portfolio 2016 vdg

VERONICA de GIOVANELLI

Portfolio 2016

Veronica de Giovanelli was born in Trento in 1989, she lives and works in Brussels. In 2012 she graduate with a BA in Fine Arts at the Academy of Fine Arts of Venice. In 2015 she graduate with a MA Degree in Fine Arts with merit at the same Academy. She also attended a semester at the MA Fine Arts Rese-arch and Development at the Middlesex University of London.

CONTACTS

[email protected]

cargocollective.com/veronicadegiovanelli

(IT) +39 340 1031450 (BE) +32 485176551

Studio at W-o-l-k-e, Rue Saint-Hubert 12-141150 Woluwe-Saint-Pierre, (Brussels), BE.

ABOUT

Veronica de Giovanelli's work investigates landsca-pe: the forms in which it manifests itself, changes of state and atmospheric transformations, but also its connotation of cultural space- that is to say, territory in which human endeavour has had a profound im-pact. The studio engages the artist in close combat, one between herself and context, a process through which Veronica is able to resonate with the singulari-ty of places and to draw upon their intrinsic qualities. The collection of these suggestions and coordinates make up a set of references from which to set off, for a return in painted form; this is the final act of an ex-perience of the landscape that cannot just be defined as sensory, but rather as a process through which the artist reworks imaginative, biographical and iden-tifying components.

In the last few years, for example, Veronica’s research has focussed particularly on Venice and its lagoon context, both for its particular morphology and its cultural value as an iconic landscape. Barene, Bricole, Ventimila metri cubi d’acqua al secondo and Eclisse, are just some of the works in which the artist evo-kes lagoon landscapes as a stage for nature’s invisible

transformations; Forsaken I e II, D'estate al Forte e molti pezzi della serie De haruspicibus auguribusque instead present a series of places from the lagoon that have been forgotten by man, paradigms of the min-dset that understands the landscape as a palimpsest, an exhausting and incessant stratification.

Veronica stages these subjects through an aerial point of view or, in the case of disused spaces, from a more close-range point of view, ensuring such forms are defined as the objects of interest of a perceived world. This is done through applications of fresh ve-latura made to sediment at different times, layer after layer. It is a technique the artist favours as it creates a composite grammar which, at the time of writing, permits her to remain in constant contact with both reality and her senses, creating a delicate balance that drives an elaboration of possible meanings.

Through Veronica’s work we are able to see what we are, and how we form a part of it, in another light. The journey between Veronica’s works is not unidi-rectional, the works do not describe nor guide the spectator according to a determined symbolic point

of view; the various levels that the artist proposes take us back to the unicity of some lagoon views, to nature as a live and continuously evolving material, to places ‘betrayed’ by man and to more dreamlike and timeless dimensions in which to rediscover truly personal worlds. It is this movement that persuades us this work is actually a very concrete dialectic that each of us spontaneously creates in relation to living contexts, given that not only are we an integrated part of nature, but subjects too.

Eugenia Delfini, indipendent curator

CV

MAIN SOLO AND GROUP SHOWS

The IntrudersA project curated by D.Capra and F.Bianconi, Spazio Thetis, Arsenale Nord, Venice, IT

Combat Prize Shortlisted, Museo Civico Giovanni Fattori, ex Gra-nai di Villa Mimbelli, Livorno, IT

2014I Borsisti della 97ma Collettiva Group show curated by Stefano Coletto, Bevilacqua La Masa Foundation, Palazzetto Tito, Venice, IT.

Premio Francesco Fabbri Shortlisted in a group show, curated by Carlo Sala, Villa Brandolini, Pieve di Soligo (TV), IT.

Collyer Bristow student award & exhibition Group show curated by Day + Gluckman, Collyer Bristow Gallery, London, UK.

Nessun luogo è lontano A project of Sottobosco, group show curated by Eugenia Delfni, ex macello, Padua, IT.

2016Open studiosW-o-l-k-e, Brussels, BE. (Upcoming)

X= ExplorationsGroup show curated by X=Rivista d'artista, L'A-mour, Paris, FR. (Upcoming)

2015If a clod be washed away by the seaSolo show curated by F. Bianconi and D.Capra, Spa-zio Thetis, tesa 106 Arsenale nord, Venice, IT.

Celeste PrizeGroup show curated by Koyo Kouoh. Final exhibiti-ton at ex-Bazzi, Milan, IT.

