A blossoming cold fire. Pornography and Romanticism: two scripts of reality.
ROMANTIC PORN, 2018
My name is Giuseppina, I see myself as being an ongoing event.
My work has no center, it feeds on transformation. Uncertainty is my field.
The freshness of the event is my time: from time of sequence to time of simultaneousness where each repetition is a process of knowledge, rumination on reality.
My practice explores the possibilities that open up in gestation, in germination, in social dreaming and its narratives, in the translation of languages, contexts and processes intertwining daily life and spiritual practices. I am especially conscious of the media I use, which embodies a request while relying on the 5 senses to create an open and generative experience.
My goal as an artist is to welcome complexity, not as mere holism, but to perceive and weave contradictions, different levels of reality, so they can echo in harmony.
My aim is to reach, through my practice, a horizontal glance, in between things, among us. To walk two roads at the same time.
I take care of the process and I don’t force events, I go with them. This way, my works are born in my arms and in the arms of people close to me.
AMORE / ROTTURA DI PALLE/ UNIVERSALE (Sorry Wislawa), 2018
LOVE / UNIVERSAL / PAIN IN THE ARSE (Sorry Wislawa) is an endlessly repeatable work.
LOVE / UNIVERSAL / PAIN IN THE ARSE (Sorry Wislawa) is an endlessly repeatable work.
Realized with a special rubber stamp, the text is the result of the translation in 104 languages by Google Translate of the poem “Love at first sight” by Wislawa Szymborska, Nobel Prize in Literature in 1996 .
The lines of the poem are grafts of multiple languages.
Sharing fragmented meanings allows the creation of new ones
Continue reading “AMORE / ROTTURA DI PALLE/ UNIVERSALE (Sorry Wislawa), 2018”
CENTRAL LINE, 2018
Bacteria, among the first life forms appeared long ago on our planet, are the installation’s core elements.
The graphic scheme of the installation takes origin from the Central Line London tube map.
While in London, during London Summer Intensive residency by Camden Arts Centre and Slade School of Arts I took the Central Line and at each subway stop I opened a different sterilized Petri dish putting in contact the culture medium and the air (where bacteria are usually found).
The “captured” bacteria will grow and reproduce until they become visible to our eye assuming the shape of a “coloured mould”.
The shape and the colours of the dots appearing every day on the Petri dishes will be changing continuously in unpredictable ways depending on the kind of bacteria.
Time, measured as we move through the different underground stops, and at the same time, beaten by the continuous transformations happening inside the Petri dishes, is reasserting its peculiar role and the circular space where bacteria’s life unfolds is strictly related to the space of the city.
UNTITLED + I wrote you an arc, installation’s view, Slade Research Centre, London, UK
THE WALL OF DELICACY (ode to China), 2018
THE WALL OF DELICACY condenses the experience, sometimes tough, of the encounter with a different culture, of a meeting with other human beings.
This work was born looking at the construction methods of houses made with oyster shells in some villages in the region of Fujian, CHINA, where I lived in winter 2017.
THE WALL OF DELICACY generates a hard wave and a rhythmic movement, and at the same time gives an unusual vision of the oyster shell itself: putting them one on top of the other we can look at their profiles. The pinkish broken glass on top of the wall underlines fragility and delicacy, as in a flower.
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POLLINATION (I love you), 2018
The wire of a light blue cotton candy goes everywhere, pushed by the wind generated by a fan.
The machine is automated. The system provides for a temporal control that operates the machine at random intervals and allows the production of cotton candy.
The effect is surprising, the smell is scrumptious, the result is chaotic.
A lighted sign of the reverse sentence “I Love you”, is continuously resonating with the soft moving of the wire of the cotton candy.
COLUMN (history of a chewed sky), 2018
Beginning from the narrative band carved in the Trajan column and questioning what history is.
The act of repetition as a way to understand reality, the act of chewing as a way to put together thoughts through the body.
OPEN MOUTH/CLOSED MOUTH solo show at Chinese European Art Center, Xiamen, China
OPEN MOUTH/ CLOSED MOUTH (made in CHINA), 2017
This couple of giant black silk made inflatables are an hybrid mix of Chinese stone lions, the guardians of the temple.Fragile, battered, their silk dress does not cover them perfectly.
The position of their mouth, open and closed, is linked to a variety of meanings throughout Asia: in China, the temple’s guardians are a female and a male, in Japan the open and closed mouth of “Komainu” refers to life and death, exhale and inhale.
In any case, they always represent a couple of opposite.
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double gaze, 2017
“double gaze” is a photographic diptych printed life size of two women.
In each picture a woman knots or loosens an umbilical cord depending on whether we read from right to left or from left to right.
Eve from Lucas Cranach, which was the inspirational framework for this work, becomes here a point of oscillation, something defined but not fixed in its meaning, entangling with the Chinese counterpart. Continue reading “double gaze, 2017”