted her passion for calligraphy and her relationship with writers, cultivated over a long period of time through the production of special editions and books, some of which were handmade. In 2001, the Chamber of Deputies presented her personal exhibition “Dì al tempo di tornare” (Tell time to come back), while in 2002, in cooperation with the photographer Marco Delogu, she created “Senex. Ritratto d’artista”, an installation of 24 lightboxes in the Ala Mazzoniana at Termini Station in Rome. The following year, the Municipality of Rome, in the exhibition areas of the Mercati di Traiano, dedicated an extensive anthological exhibition to Giosetta Fioroni entitled “La Beltà. Opere 1963-2003”. The ceramic production, collected in a volume published by Skira in 2005, was presented two years later in a solo exhibition at the MIC, the Museo Internazionale della Ceramica di Faenza. In 2009, the first major monograph on Giosetta Fioroni was published, edited by Germano Celant for the Skira publishing house. The book includes a historical-biographical journey of the artist from childhood to the present day, with works, documents, texts and theoretical-poetic statements that interweave the relationships between work, literature and life experiences such as affection and memory In 2013, on the occasion of the artist’s 80th birthday, two important anthological exhibitions opened, “L’argento” in April at The Drawing Center in New York and “My story” in October at the Galleria Nazionale d’Arte Moderna e Contemporanea in Rome. Between 2013 and 2020, works by Giosetta Fioroni are exhibited in several group exhibitions in the most relevant Italian museum locations, such as, among others, Palazzo delle Esposizioni in Rome (Anni ‘70. Arte a Roma, 2013), Madre di Napoli (Teatrini-presepi, 2015), Museo delle Arti in Catanzaro (Roma anni ’60, 2016), MACRO in Rome (Roma Pop City 60-67, 2016), Guggenheim in Venice (Imagine. Nuove immagini nell’arte italiana 1960 – 1969, 2016), Fondazione Prada in Milan (TV 70. Francesco Vezzoli guarda la Rai, 2017), the Museo Novecento in Milan (Viaggio Sentimentale, 2018),  Palazzo del Quirinale (Quirinale Contemporaneo, 2019) and GAM in Turin (Giorgio De Chirico. Back Ritorno al futuro, 2019). Abroad in those years, works by Giosetta Fioroni are shown at the solo exhibition Giosetta Fioroni. The 60’s in Rome set up at MOMMA – Moscow Museum of Modern Art, Russia, in 2017, and at the group shows inaugurated at the Italian Cultural Institute in London (Misteriosofico, 2018) and at MAMAC – Musée d’Art Moderne et d’Art Contemporain in Nice (She Bam Pow Pop Wizz! Les Amazones du Pop, 2020). In 2022 CAMEC – Centro Arte Moderna e Contemporanea di La Spezia ospita la personale “Il piccolo grande cuore di Giosetta”. On 24 May 2023 Giosetta Fioroni was awarded the “Premio Nazionale alla carriera Elio Pagliarani.”