To'non IgnàGroup show curated by Dolomiti Contemporanee and Stefano Moras, Nuovo Spazio di Casso, PN, IT.

Rob Pruitt's Flea MarketWith Fondazione Malutta, project curated by Tom-maso Speretta, A plus A Gallery, Venice, IT.

AWARDS AND ARTISTS RESIDENCIES

2015Celeste PrizeWinner of the Painting/Drawing Prize of the Celeste Prize 7th edition, curated by Koyo Kouoh.

Frase got talentWinner of the third prize of the contest, organized by FRASE Contemporary Art.

To'nòn ignà Residency promoted by Dolomiti Contemporanee, Nuovo Spazio di Casso, PN, IT.

201397ma Collettiva Giovani ArtistiWinner of the Bevilacqua La Masa Foundation's annual grant.

Il limite. A un passo da, un passo oltre Winner of the second prize, grant promoted by Provincia Autonoma di Trento e G.A.I. (Young Italian Artists).

2011Atelier FGroup show and workshop curated by Carlo Di Raco and M. Pertegato, Academy of Fine Arts of Venice, IT

7^ Biennale di Incisione Eatching group show, Mac,n Museo di Arte Con-temporanea e del Novecento, Monsummano Terme (PT), IT.

2010Cadavre exquise Group show and workshop curated by Carlo Di Raco, Seminars taken by Domenico Papa, Ivana D'Agostino, Riccardo Caldura. Coorditator artists: Paolo Dolzan, JASA Miriam Pertegato, Magazzino del Sale n°3 , Venice, IT.

2009F Group show part of the project Nuove Figure 3 curated by Carlo Di Raco; Collateral event of the 53^ International Venice Biennale of Art.

The nest-builders of the sea Interim show of the MA Research and Development of the Middlesex University, curated by Oliver Sumner & Elina Suoyrjo, ArtLacuna, London, UK.

201397ma Collettiva Giovani Artisti Shortlisted, group show curated by Stefano Coletto Bevilacqua La Masa Foundation, Galleria di Piazza S.Marco, Venice, IT.

Da Venezia a porta Venezia Group show curated by Caroline Corbetta, Il Cre-paccio, Milan, IT.

2012Art night VeniceGroup show of the Atelier F curated by Carlo Di Raco, Academy of Fine Arts of Venice, IT.

DisgeloGroup show and workshop curated by Paolo Dolzan Parco dei tre castagni eand Castel Pergine, Pergine (TN), IT

Litogènesi (lithogenesis) consists of a series of collages made from the assemblage of frottages made from various surfaces located in the area of Erto and Casso, two villages strongly affected by the Vajont tragedy. The frottages are realized with graphite on Repap mineral paper, made by calcium carbonate (80%) and natural resins (20%). The term Lithogenesis refers to the set of genetic and evolutionary processes at the core of rock generation. In the Dolomites mountains the transformation of sediments into rocks was produced by the residues of organisms that, in order to survive the sinking of tectonic plates, created the spectacular peaks we can admire today, thus exploiting a seemingly unfavorable situation. The images I created evoke marine organisms, sediments, layers, fossils, rocks, and are a tribute to these mountains and the villages built on them, places that should be considered spaces of genesis rather than of tragedy.

LitogènesiCollage of frottage's fragments, graphite on

Repap mineral paper, 102 x 72 cm, 2015.

Installation view of the group show To'non Ignà curated by Dolomiti Contemporanee, Nuovo

Spazio di Casso (PN), IT, 2015.

Litogènesi

SELECTED PROJECTS

Litogènesi (1) (2) (3) Collage of frottage's fragments, graphite on Repap mineral paper, 102 x 72 cm each, 2015

Litogènesi (4)Collage of frottage's fragments, graphite on Repap mineral paper,

102 x 72 cm, 2015

Litogènesi (3) Collage of frottage's fragments, graphite on Re-pap mineral paper, 102 x 72 cm each, 2015

Details of Litogènesi (3) Collage of frottage's fragments, graphite on Repap mineral paper, 102 x 72 cm, 2015

Litogènesi (1) Collage of frottage's fragments, graphite on Repap mineral paper, 102 x 72 cm, 2015

In the next page:details of Litogènesi (1) and (3)Collage of frottage's fragments, graphite on Repap mineral paper, 43 x 30 cm, 2015

