year: 2018

tecnica: 
photos: Vitor Schietti

Where does an identity start and end? Where to place its borders? These are the questions that Gigi Piana poses and which represent the engine of his expressive and artistic research, of which the works of “con_fini di lucro” are the product, as would an anthropological research, reveals his passion for questions, more than the claim to provide answers.

  • Indeed, gigi piana’s spirit of research is the one of an explorer in the most genuine sense of the term, who does not know what he will find, and is willing to return from his journey with some more questions. His works impact the public, called into action as an actor rather than a passive spectator. and the artist-explorer opens up to the always unprecedented and unpredictable eventualities of the performative action that is played here and now of the interaction between the artist and spectators, between spectators and works, between spectators and spectators.

yeae: 2018

technique: photos on transparent acetate, various sizes
photos: gigi piana

the photos I made in Africa during the three weeks of Artistic residency alongside the team of Cute Project have become the iconographic basis of the story I wrote and present in the catalog.

  • photos printed on transparent acetate and gauze, have become the basis of interwoven weaves, video images, edited by ewa gleisner have become a visual tale of experience.

    I wasn’t interested to document, to interpret. i didn’t want to look for the difference but to similarity, pain, care, belong to mankind, more than ever, like love and death, unite cultures, just the disease, seen in positive is the painful song of life, the common language.

    I tried to know, through people that reality, in the details of hands, faces, capture gestures, expressions, habits, places, data that allowed me to tell this experience trying not to be superficial, to describe a profound experience, before still that physical, human, spiritual.

year: 2018

technique: plexiglas, silicone and various materials
photos:

“trip to Portugal_invitation to travel”

A book, a journey, a notebook of notes and almost twenty years of accumulated life from the moment when it all began. It could be said that these are the elements of the work of Gigi Piana “towards Portugal – invitation to travel”.

  • The book is José Saramago’s Journey to Portugal, a staple of travel literature because of its eccentricity compared to a genre in which the didactic dimension risks taking the upper hand over the creative elements of writing. Saramago leads the reader in his Portugal, proposing an itinerary in which there are no monuments and main stream routes but a progressive accumulation of sensations, of secluded places, of people, in a dilated time, evidently in contrast with the voracious speed of tourism .

    The journey to which Piana “invites” is therefore that of Saramago, with its long time, with its progressive accumulation of suggestions, told through a few dozen images in which the photographer’s eye assumes the same importance of the represented subject. They are not pictures designed to document, just to instill a sense in the observer, to suggest a point of view.

    Time, finally. Almost twenty years have passed since Piana returned home from Saramago’s Portugal; and all that material accumulated to stop a month and a half of summer wandering in the mind has become something else. It has become an opportunity for reflection – not for rethinking! – but above all it has become that sentimental base that substantiates the act of artistic creation. This is a basis that Piana has referred to, with the help of time, to digest the sensations of the journey. After all, it is as if the artist had questioned himself on the correspondence between himself twenty years ago and that of today. The journey then becomes a pretext to resume the road, to retrace a journey no longer concluded with the body but with the look and the heart.

    What emerges is an accumulation of objects and their aesthetic representation, it is a dialogue between the materiality of what inspires artistic creation and the aesthetic – and narrative – reworking of that aura that the objects collected twenty years ago still conserve . Is it the same aura of the era or is it another? Perhaps this is a nonsense question because in reality the aura, precisely because it still emanates its energy after some time, is something that has become entangled in Piana’s biography accompanying it until today.

    “Towards Portugal – an invitation to travel” is a set of elements that, at the very moment in which they are staged, abandon their object status and become something else. The travel diary written by Piana in direct loss loses the value of a testimony recorded hot to become a set of words to meditate; in the same way the photographs taken are no longer just the memory to take home but assume a universalistic value that ends up transcending the physicality of the places they represent, and the collected objects are no longer fetishes but are transformed into the tangibility of the memory that does not it fades just because you can caress, cure or even forget and abandon.

    In his notebook Piana writes, July 31, 1999, at one and 34 am, a few days from that eclipse of the sun that should have represented, according to someone, the end of the world, that “the traveler feels lighter and he knows that tomorrow he will be able to be transported, without resistance or pain “. Here, this cycle of works is just that: time has transfigured the immediacy fibrillations caused by emotions and has transformed them into an instrument of liberation. The landing is a freedom that does not make a clean sweep of the past but digests it with a new look, with a different awareness. Liberation takes place therefore by reckoning with what happened, with a “past that does not pass” – but in a good way – and which ends up being an opportunity to verify itself, but without undergoing a judgment.

