Exhibition view

Loukia Alavanou
Episodio 9791, 2010
site specific video installation
video projector, plants,
fans, headphones,
sound, color, 3', loop, dimensions variable

Marco Bonafé
Violation ID, 2010
grammophone, wood, enamel, insects,
mp3 player, mono aplifier, carpet, spray paint,
dimensions variable

Marco Bonafé
Connessioni remote, 2010
site specific installation,
chromium-plated adhesive tape, 130 x 90 x 9 cm

Johanna Laitanen
Untitled, 2010
video installation, video projector, audio system,
screen covered with tiles, sound, loop

Memories and Encounters

Loukia Alavanou (Greece)
nominated by Platform Garanti (Istanbul)

Marco Bonafè (Italy)

Johanna Laitanen (Finland)
nominated by HIAP (Helsinki)

May - July 2010

The residency project Memories and Encounters, invite groups of artists, thanks to the precious contribution of Fondazione Cariplo, that promotes the entire project, of PaBAAC part of the Ministry for Cultural Heritage and Activities, that actively supports the international exchange project, and also thanks to Gemmo spa, Viafarini’s institutional partner, ACACIA - Associazione Amici Arte Contemporanea, and Fondazione Nicoletta Fiorucci.

Loukia Alavanou and Johanna Laitanen have been nominated respectively by Platform Garantì and HIAP International Artist-in-residence Programme. Italian artist Marco Bonafè has also been selected to take part in the residency program. Curator Ciara Ennis has been invited for a residency at VIR curator, a project curated by Gabi Scardi.

Loukia Alavanou (1979)
“Through my animations and multi-channel installations I explore the language of cinema in relation to desire. I interweave elements from the found material into surreal collages of familiar narratives, creating a haunting landscape accompanied by -and often based upon- sounds also deriving from found films. Often focusing on images of woman and domesticity, the work examines the ways in which early Hollywood cinema has shaped to date our understanding of femininity, and how female role models constructed by it permeate consciousness from an early age. Taking into account that the directors and editors of the films appropriated are predominantly male and that I’m a much later generation female artist, I find it inspiring to decompose and re-edit the historical material in a process reminiscent of traditional female craft making. None of my animations is based on a storyboard; it is always the process that feeds the narrative. I see this process of collecting, condensing, “chopping” and superimposing ‘film-fragments’ taken from various cinematic genres as a form of ‘free associating’. I am interested in exploring the relationship between narrative and free-association through my practice.”

Marco Bonafé (1981) “I want to consider my work as a kind of dream which runs along parallel lines with the reality, a dream where there is a percentage of truth and fantasy. My methodology of work refers to the concept of the Archive: images found on the web, personal pictures and sculptures realized by myself and then revised in a further step, then photographed and then again almost entirely destroyed. What remains inside my studio after such a massive work is only a file inside my hard disk, a photograph or a video to be projected in loop. I am fascinated by the fact that what remains at the end of this process makes me think that it was just like a dream (…) What attracts me the most is not the object in itself, but rather the desire for possession; my objects are undefined, useless, and their significance is connected to the representation of an unsatisfied society that does not even know what it’s actually looking for.”

Johanna Laitanen (1976) Johanna Laitanen’s works combine analog photography and film. Whilst having a tight visual coherence between the mediums, they sustain an intended ambiguity leaving room for dialogue. Laitanen uses museum collections, arrangements and logical systems as her subject to investigate contemporary cultural and philosophical ideas. Seemingly methodological approach, formal compositions and repetition, is contrasted with aesthetics and dispositions that suggest more intuitive and personal viewpoint. In her more recent body of works he examined the Zoological Museums´ back-stage, its storage depots and archives as a natural continuation to her A Spectacle of Nature series. “In the body of work A Spectacle of Nature (a series of photographs and a three channel film) I have examined the simulation of nature in natural history museums. Nature is viewed as a kind of cultural product representing the habitat dioramas as tableaux of nature. By removing the animal displays from their context, their gist turns to be something else. These carefully constructed animal displays reflect our ideas and desires projected on nature rather than representing nature objectively.”

For studio visit: - +39 02 66804473


last update 22-07-2010