The installation Like prolunged echoes mingling in the distance is composed by a number of frottages from the balustrade of the Rialto Bridge. The struc-ture recounts stories and memories from this small fragment of the landscape, polished by the hundreds of hands that have run along the Istrian stone. Be-cause each person that passes removes some of the stone’s molecules, the paper registers the diference between the stone worn by the crossing of people, and that which has been rarely touched, which instead remains rough. The frottages thus become imagined landscapes, in which time is translated entropically in the emptiness, in a shapeless anico-nic imprint. As it happens in the Baudelaire's poetry Correspondences, "pillars" become living and "ema-nate confused words' prostheses are in a constant suggestion of mysterious messages that man can never truly understand. The installation took part of the show The Intruders, curated by F.Bianconi and D.Capra which develops the idea of artwork as a de-vice that pursues its own secrety condition into full play. The perception of the artworks is then split-ted through an exhibition that is hosted in several locations of Venice, prompting the visitor to try the experience of the flâneur, someone who interacts with the urban context by seizing its diversity and its significant aspects.

Like prolunged echoes mingling in the distance

Nature is a temple in which living pillars Sometimes give voice to confused words;Man passes there through forests of symbols Which look at him with un-derstanding eyes. Like prolonged echoes mingling in the distance In a deep and tenebrous unity (...)

(Correspondences, , C.Baudelaire, 1857)

Photos / ©Evelyn Leveghi

SELECTED PROJECTS

Like echoes mingling in the distance Installation view of the show The Intruders, Spazio Thetis150 frottage of the Rialto Bridge's balustrade, graphite on Repap mineral paper 21 x 12 cm each, 2015.

Papers part of the installation Like echoes mingling in the distanceFrottages of the Rialto's Bridge balustrade, graphite on Ogami mineral paper, 21 x 12 each. 2015.

SELECTED PROJECTS

De haruspicibus auguribusque

De haruspicibus auguribusque consists of a series of 50 small paintings which represent natural phenomena and human interventions that have had a profound effect on the landscape.The title of this series of paintings allude to certain divina-tion rites practiced in Ancient Rome: haruspicy, of Etruscan origin, was the review of the entrails of animals, which seemed to be refected in the allocation of the sky, given the close relationship between macrocosm and microcosm. The augurs however, drew the auspicia through the observa-tion of the fight of birds; They understood as if human action was approved or not by the gods.The aerial view taken from the artist allows us to read the landscape in its whole, while the color layering suggests the stratification of the history of the same landscape, marked by great changes, natural and human events, and by its memory.On the other hand, the use of fresh and liquid glazes refers to the impossibility to control the landscape where the nature and the man face themselves in a continuous becoming.

De haruspicibus auguribusqueAcrylic and oil on cardboard monted on mdf, 24 x 25,5 cm, 2014.


In the previous page: installation view of the show I borsisi della 97ma Collettiva, Bevilacqua La Masa Foundation, P.tto Tito, Venice.

De haruspicibus auguribusqueAcrilico ed olio su cartonlegno montato su mdf, 24 x 25,5 cm, 2014.

7 pieces taken from the serie of paintings De haruspicibus auguribusqueAcrylic and oil on cardboard monted on mdf, 24 x 25,5 cm, 2013-14.

Installation view of the show I borsisi della 97ma Collettiva, curated by S.Coletto, Bevilacqua La Masa Foundation, P.tto Tito, Venice.

De haruspicibus auguribusqueSerie of 50 paintings, acrylic and oil on cardboard monted on mdf,

24 x 25,5 cm, 2012-2014.

Installation view of the show I borsisi della 97ma Collettiva, curated by S.Coletto, Bevilacqua La Masa Foundation, Palazzetto Tito, Venice, 2014.

12 pieces taken from the serie of paintings De haruspicibus auguribusqueAcrylic and oil on cardboard monted on mdf, 24 x 25,5 cm, 2013-14.

Installation view of the show I borsisi della 97ma Collettiva, curated by S.Coletto, Bevilacqua La Masa Foundation, P.tto Tito, Venice.

SELECTED WORKS

Posidonia II

Posidonia IIAcrylic and oil on canvas, 150 x 200 cm, 2015.

