Giuseppina Giordano artist
My name is Giuseppina, I see myself as being a perpetual event
My work has no center: it feeds on transformation. I don’t care which media I use: I rather care about their embodying a request.
Uncertainty is my field. I focus on events, gestations, germinations, chances. I study the constantly changing order of life, identities, meanings: from the omnipresence of life and coincidence to the mystery of individuals.
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 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, an 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.
On the occasion of the opening reception of Please, teach me the language of a rose at Taubman Museum of Art, Roanoke, USA, writer Ashley Rhame recited a poem inspired by the exhibition.
Giuseppina Giordano
Please, Teach Me the Language of a Rose
curated by Patrick shaw cable
Taubman Museum of Art, Roanoke, USA
06/09/2019-09/06/2020
Created in collaboration with Italian musician Fabio R. Lattuca for Giordano’s site-specific installation Please, Teach Me the Language of a Rose, at Taubman Museum of Art, the composition was performed by people aged from two to eighty-seven, who created sounds following the instructions in the catalog below. Continue reading “in bloom, 2019”
Fashioned from rose petal “clay,” the ancient medium used originally to make rosaries.The diverse forms were inspired by vases depicted in modernist and contemporary still-life paintings by artists ranging from the French modernists Henri Matisse and Suzanne Valadon to the American Pop artists Roy Lichtenstein and Wayne Thiebaud.The rose-petal vases emit the flower’s odor yet remain empty. Continue reading “SMELLS LIKE CONTENT, 2019 – on going”
A woman signals “rose” using the world’s sign languages, followed by her signing the phrase “the sound of a blossoming flower”. Her silent gestures variously suggest touch, smell, taste, sound, communion, opening, or uplift. Continue reading “Please, teach me the language of a rose, 2019”
The edible texts are the result of various translations of the Daodejing, a classical Chinese text, traditionally attributed to Laozi, whose composition dates back to a period between the first and second centuries BC.
Raw and delicate, a rosebuds border fence. A meditative practice. A reflection on ephemeral, beauty, delicacy.
Initially started at The Studios at MASS MoCA, USA, THE WALL OF DELICACY is now a participatory and traveling project.
Would you like to contribuite working together on building a longer, more beautiful rose buds border wall?
Please, reach me at giuseppinagiordano.info@gmail.com for more informations!
Continue reading “THE WALL OF DELICACY (Ode to America), 2019 – on going”
A blossoming cold fire. Pornography and Romanticism: two scripts of reality.
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”
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.