Author: silviam1

2020

 

L’attrazione arcaica per la natura spinge così il mio interesse verso un viaggio metaforico che dalla realtà tangibile si sposta sul piano immaginifico, fino a realizzare un paesaggio inesistente al limite col reale: Boutade.

Boutade

 

 

 

Boutade

 

 

2019

De uma estrela à outra, Milano

 

De uma estrela à outra è un libro che racconta di incontri, ritrovamenti, dialoghi e foreste tropicali.

 

Il primo di questi viaggi, per San Paolo, l’ho compiuto nel 2016. Fin dal principio la città mi si rivela nella sua complessità culturale e sociale, crocevia di molte popolazioni e con una forte presenza di italiani, migrati in Brasile già a inizio secolo.

 

Il secondo viaggio è quello che Giuseppe Ungaretti compie nel 1936 quando si trasferisce nella città brasiliana per insegnare Letteratura Italiana all’Università. Alcuni anni più tardi, dopo essere tornato in Italia, un altro viaggio brasiliano regala al poeta un nuovo incontro: a quasi ottant’anni si innamora perdutamente di una giovane poetessa brasiliana, Bruna Bianco, di mezzo secolo più giovane di lui, alla quale dedica Nove poesie per Bruna, ultima felice stagione del genio ungarettiano.

I due poeti si scambiano lettere d’amore e viaggiano insieme alla scoperta della bellezza barocca, della vegetazione brasiliana e delle architetture locali.
Proprio questa natura diventa la meta di ulteriori viaggi, da me compiuti negli anni a seguire: perlustrazioni crepuscolari, osservazioni notturne, contemplazioni poetiche, da una stella all’altra.

 

De uma estrela à outra si compone di due parti: un piccolo volume, il diario, un album fotografico, il dialogo.

Nel diario sono raccolte le fotografie, gli appunti e i disegni relativi alle mie esplorazioni brasiliane, insieme a un testo di Bruna Bianco e di Francesca Cricelli, poetessa, ricercatrice e studiosa di Ungaretti.

Nell’album, invece, le fotografie di notturni e crepuscolari nature brasiliane dialogano con le poesie di Francesca Cricelli.

 

  

 

 

2015 – 2020 

Dark Air series

 

The Dark Air series began in 2015 with a project on the foibas of the area between Istria and Slovenia.

The hallmark of these shots is the gathering of slivers of unique natural landscapes, strongly contextualized socially and historically through my attempts to play with lighting to evoke reminiscence of the experience.
Spectacular nature often holds tragic stories and, because of this, evokes the feeling of the sublime, due to the dual emotional and visual spectacularism of these places. The pieces can, however, coexist beyond their context and become “non-places” open to new interpretations.

 

The peculiarity of the cotton paper renders the images almost pictorial and alive, as if they were real windows from which to look out, and even see and feel the air… of darkness. 

2018 – 2020 

Night Volumes series

 

The sculptures of the series “Nocturnal Volumes” are kind of shadows ideally extracted out of the photos.

They are solids painted in the colours of the nights, the skies, the trees and the elements that make up the pictures.

They originate from the need to create an extension of the nocturnal world, a scenery that is able to incorporate an experience.

They are projections, abstract forms that synthesize lights and shadows, allowing oneself to immerse in another dimension.  

 

 

2015 – 2020

Glazed Skies

 

Glazed skies are small scraps of skies that become effectively so once inserted inside a display.

 

Raw and commonly used materials, necessary for the realization of the works in the studio, undergo a reversal and, instead of an object, they become an image.

The rough surface of the abrasive paper welcomes the powdered chalk, which through the use of a brush paints clouds trapped in the roughness of the paper or highlights grains of stars to create a night sky.

The cut on the side of the frame underlines the insertion of the paper, a single gesture that gives a new value to the material. 

 

2019

Riverfront

 

Plants recovered along the Cosenza river for the construction of a fictitious natural environment within the studio.

The result is a nocturne, an evocative and ambiguous image, where the bursting forth of the vegetation becomes even more luxuriant when it bends towards the artifice.

 

Producing this piece of work was a bit like enclosing a spectrum of sensations, both visual and perceptive, to play with two contrasted forces such as light and darkness, history and nature, society and solitude.

It was like creating a small landscape, a sort of diorama in a glass ampoule: fascinating for the eye (which observes it through a photograph and, therefore, through a second glass), but theatrical with respect to the vegetation.

The resulting disorientation alters the initial and final idea of ​​the image and causes only the emergence of a cultural phenomenon, a staging. 

2018 

Castello di San Vito al Tagliamento

 

Il titolo – Melancholia – è un esplicito omaggio all’omonimo film di Lars von Trier del 2011 ma anche, e forse soprattutto, la vera chiave di lettura per tutte le opere e il percorso che esse tracciano affinché venga intrapreso dal visitatore, spinto così verso un processo di riflessione e trasformazione di sé. 