SELECTED WORKS

The title of the painting If a clod be washed away by the sea, takes its name from a verse from a fa-mous sermon by the poet John Donne. The stanza highlights the importance of relationships and interconnectedness, through metaphors that involve both landscape and man. To recite one part of the text: “if a clod be washed away by the sea, Europe is the less [...] any man's death diminishes me, because I am involved in mankind”. That is to say, every part of the world - each fragment and each person- forms part of a bigger Whole: microcosm and ma-crocosm are in constant dialogue. I decided to use the verse as my title, to try and emphasise how man is an integral part of nature. The title also coherently integrates itself into the image’s structure, in which symbolic forms linked to underlying energy and other forms linked to the work of man (such as the straight lines and flat, uniform colour) are alternate. This seemingly harmonious balance between natural and artificial is in fact a fragile, dynamic and subtle equilibrium: the title appears to ask us what would happen if this equilibrium were to break, while the answer is left open.

If a clod be washed away by the sea

If a clod be washed away by the sea Acrylic and oil on canvas 240 x 280 cm, 2014

Installation view of the show I Borsisti della 97ma Collettiva, curated by S.Coletto, Bevilacqua

La Masa Foundation, Palazzetto Tito, Venice.

No man is an island entire of itself; every man is a piece of the continent, a part of the main; if a clod be washed away by the sea, Europeis the less, as well as if a promontory were, as well as any manner of thy friends or of thine own were; any man's death diminishes me, because I am involved in mankind.And therefore never send to know for whom the bell tolls; it tolls for thee.

Meditation XVIIDevotions upon Emergent OccasionsJohn Donne

Details of If a clod be washed away by the sea Acrylic and oil on canvas 240 x 280 cm, 2014.

In the next page: If a clod be washed away by the sea Acrylic and oil on canvas 240 x 280 cm, 2014

SELECTED WORKS

Fast Flow

Fast flowAcrilyc and oil on canvas, 145 x 200 cm, 2014FRASE Contemporary Art Collection

The starting point for the creation of Forsaken (Santo Spirito's Island) and Forsaken II, are the many islands of the Venetian lagoon completely abandoned.My refection is facing to the marginal places, less known than the “landscapes / postcard” to which we are constantly and involuntarily subjected. Te title has a double meaning, because in English the term forsaken is the past participle of the verb to forsake (abandon), but it also means betrayed

SELECTED WORKS

Forsaken (Santo Spirito's Island)Acrylic and oil on canvas, 150 x 150 cm, 2012

Forsaken (Santo Spirito's Island)

In the previous page: Forsaken IIAcrylic and oil on canvas, 110 x 105 cm, 2014

Velme e bassifondiAcrylic and oil on canvas, 83 x 122 cm, 2013

D'estate, al Forte / Summer at the FortAcrylic and oil on canvas, 145 x 200 cm2013

SELECTED WORKS

D'estate, al Forte

Twenty-thousand cubic meters of water per second Acrylic and oil on canvas, 150 x 150 cm, 2012

Bevilacqua La Masa Foundation Collection

SELECTED WORKS

Twenty-thousand cubic meters of water per second

Twenty thousand cubic meters of water per second is the maximum range of a tide of overall all three inlets of the Venice lagoon (Lido, Malamocco and Chioggia) during syzygy. Syzygy is the moment when the excursion between the high and low tide is at its highest level. The Lagoon of Venice presents morphological cha-racteristics and environmental entirely anomalous that's why it was particularly subject to manipulation by man over the centuries, to safeguard the city.

Sandbanks Acrylic and oil on canvas 83 x 102 cm,2013

EclipseAcryic and oil on canvas, 170 x 200 cm, 2012

SELECTED WORKS

Eclipse

SELECTED WORKS

Bricole

BrìcoleAcryic and oil on canvas, 127 x 127 cm, 2012

Briccola (or Bricola) is a marine structure that is used to indicate the waterways (channels) in the lagoons of Venice, Marano and Grado. It is formed by two or more large wooden poles tied together and placed in water, driven into the seabed. The same structure in the international maritime nomenclature also called duc d'sunrises or Dalben or dolphin.

No TitleOil on cardboard monted on mdfTryptic: two pieces 24 x 25,5 cm, one 25,5 cm x 24 cm2011

SELECTED WORKS

Di lì a poco più in là

PellestrinaAcrylic and oil on canvas, 140 x 160 cm.2011

Di lì a poco più in làAcrylic and oil on canvas monted on mdf, 24 x 25,5 cm, 2011

FRASE Contemporary Art Collection

Di lì a poco più in là

portfolio 2016 vdg

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