    The memories are those, the journey is over, the people with whom we shared everyday life have changed, on many things we think now differently, there are twenty years more on the shoulders, on the skin and in the head. It is something ineluctable. And the inevitability of what has passed is the precondition for returning on that month and a half past in Saramago’s Portugal. And to bring even those who today look at those memories turned into art, those who are not ashamed to do the voyeur because it is the artist himself who invites him to rummage in the most intimate dimension of his memory.

    When you look at someone’s photographs you always feel that mixture of modesty and curiosity, of effrontery and shyness, but when the private person is staged, it becomes something else that changes not only his status of meaning but also the gaze of those who observes, triggering a mechanism of liberation from prejudices.

    Piana weaves and prints, shares photos of what he has chosen to stop with the goal, absolutizes his will and transforms what has struck him into something that must hit everyone. He does not do it in an authoritarian way, or even with self-centeredness, but democratically, offering everyone his experience. The same plastic dimension of the works, thought of as notebooks open on the spectator’s world, become objects to take with them, metaphorically but also physically. The interweaving of photographs merge with the notebook paper and dialogue, beyond the space of the painting, with the objects that Gigi brought with him from Portugal and which he has kept for twenty years. Inspiration becomes so tangible.

    The journey does not end when it ends, the memory does not die when it is stored, time transforms, rounds some edges and makes others more sharp. The art tells all this: it is that tool of narration that, slamming the world in the face of the spectator, allows him to understand it, with delicacy.

    Marco Albeltaro

year: 2014

technique: photograph on transparent acetate

“96 variazioni d’onda” |96 wave variations| work, a homage to Hokusai, meditates on the contemporary relating to an icon of the artistic representation: Hokusai’s Wave, that depicts a tsunami. 

  • it represents an interesting topic in an everyday that provides continuous images of that same event: daily cloudbursts and climatic upheavals, migrations of human masses and boundaries shifts. in this case the wave, besides talking about the previous themes, ponders what is happening on an historical, economic and social level and on the difference between what is taking place and what we perceive. the distance between real and perceived is abysmal. instrumentalized, indirect and deformed informations create so many different waves. the wave is one, but if it is overlapped and altered, it ultimately changes its shape. the invitation to the viewer through the visual fragmentation is to the mental exercise of recomposing: the search for a subjective possibility to create an idea of something in the likes of the real.

year: 2014

technique: photo on transparent acetate, various sizes

“heard-t” series investigates the feminine and masculine body intertwining and uniting to create the magic of the love ritual: not in the symbolic but in the physical sense. 

  • the united bodies produce a light, as soul and flesh give birth to one of the most archaic and primordial experiences of life.

year: 2015

technique: plexiglas, silicone e materiali vari

The series “diseasesnotstudied” is the continuation of a research begun in 2002 with the personal “up to here” in which the theme developed was inspired by a movie’s quote from “La Haine” (The Hate) by M. Kassowitz. 

  • A man, falling from a skyscraper with his gaze turned upwards, before the inexorable crash repeats obsessively: “Up to here, everything is fine.” The image is an explanatory metaphor of the present: some of us have already collapsed, others are flying … While in “up to here” the fears of the 20th century are faced, on the occasion of “Contaci” the same discourse is re-elaborated and updated in its declination in the dangers that, now, threaten our future possibilities, in particular in the aspects close to the theme of psycho-physical “wellness”. The shapes (self-portraits) carved in transparent Plexiglas are grappling with “therapies”, “bad nutrition” and “environmental pollution”: a critical look at the business that exploits the aforementioned themes to manufacture pills and fears, as well as new patients to be treated .

year: 2014

technique: photos on transparent acetate, various sizes

the very maps detailing our solid grounds are updated by the artist. he moves the territories into continental drifts, leading lands out of them (reale-percepito|real-perceived). 

  • he de-attaches maps in “distacco|separation” (an operation that gives material substance to the disorientation related to our identity and the world) or he anchors them to multiple surfaces, overturning perspectives and creating new ones. submerged lands surface, the emerged ones are inundated by floods or disappear, empty, letting a new-but-familiar profile show (collasso mediterraneo|mediterranean collapse). water pollution pollutes man as well. mankind is the same responsible and victim of a collective insanity that takes the loud colours of pills. the very same we diligently swallow to cure illnesses and anxieties coming from society itself (anti_doti|antidotes).

    an apparently negatively condemning view, but the aim is not to add fear to fears, terror to terrorism. the attempt is to widen, clarify, giving space and possibility to reflection. and to regeneration: a human potential for the ones that can open up to a crystalline relationship with the self and the other (generare mondi|generate worlds).

