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Artist in residence from  May 01 ’till June 30


Giulia Savorani is born in Ivrea, she studied Visual Arts in Milan and Madrid, while practicing and teaching Hatha Yoga.
She works on sensitive zones. Her videos or, in the larger sense, her images, present a succession of thoughts. Experiencing them allows to explore the moment of their formation. This thought activity considered as what constructs both our rational and emotional field. The research is intended as a “seek for” with no ending, as any research doesn’t come to an absolute end. She questions herself about her environment and how human being face their anthropological condition.

It does not deal with throwing forth (pro-jet) things in the world for a future memory. What we do with the work of art is to create a physic and a thought dwelling for a mortal being. The source of the work of art is the human capacity of thought, which transforms the “unarticulated passivity” of sensation. The reification of the art woks makes the thought tangible, inasmuch the works of art are things and they constitute themselves thanks to hand’s ability in fabricating durable things, as in example, writing, staging, filming, painting, photographing. The price payed by working is life itself. “This deadness, however, though somehow present in all art and indicating, as it were, the distance between thought’s original home in the heart or head of man and its eventual destination in the world, varies in the different arts” (Arendt, Hannah, Human condition, Cap IV, The work, The permanence of the world and the work of art, The university of Chicago Press, second edition 1998, p. 169).
The thought, in the dead material of the art works, could be saved from his death condition when it enters in contact with a life willing to revive it. As such, a film, a poetry, a dance or an installation remains death as long as it is not revived by some kind will. Although this will shares the fate of death with the other living being, in the work of art it is not a fate due to consumption, because, for his uselessness, it is the higher expression of durability. That means that work of art shares the fate of death, as a relatively durable dwelling in the world and engendered by thought capacity. But exactly for this fact it has at his base the awkward of the relationship between consumption and durability.



Have you ever seen the girl singing and playing the violin in Brussels’s bars?
The question is about no conventional uses of voices. For what reason? To explore our language limits, says Demetrio Stratos.