Macrì lives and works in Rome. Her research is linked to the investigation of visual studies. The core of her interdisciplinary work consists of a critical analysis on the constitution of contemporary subjectivity. She teaches Phenomenology of Contemporary Art at the Fine Arts Academy in L'Aquila. She collaborates with the Italian newspaper Il Manifesto and radio broadcasters.
Il corpo postorganico
In her first critical essay Il corpo postorganico (The Post-organic Body), 1996, Macrì advances an analysis of the bio-technological body. The body has always been a territory for social control and regulation, a crossroads between aesthetic and ideological power and is now even more radically crucial both culturally and politically. It is under construction, going through processes of identity redefinition and overturning sexual and social roles. The body has become a hybrid of organic and synthetic substance, of biological matter and silicon chips: genetic engineering and neuroscience are subjecting it to mutation. Many performers are linked to this contamination between flesh and technology: from Chris Burden, Vito Acconci, COUM Transmissions, Leigh Bowery, Stelarc, Marcel.lì Antunez Roca and Matthew Barney. Inspired by this book, Italian film director Marco Ferreri had decided to turn it into a movie. The film was never completed due to Ferreri's premature death in May 1997.
The term Postculture (2002) indicates a syncretic journey through the International art of the last decade and post-colonial studies, dwelling upon the artistic declinations that have taken form in those geographical territories (Africa, Latin America) where the process of decolonization is sensed as the reconstruction of an identity. Macrì exposes the breakdown of obsolete notions such as exoticism, stereotype and folklorization of cultures.
In the Mood for Show
In The Mood for Show (2008) suggests an analysis of the relationship between art and pop culture focusing on different spectacular artists and movie directors of our time. The main concept around which the essay revolves is the attitude of the spectacular, which has become ever more central in the frame of what is to be considered Visual Culture, and that is re-elaborated and/ or re-manipulated by the practices of the seven art-makers considered (Damien Hirst, Douglas Gordon, Maurizio Cattelan, Phil Collins, Sofia Coppola, Harmony Korine and Chris Cunningham).
- Teresa Macrì, Il corpo postorganico, Milan, Costa & Nolan, 1996 - ISBN 8874370504
- Teresa Macrì, Metamorfosi do sentir, Lisbon, Assirio Y Alvim, 1998
- Teresa Macrì, Cinemacchine del desiderio, Milan, Costa & Nolan, 1998 - ISBN 887648342X
- Teresa Macrì, Postculture, Rome, Meltemi, 2002 - ISBN 8883531515
- Teresa Macrì, Il corpo postorganico, new edition, Rome, Costa & Nolan, 2006 - ISBN 8874370504
- Teresa Macrì, In the Mood for Show, Rome, Meltemi, 2008 - ISBN 8883536665
- Teresa Macrì, Politics/Poetics, Milan, Postmedia Books, 2014 - ISBN 9788874901104
- Exposición: Miedo total – Barcelona, 18 de mayo de 2004
- Rai International online
- "Se anche l'arte cerca l'audience" – Intervista di Teresa Macrì a Vincente Todoli, Direttore della Tate Modern di Londra, Il Manifesto
- Teresa Macrì, Il grande labirinto. Dalla transe al rave – Ágalma n.10 settembre 2005
- Gianluca Marziani, Melting pop: combinazioni tra l'arte visiva e gli altri linguaggi creativi, Castelvecchi Editore, pag. 253
- Interview at Adalgiso.it