METTERE OGNI SIGNIFICATO SOTTO-SOPRA, DIETRO-DAVANTI, ALTO-BASSO
”Turn every meaning upside down, inside out, back to front.”
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.
I then stated ‘The piece refers to my interest the time in live documentation of performance, its reception and processes of memory construction’.
‘November 2004, 2.00. I get up, and go to his room because he is crying, he has eaten from both breasts and has fallen asleep immediately afterwards
2 30. I go back to bed to sleep. I sleep on my side, towards the edge of the bed, next to the door. So, I’ll be quick
5.50. He rumbles. He’s not crying yet. Maybe he’ll go back to sleep….
6.00. He Cries. He’s hungry. I go to his room and feed him from both breasts. He falls asleep on me. I try to put him to bed. Maybe he continues for a while. No way. I put him into his cot to fully wake him up with his things. He’s getting used to his music box and the pictures behind the bed, which he probably sees as blurry shades. Then I turn on the music box and he smiles at me. […]’
CONTEXT AND BACKGROUND
(the curators referring to the project in the book below)
PUBLICATIONS
This was also presented and an extract performed on 27 January 2023 after a long time, within my #feminist #careaesthetics input in the context of ‘Maternity and Care’ at Drew University (NY) in a colloquium for Medical Humanities and Health organised and chaired by the brilliant Merel Visse and with the amazing care ethicist Prof Inge van Nistelrooij and Melanie Miller (lactation educator).
in Cologni, E., Towards a Feminist Care Aesthetics (in progress), in Maternity & Care
a Medical and Health Humanities colloquium with Professor Inge van Nistelrooij and Melanie Miller (MA IBCLC), lactation educator and doctoral student, chaired by Merel Visse, Medical Humanities Director, Drew University.
Soprintendenza alla Galleria Nazionale d’Arte Moderna e Contemporanea
more here