METTERE OGNI SIGNIFICATO…

METTERE OGNI SIGNIFICATO SOTTO-SOPRA, DIETRO-DAVANTI, ALTO-BASSO

video live installation, 2006 (typewriter+ tracing paper+ videocamera+ 2 projectors + live delay system)

in Dissertare/Disertare, curators Associazione START, Gaia Cianfanelli & Caterina Iaquinta, at Centro Internazionale per l’Arte Contemporanea, Castello Colonna di Genazzano, Roma, June/September 2006

Artists:  Elisabetta Alberti, Alessandra Andrini, Elisabeth Aro, Atrium Project, Fabrizio Basso,  Sara Basta,  Bianco&Valente, Annalisa Cattani, Silvia Cini, Elena Cologni, Francesca Cristellotti, Simona Di Lascio, Christine De La Garenne, Simonetta Fadda, Mariana Ferratto, Valentina Glorioso, Ulrike Gruber, Alice Guareschi, Goldiechiari, Koroo, Lorenza Lucchi Basili,  Sabrina Marotta, Libera Mazzoleni, Amanda McGregor, Dessislava Mineva, Motaria, Sabrina Muzi, Sandrine Nicoletta, Valentina Noferini, Anita Timea Oravecz, Paola Paloscia, Benedetta Panisson, Laurina Paperina, Arianna Pecchia Ramacciotti, Chiara Pergola, Luana Perilli, Maria Vittoria Perrelli, Michela Pozzi, Giada Giulia Pucci, Moira Ricci, Cloti Ricciardi, Francesca Riccio, Fiorella Rizzo, Stefania Romano, Anna Rossi, Ivana Russo, Nika Rukavina, Erica Sagona, Lucrezia Salerno, Guendalina Salini, Maria Salvati, Monica Stemmer, Federica Tavian, Adriana Torregrossa,  Francesca Tusa, Sophie Usurier,  Marta Valenti, Marcella Vanzo, Anna Visani,  Elisa Vladilo, Cristina Zamagni.

THE PIECE

Sitting down at one end of the bridge I write on a piece of paper as long at the whole bridge (about 30 meters), using a typewriter. I transcribe from my breastfeeding diary recordings, reawakening memories of the attachment to my baby back then. The live video is played back through two projections indoors: one is live and the other is delayed by 8 seconds.

The piece refers to my interest the time in live documentation of performance, its reception and processes of memory construction.

CONTEXT AND BACKGROUND

(the curators referring to the project in the book below)

PUBLICATIONS

Jill Fields (2012), Entering the Picture: Judy Chicago, The Fresno Feminist Art Program, and the Collective Visions of Women Artists, Routledge, page 303

 

ACKNOWLEDGEMENTS

Soprintendenza alla Galleria Nazionale d’Arte Moderna e Contemporanea

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