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.
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.
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.
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.
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.
“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”
“HARD WAVES (Kuanyin and Virgin Mary staring at the sea)” simply mixes the sea waves with those of the clothes.
The statue of Kuanyin and of the Virgin Mary, that history has given us, are seen from behind and placed in such a way as to make visible the movement of their drapery: sinuous in one, straight in the other, in relation to video projection of the soft breaking of the sea waves on the beach.
Kuan yin and Virgin Mary, both embodying love and compassion of a “mother par excellence”, are considered at a first glance a meeting point between Buddhists and Christians.
of all things living /I’d be a sweet potato /fresh dug up
di tutte le cose viventi, vorrei essere una patata dolce, appena dissotterrata
This is the poem by Takahashi Shinkichi (Ehime 1901-1987) I recite in Japanese language while walking through Tokyo streets and asking people whether they know the poet and can help me find the house where he lived. My performance – played through April 5-13 2017 – was recorded using binaural microphones in Odaiba, Shibuya, Ueno, Asakusa, Jimbocho, Akihabara and Shinjuku areas. During my performance, I constantly utter a few Japanese sentences (though I don’t really speak the language) I had previously memorized.
The opportunity to enjoy my work by covering their eyes with a hood allows people to create an immersive ambience. The soundscape changes tremendously from one district to another.