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At the heart of the exhibition Voice of Multitudes, conceived and curated by the Giuseppe Iannaccone Foundation at RSA Vittoria Brescia, was the broader cultural struggle against gender-based violence: a theme central to the Foundation’s artistic mission and also a key focus of a series of conferences promoted by Korian.
The exhibition occupied a powerful crossroad of narratives and testimonies from regions of the world where gender discrimination and violence remain painfully urgent. Within the RSA’s spaces, the works of Zehra Doğan, ShadiGhadirian, Terence Koh, Iva Lulashi, and Zanele Muholi entered into dialogue with one another, offering a free and open space where artistic expression could transcend cultural, economic, and geographical barriers allowing the voices of the oppressed to emerge with strength and dignity.
The title Voiceof Multitudes referred to the power of artists to convey universal messages and, in this case, to amplify the stories of women around the world who face systemic hardship and lack the tools to act within their societies. More than a traditional exhibition, the project became a space of recognition and reflection; an act of resistance against the invisibility of discrimination and the denial of fundamental rights.
Zehra Doğan (Nusaybin, 1989) endured imprisonment for posting artwork on social media that denounced atrocities committed by the Turkish state against the Kurdish people. Her works gave voice to the injustices suffered by her community, carrying a message that transcends borders to touch the shared language of resistance and humanity. Her use of recycled materials symbolises resilience and the transformation of pain into liberating expression.
Shadi Ghadirian (Tehran, 1974), through her photography, explores the condition of women in post-revolutionary Iran, highlighting the tension between modernity and tradition. With irony and provocation, her work stages the depersonalisation of women, reduced to domestic roles and subject to social control.
Iva Lulashi (Tirana, 1988), through painting, interrogates collective memory and the tradition of power, re-examining gender dynamics with a critical lens. Her work questions the paradigms of a past marked by dictatorship, deprivation, and control, offering counter-narratives capable of disrupting the established order.
Zanele Muholi (Umlazi, 1972), a South African visual activist, uses photography to document and celebrate the LGBTQIA+ community in a country marked by decades of violent discrimination. Their images formed a visual archive that challenges stereotypes and advocates for deeper understanding around identity and visibility.
Amid a space largely shaped by female voices, the delicate presence of a small white marble figure sculpted by queer artist Terence Koh (Beijing, 1977) stood out. Cold and unyielding, the marble was transformed by the artist’s hand into a gesture of tenderness and introspection. The curled, fetal figure became a universal symbol of vulnerability, birth, and hope, but also of regret and pain. It served as a reflection of humanity’s confrontation with its own fragility, and as an acknowledgment of our most hidden truths. In a show where female resistance resounded clearly, Koh’s work offered a silent embrace, an invitation to dialogue and understanding, and a reminder that the fight against genderviolence is a shared struggle, requiring the involvement of all, regardlessof gender.
This project aspired to show how art can serve as a catalyst for social change: a call to reflect and to act. Each work and each story formed a bridge between personal experience and collective awareness, urging visitors to go beyond observation and become part ofthe effort to build a future in which gender equality is not just an aspiration, but a reality.