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.
“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.
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.
A cardboard box is leaning against the wall: it has the appropriate measures to contain my body and the packaging and design of IKEA products. The article is Giuseppina.
The box, vibrating, emits sounds thanks to a vibrating speaker inside. The widespread audio track is obtained from a recording of Google Translate.
“Giuseppina” (my name) is taken by Google Translate female voices in different languages available in audio playback (Chinese, French, English, Spanish, Korean, Finnish, etc).
GIUSEPPINÄ is a self-portrait and / or the overlapping of the “Giuseppina” possible identities. Continue reading “GIUSEPPINÄ (self-portrait), 2017”
Becoming Eve, the non-separated, because not generated through a union, the woman with no navel. It’s an attempt to fill up the scar, the cut caused by separation from the mother. While chronological time marks the movements, the number appears in decimal figures and gradually grows in its unsuccessful attempt to reach number 1. Continue reading “EVA (an attempt for wholeness), 2016”
A column made of braids in concentric circles. There’s a man inside, who is loosening the braids one by one, singing a mantra inspired by Cosmic Background Radiation. He will vanish inside it. Back to Chaos. Continue reading “THE EVENT, 2016”