     

year: 2013

technique: wood, transparent pvc, colored ink

intertwining and transparency create a living and moving basis to the (in)definition of geographical borders. in this transparent canvas, the planisphere is represented as “the arch-image of order and disorder, chance and necessity” (J. C. Amman). 

  • the weave gradually unravels until it falls apart: the immediate reference is to social disruption, highly topical issue in Italy and elsewhere in the world. an ongoing change that can hardly be read, deciphered, that few feel the desire to decode.

year: 2014

technique: photos on transparent acetate, various sizes

year: 2014

technique: photo on transparent acetate

year: 2014

technique: photo on transparent acetate

ricerca_d_identità (6161_seiunoseiuna) |search_for_identity (youareone_maleandfemale)| faces one of the oldest reflections of man in the definition of his ego, the male and female component which together constitute the essence, the deepest and most torn root of our being.

  • We can find this concept even in the Tao, the symbol of universal balance, made explicit in the small white drop immersed into the black and vice versa. For the human being, the acceptance of this simple truth continuously clashes with the prejudices and the cultures in which subjects interact. A natural disposition that collides with social conventions, generating in some cases real “monsters”… of ignorance! We can find a further reading level in this work: that of the social interaction between individuals, not necessarily of different sexes. In both cases, the invitation is to the exchange, to deepening, and to relationship.

    Interlacement is coexistence, acceptance of other individuals with no domination but equal dignity, of other individuals in mutual respect.

    Alessia Locatelli

year: 2014

technique: photo on transparent acetate

identity research_ bodies

year: 2014

technique: photo on transparent acetate

search_for_identity  (6161_seiunoseiuna) addresses one of the most ancient reflections of man in the definition of his ego: the male and female component that together constitutes the essence, the deep root and most in struggle of our being.

  • even in the Tao, symbol of universal equilibrium, we find this concept explicit in the small drop of white in black and
    the other way around. for the human being, the acceptance of this simple truth clashes continually with the prejudices and cultures with which the subjects interact. a natural arrangement that goes into
    collision with social conventions generating in some cases real “monsters” … of ignorance! for this work there is a subsequent level of reading: that of social interaction between individuals, not necessarily of different sexes. in both cases it is an invitation to exchange, to deepening, to the relationship.

    the plot is coexistence, acceptance not dominated but with equal dignity, of other individuals in mutual respect.

anno: 2014

tecnica: foto su acetato trasparente

anno: 2014

tecnica: foto su acetato trasparente

L’artista elegge a personale cifra stilistica due elementi fondamentali: l’intreccio e la trasparenza. E li utilizza per suggerire direzioni, per dare strumenti di possibile comprensione del reale, nell’ottica di un’arte attiva, vitale e viva, compartecipata.

  • Una concezione di arte che richiama quella beuysiana di “arte come esperienza globale, processo totalizzante di rigenerazione e liberazione dell’individuo”. Il gesto artistico peculiare che compie l’artista biellese nella definizione di identità parte proprio dalla tradizione del territorio natio: piana intesse tele macroscopiche partendo da stampe su acetato trasparente. Le immagini fotografiche che ritraggono l’abbraccio di due corpi nudi, femminile e maschile (uno dei soggetti è, necessariamente e responsabilmente, l’artista stesso) sono tagliate con minuziosa precisione in trame orizzontali e orditi verticali per essere poi intrecciate sul telaio della cornice. Il risultato è la coesistenza di entrambi i generi, nell’incontro con l’altro/a da sé che può avvenire solo a patto di riconoscere i confini sfumati dell’uomo e donna in noi stessi.

     

anno:

tecnica:
foto: ewa gleisner

year:

technique
photos: ewa gleisner

year: 2011

technique: glass, transparent gel wax, photographs on transparent gloss paper, magnetic letters, magnetic boards
photos: ewa gleisner

a work on words, on the meaning of “word” as a concept even before the single letters used in composing. lower-case letters, light and colourful: they express the potential of coming out from the strict sense and germinate. upper-case letters, black and heavy: they hoard, decant and die. the work, thought from several points of view, moves around these possibilities.