 

Melancholia è infatti il nome, di fantasia, di un enorme pianeta che, alla fine del film di von Trier, entra in collisione con la Terra, decretando la distruzione definitiva di quest’ultima e l’inevitabile estinzione del genere umano. Con questa citazione la mostra si palesa immediatamente per quello che è e vuole essere: un invito a tenere a mente – e accettare – la precarietà e caducità delle nostre esistenze, sia individuali che collettive. L’universo e lo spazio ci vengono dunque presentati, in questo frangente, come sede di quell’ignoto potente che, all’interno dell’istanza del sublime romantico, ci attrae e spaventa al contempo. 

 

Un’atmosfera di sospensione e inquietudine emerge da questa sorta di paesaggio postumo dove la presenza umana, ormai svanita, è suggerita solo dai frammenti di alcune statue cadute, come “caduto” a terra è anche un brano di cielo, solido e scuro, crollato per la precarietà e il cedimento del normale campo magnetico della nostra atmosfera. In un processo di sfondamento spaziale e architettonico, l’artista ci conduce infatti all’interno di un giardino visitato non di giorno, come di nostra consuetudine, ma in notturna. Il parco – tema centrale anche nel film Melancholia – è dunque quel luogo che vede convivere, in un rapporto più o meno paritario e pacifico, l’uomo e la natura. In un contesto post-catastrofe, come quello qui descritto, l’assenza degli uomini lascia però nuovo spazio all’elemento naturale che, lento ma inesorabile, riprende a crescere, rientrando anche in possesso di tutti quei luoghi artificiali che erano stati, in precedenza, prerogativa pressoché esclusiva degli umani. 

2018

 

This work stems from a suggestion coming from the Italian garden and the elements that compose it; the posthumous scenario consists of fragments of statues abandoned between moss and ivy, where an imaginary and almost adrift artifact emerges and reinforces the idea of ​​catastrophe, of which, however, we cannot understand the causes.

At the same time, there is a strong poetic component, emphasized by the idea of ​​the night as a perennial guardian of secrets.

 

The fragments of the sculptures have been treated as real photographic supports, through the technique of rayography; by exposing plant parts resting on the emulsified surface of the statue to a light source, I factually and metaphorically impressed on them the shadows cast by the trees, as if they were hit by moonlight, thus evoking a night space. 

2018

Three Nocturnes

Ducal Palace, Urbino

 

The room is transformed with a site-specific intervention that alters perceptions, involving the visitor in the physical experience of an environment through the creation of a nocturnal scenery that might evoke a myriad of interpretations and connections. 

Starting from of Federico Barocci’s San Francesco receives the stigmata – conserved at the Galleria Nazionale delle Marche – I developed an imaginary poised between abstraction and reality, where the nocturne, fil rouge of my research, becomes a way to re-interpret the past and translate it into an apparently suspended and timeless dimension.

In the dark of night, where the uncertainty of one’s gaze prevails, the visitor foreshadows infinity and goes ahead diving in the mystery, in the sacredness of nature and of its shadow zones. 

2018 – Ongoing

 

Still nights it’s a series of dark-boxes that give back a night light then rather weak than that of light-boxes.

As in a still-life, the image is created by many elements that combine as such as an invisible collage of natural fragments taken either from my photographic archive, or, in some cases, an action created at the time of shooting.

 

This project is based on the poetic imagery creation inspired by the “night time” literary world where two dimensions coexist: one apparently concrete opposite to a more visionary. A different scenario, almost post-human yet featuring sort of that romance.

2016 – 2018

 

During my time in São Paulo, I research about the Italian immigration in Brazil. I started from the attempt to translate my perception of the current situation – after more than a century from the arrival of the first wave of Italians to Brazil. 

Touching on a stereotypical imaginary of the tropical nature and the Brazilian tradition, I carry my vision through photographic images and video as experiential forms of a life.

 

At the beginning of the century the Italian immigration involved several areas of Brazil, one of these was also the Amazonia. The idea of my journey aimed to retrace the experience of a discovery that has still the same feeling of a century ago. The discovery of a world and remote cultures, which bring with themselves roots diversely contaminated but that keep the original enchantment of places without time.

 

Recorded in the reserve of Xixuau in the Amazon, the video resumes a fragments of everyday life that narrate a seemingly pristine time, but what you hear from the swaying hammock, are songs belonging to Western pop culture. In the heart of the Amazon, the Cabocla community brings the marks of a very complex story, which sees the West like protagonist of deprivation and contamination against of native civilizations. The caboclos are the result of this story and all the influence still exercised today.

2015

A plus A Gallery, Venice

 

 

This research brings together the historical thought and sublime concepts of nature through a subject that has never been in the center of an artistic research before: foibe. I photographed and documented these vertical caves, chasms, large sinkholes in Istria and Karst – the photographs as well as sculptures, videos and sound installations convey to the visitor a double sublime suggestion: not only the magnificence of depicted nature that affects the perception, but also of the historical connotation. 

The foibe tell the history of Europe in the 20th century, and also a story of nature and geology spanning millennia and of a number of literary, psychological, theological, mythological and aesthetic impressions.

The title is a reference to memory, to the process of remembering, to casting light on a nocturnal subject through artistic research – Dawn is in fact the dawning that gradually leads to light.

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