Installation in the showering room of a disused mining complex in Slovenia.
The residency and exhibition was part of a plan to convert the landmark industrial complex into a cultural center for the city of Labin. It was the first event of what would become the rich programming of the Lamparna Art Center a Biennale of Industrial Art.
The different pavilions of the complex, still in their original state, were full of remnants of a history that shaped the identity of the city of Labin, linking the industrialization of the former soviet-backed Yugoslavia to the economics models embedded in the social ideologies the twenty-centuries.
I nested my installation in the lockers room, the space in which the miner would leave their intimate belonging before descending into the belly of the mine and to which they would return once resurfacing from their shift.
I built a collection using each locker as a container of fragments left behind. I gathered personal objects abandoned by the workers as well as industrial archaeological remains. With them, I built a “cabinet of wonders” as a tribute to the interwoven histories of the place. A foreign element seems to grow and find sedimentation between the elements in the cabinets. It points to the post-industrial shift of the forms, materials, and ideas of progress of advanced capitalism.
During the middle ages, in European silent monasteries, scribing monks gave shape to a multitude of imaginary beings through their miniatures and manuscripts . Documents and maps were populated with wonder creatures of ambiguous forms and impossible classification. This fantastic iconography would propagate from the confined imagination of monastic art into the vaste and lacerated Christianized Europe. In the pinnacles and cornices of cathedrals, monsters of all kinds would nest, enigmatic and frozen, guarding the mysteries of divinity.
Retaining the shapes of a forgotten pantheistic iconography these monsters became a fascinating embodiment of the world "outside", the far away lands, the lands of the unknown. The other side of an all-encompassing, yet ripped with slippery funnels christian narration of the medieval reality. Somewhere ungodly lands await. Mysterious demons and the puzzling creatures would both entice and caution the curious minds.
Tuberozoe. Bestiario Fantastico
Etching 9 In. x 11 In.
Panotii. Bestiario Fantastico
Etching and watercolor 9 In. x 11In.
Fairy. Bestiario Fantastico
Etching 9 In. x 11In.
Tropical Puffs (...Or The Resilience of the Microstuff.)
Tropical Puffs (…Or The Resilience Of The Microstuff.)
According to Manuel De Landa, [A Thousand Year of Nonlinear History, 1997] “resilience” is the keyword to understand how complex meshworks of heterogeneous ecosystems overlap, coexist, and coevolve in the growth of the self-organizing city organism.
Resilience is the capacity of a system to absorb major internal and external fluctuations by switching between several alternative sustainable states, differing in this from the notion of stability which refer to the capacity of maintaining a preferred state inhibiting intense fluctuations.
This commissioned drawing series is a imaginative and poetic celebration of the resilience of multiple life forms, in particular non-human ecosystems, of Rio de Janeiro.
The stream of solar radiation, together with the water and humidity of the tropical climate of Rio de Janeiro, fuel the flow and exchange of biomass from one realm to another. They nurture via photosynthesis the sweet cravings of plants, which stand, with their non-parasitic nature at the foundation of any food chain.
The city of Rio possesses the first and second largest urban forests in the world. The human planted Tijuca Forest and the native Pedra Branca Park are home to hundreds of species of plants and wildlife and provide protection to the city’s water supply. At the other end of the spectrum, equally important, are the microflora and microfauna, as they remineralize and reinject animal bodies into the web.
The project consists a collage of drawings, digital prints and projection of animated drawings, an imaginative immersion into the variety and vitality of the invisible organism that inhabit the city soil and water. Bacteria and fungi, algae and microscopic predators participate in the drama of the metropolis environment. In a city famous for its visual exuberance and beauty, this project will explore the beauty of invisible biology.
The design process of the piece investigate the notions of contamination, self-organization and interaction as the hand animated “micro-drawings” are later inscribed with a set of behaviors, computationally controlled, that originate an ever evolving narrative and pattern formation.