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THE TOWELS IN THE BATHROOM DO NOT MATCH THE KITCHEN CURTAINS

The project stems from the urgency to present art outside of spaces commonly used for exhibiting art.

Dictated by the present historical moment, it includes artworks into the epidermis of the city's space

It is a striking camouflage, an organism that comes to life tanks to the atmospheric movements.

The curtain as a metaphor for visual alteration, it is created by the process of manual sewing and the repeated gesture,

as in a mantra, it consolidates the resurfacing of past memories.

SITE SPECIFIC WORK ON VIEW IN LISBON FROM JULY FIRST UNTIL THE END OF SUMMER 2021 AT CABANAmad (Rua Da Misericordia 66. CHIADO).

sedimented curtain chiffon 300x295 cm each 

 

 

 

 

 

PROTRUDING CHIN 

Lisbon at Cabana Mad

Revolutionaries, teenagers, shamans and priests, criminals and actores, people with mental disorders or ashamed to express themselves. Each one of these types, can be connected by a small object, a symbol, that caracterizes a big part of humanity and, as mutable as its expressions over the centuries, it keeps changing and evolving: the mask. In most of the cases, in naming "mask", some of the first concepts that the word might remind, are probably centered in lie or at least, in mystery. We tend to interpret the mask as a method to hide ourselves from others and to not reveal one or more aspects of ourselves. The roots of masquerading are old and universal (from the theatre of ancient Greece, to the several carnival rites) and have various interpretations, conflicting and common beliefs usually have a strong relevance in the general opinion: therefore, in an occidental modern world, in whose rituals are increasingly more explicit and appealing, is the mask really just one more method for lying and hiding? "Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth." Oscar Wilde You can also find a confirmation in those disguises that don't have a purpose other than playful and the celebration of the costume, like in the fields of historical restitutions, live dramatization or cosplay (from the crase of the terms costume and play, is the practice of recreating and wearing the clothes of a character from a movie, comics or animated series, and much more), all the activities and hobbies that lately seem to have attracted an increasingly diverse circle of fans. In this case, the mask wants to be a method of personal expression that goes from the simple presentation of a figurine precisely made, until the creation of an entire world and new characters and, in a sort of mix of genders, the performance is connected.And theatrical art to ritual disguise. In the four examples presented in the exhibition, the mask seems to be capable of breaking the more common stereotype of masquerading, whose purpose is just to hide one's identity; in these situations, in fact, once worn, being physical or imaginary, it becomes a method to communicate (and not to hide) one's own condition, in the attempt of making understand something about one's self or of establishing a dialogue on a par.

part of the "Interesses Maquillhados " exhibition, by CabanaMad, Lisbon

 

 

 

 

 

ASSIST -ICONOGRAPHY OF A HUG-

 »An icon is painted on a light and the light is painted with gold.« (Pavel Florensky) The etymological meaning of an icon refers to the idea of apparition in which the gold that reflects it is closely connected with the mystery of a solar spectrum. This divine color has a specific name in iconographic art – Assist. An icon is not a painting, it is a sacred object, a miraculous object. The depicted figures should not delight the eye, the appearance must move away from the common beauty and the human nature. This principle has made Alessandro di Giampietro willing to abstract the concept of an icon in an installation that is free of references to religious images, but respectful towards the sacredness and above all, legitimizes the theories of Pavel Florensky and the platonic metaphysics of beauty as light and splendor of an idea. In Florensky's works the platonic idea takes on the original character of a light that refers to a »live sight«, to a »gaze of a person«, to all those looks that, from the point of the view of the artist, will give life to the work. The golden structure determined by a central semi-sphere that represents divine illumination, framed by a screen, refers to a small sanctuary adorned with icons and candles that recalls a domestic dimension and the personal contemplation of the Byzantine icon, which is often labeled as a »beautiful or precious corner«. A protective shell, a golden cocoon, a secret casket that will envelop all of those who will participate in the ritual of sharing a special moment. The old historical icons reflect the sufferings and accomplishments of people, related to specific phenomena and historical events, revealing the inner world, purity and nobility of mind. In this era of social distancing »Assist«, as a symbol of contemporary iconography, represents the warmth of a hug that Alessandro di Giampietro wants to donate to the humanity. The most striking feature of Byzantine icons is perhaps »the reversed perspective«, in which the lines of force are aimed at one or more centers located in front of and outside of the icon itself, in the direction of an observer. In the artist's golden installation, the concept of the reversed perspective is represented by a human figure moving within the installation in the alchemical ritual of preparing a unique drink for the guests, as a moment of relief from suffering and a place to find some piece and quiet. In »Assist« the meaning of the icon of the Divine Maternity as a mother's embrace of her own son and the meaning of the icon of the Presentation of Jesus in the Temple as a sacred meeting, blend together in the golden reflections of the structure in which each spectator, seeing his or her mirrored image, becomes a part of the installation.

Assist 3d project Cristiana Di Giampietro

text Laura Fonovich.

musicians Vida Voyage , Gino Lucente, Borut Savski, Bostjan Leskovcek.

supported and co- produced by cirkulacija2

 

 

 

 

 

 

THINGA THINGS -introducing chaos and uncertaintly-

public space in Ljubljana june/july 2018

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  SPOTLIGHT

 

 

 

 

Network 16/19

Networkconceived during the three years of residence in Ljubljana, the house is trasformen into a large living room, into a temporary space

that taking the form of a large curtain made with fragments of heterogeneous fabric collected by the artist during his movements between Italy and the Balkans

reflects the idea of home as a living and dynamic organism capable of changing and transforming over time, in an open space capable of containing

personal memories and experiences of others .

 

"Festival del Paesaggio 2019- Villa Lysis- Capri "

 

 

 

 

 

UNDERGROUND -Beneath the surface of appearances-

The project featured in the group space of the 8th floor of the Avtotehna skyscraper at Bavarski dvor will be a spatial implosion of Cirkulacija2. An exaggeration to the limits of over-saturation. The main line of (over)saturation will draw on light sources, using both simple and complex movable mechanisms, producing images as shadows (shadow play), transparencies, scans, flickering. The sound will be picked up using light sensors on shadowy surfaces and directly processed, thus establishing a closed (cybernetic) system. The aim is to destabilize the viewing point (observer's / viewer's eye) and to match that with a corresponding physical feeling. Space is pulsating/breathing, up is down, left is right, spinning in all directions – an anti-gravitational experiment? Moving around is by all means desired – participants/visitors are part of the projection-lit space. Up is down, down is up, left is right, right is left, inside is outside, and outside is inside… these equations present direct opposites in the language of man – contradictions. Perhaps they point to contemporary ambiguities – possibilities, hybrid realities. Once firm constellations, speaking the truth, become burnt within – energetically and interpretatively imploded. What is looked for are new kinds of firmness. Until then, zero-gravity is ruled by space – space without weight, contents without significance – in their exceedingly relative and limited coordinates of validity. However, perhaps precisely such a random space is alive – freed from the burdens of ideology and unambiguity. An obscure and dark forest, where even the shadows are strangely dangerous.