Giorgio Guidi
left: hangin'over around in Milano#1 and #2, 2011
plaster, lace and wood
center: Skull, 2011
modified instrumentsi, plaster, fur,
styrofoam, laces, wood

Giorgio Guidi
Montgolfiére, 2010
Cellophane, wood, brass, fan

Giorgio Guidi
The Tiger and the bone,
live performance

Dolphin's Dream, 2011
installation view

Dolphin's Dream, 2011
installation view

Dolphin's Dream, 2011
installation view

Matthew Ston
Polymorphic Love Diagram (Unfolds), 2011

Matthew Stone
Diverse Energies, 2011

Memories and Encounters

Giorgio Guidi (Italy)
Gemmo scholarship

Jaša (Slovenia)
selected by Open Call

Matthew Stone (United Kingdom)
nominated by Marina Abramovic

January - March 2011

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 Fiorucci Art Trust.
The educational program for High School student continues thanks to the partnership with Milanese division of ANISA, national association of art teachers.

Giorgio Guidi awarded Gemmo Bursary, and has been selected among the artists who took part in the project of DOCVA Archive group show.
Slovenian artist Jaša has been selected by Open Call.
British artist Matthew Stone has been nominated by Marina Abramovic.

Giorgio Guidi (1982)
"My research focuses on the study of possible relationships between people, places and objects. It is an analysis of those connections emerging within small ‘ecosystems’, in which I enter after an often casual encounter. During the research time, I drive myself into a scientific attitude, to best explain the experience itself. I am interested in analyzing the human environment conformation and how it can survive. In the process, I prefer focusing on the emotional response which underpins reality, constructed on webs of psychological references. I try to understand the complexity of relationships between small groups of people, and how this gives life to exchanges, matchings, fractures, accidents. Generally said, my work gives a fragment of reality, like a small city, where facts interweave just as human relationships do. It makes sometimes emerge paradoxes, extremisms, and nonsense but real way of living. I'm interested to see the emerging of rules in a small group of people, ways of thinking and acting, and how they estabilish the sense of belonging. At the same time, I look at social mistakes, and how unpredictable things could bring emotions. Recently I've been extended my research to understand contaminations in a cultural system, due to exchanges with other entities; these made me feel how many perception errors are possible, just watching at the identity of a human group. In this case the process brings me to decrease the outstanding points of the group to make it accessible by a comparison with an historical and cultural event usually best known or widely understadeable. All this starts from reality, so I try to move and spend periods within different situations, and to study how being part of them."

Jaša (1978)Sublime euphoria and its sexy charge. Reaction to an art work is a form of its own and it’s definitely not determined only by an art work; the context in which it is shown always plays the decisive role. So sometimes I don’t even show the final result which is the linking element of an environment created through intense and frequently contrasting layering in meaning and form. The final sculpting form is the one I can create within the spectator’s experience. I’ve used very different methods in the past years, but the main charge of a project is still achieved through a change that a space can provoke. Redefining its meaning is stimulated by the conflict created by introducing an idea into a given space, whether the space is art-dedicated or public. Since I’m interested in reality environments created through images and objects and especially our relationships with them, the performing moment becomes the linking element. In the process of structuring a project, my methods are focused on dissecting and understanding the ready–made environments, the wholeness of a situation and unavoidable mutual interactions of its components. I do not comprehend the environment (installation and performing element as a whole) as a document, re-creation, fraction or reflection of the real, but as spaces which provoke the real. In the end it’s the reality which an art work can create that interests me.”

Matthew Stone (1982) “For Memories and Encounters at Viafarini I propose a period of research and development, exploring multi-dimensional and sculptural installations of photography and drawing. I have been developing sculptural installations of photography that allow two-dimensional images to be installed within free, three-dimensional space or ‘a-perspective constellations’. This sculptural installation method allows for the creation of complex interactions in space and intimate relations within networks of images. I feel that these networks can be related to my research into collaboration, creative compromise and social artistic networks. The intricate relations that develop from the positioning of the photographs or my curated human networks, create the possibility for multiple, simultaneous and coexistent readings and perspectives. This thinking and approach emerges from my commitment to exploring the complexities of ideological coexistence, the intimacy of human interaction and creative collaboration. With a history of building art as a collaborative effort, an open conversation and a spiritual belief, my social-sculptures function as poetic diagrams of a working practice. The objects crystallise, without ever simplifying, the ordered chaos of human motion.”

For studio visit: - +39 02 66804473


last update 18-01-2012