  • gigi piana’s words – critical text

    I often think over the weight of words, on their being living organisms composed of a body and a mind, over the strength and the dangerousness intrinsic to their identity. I don’t think that scripta manent and verba volant (spoken words fly away, written words remain). Words are boulders, which you can disperse or forget but never erase. they leave behind traces, echoes, they fall on deaf ears and can kill.

    I think over them because I look around me and try to understand what is going on in our society: a continuous abuse regarding the use of the word, generalized to every level and situation. John Berger, the writer, made it clearer to me some months ago, during a meeting at Carignano Theatre in Turin.

    In the contemporary world, he said, the media and social models are slowly depriving people of language.

    The language is treated improperly, words are defrauded of their real meaning to be used with another, slightly different one that increasingly moves them away from their initial semantic value.

    So, the common language gets lost, together with the opportunity of conversing, actually understanding, matching, struggling. The opportunity of remembering and passing on. It becomes a false, apparent communication between people who no longer own a common language and lose their past, present and future possibility. Words are abused and talked down, and so are thought, freedom. The wealth of a language and a culture is replaced by a primitive and reduced vocabulary – induced, especially – stuffed with clichés and common sayings, in which the wit of the word and thought construction evaporates. A lobotomising regime of mediocrity establishes and talks down people through the denial of verbal expression as a rationally and spiritually elevating experience.

    John Berger would like gigi piana because of his work of visualization of the condition of words and language nowadays.

    gigi piana revolves around the concept of “word” and adopts the English language as it is the one adopted by the globalised society, a spurious pastiche used for a basic, coarse and quick communication between people who talk different languages.

    Word is then the common word in the horizontal society, virtually reduced to a village; but it is also “the Word” of which things are made and must firstly be pronounced to exist.

    piana lets language decant: he isolates bad, dead, abused and deceitful words, presenting them as black. The other words, the ones that remain pure, still embody meanings and can create a vital thought; those are seen as coloured by gigi and they fly up towards heights as existential aspiration. He puts them in front of us, actually asking us to choose, to side with the black or coloured words. It is an ethical choice, even before linguistic.

    I like gigi’s conceptual guerilla warfares, his weapons made of words and thoughts. I wish they could become a collective sabotage method.

    Come now, let’s talk well and hands off our words, hands off ourselves.

    olga gambari

year:

technique
photos: ewa gleisner

year: 2018

tecnica: 
photos: Vitor Schietti

Where does an identity start and end? Where to place its borders? These are the questions that Gigi Piana poses and which represent the engine of his expressive and artistic research, of which the works of “con_fini di lucro” are the product, as would an anthropological research, reveals his passion for questions, more than the claim to provide answers.

  • Indeed, gigi piana’s spirit of research is the one of an explorer in the most genuine sense of the term, who does not know what he will find, and is willing to return from his journey with some more questions. His works impact the public, called into action as an actor rather than a passive spectator. and the artist-explorer opens up to the always unprecedented and unpredictable eventualities of the performative action that is played here and now of the interaction between the artist and spectators, between spectators and works, between spectators and spectators.

yeae: 2018

technique: photos on transparent acetate, various sizes
photos: gigi piana

the photos I made in Africa during the three weeks of Artistic residency alongside the team of Cute Project have become the iconographic basis of the story I wrote and present in the catalog.

  • photos printed on transparent acetate and gauze, have become the basis of interwoven weaves, video images, edited by ewa gleisner have become a visual tale of experience.

    I wasn’t interested to document, to interpret. i didn’t want to look for the difference but to similarity, pain, care, belong to mankind, more than ever, like love and death, unite cultures, just the disease, seen in positive is the painful song of life, the common language.

    I tried to know, through people that reality, in the details of hands, faces, capture gestures, expressions, habits, places, data that allowed me to tell this experience trying not to be superficial, to describe a profound experience, before still that physical, human, spiritual.

year: 2018

technique: plexiglas, silicone and various materials
photos:

“trip to Portugal_invitation to travel”

A book, a journey, a notebook of notes and almost twenty years of accumulated life from the moment when it all began. It could be said that these are the elements of the work of Gigi Piana “towards Portugal – invitation to travel”.

  • The book is José Saramago’s Journey to Portugal, a staple of travel literature because of its eccentricity compared to a genre in which the didactic dimension risks taking the upper hand over the creative elements of writing. Saramago leads the reader in his Portugal, proposing an itinerary in which there are no monuments and main stream routes but a progressive accumulation of sensations, of secluded places, of people, in a dilated time, evidently in contrast with the voracious speed of tourism .

    The journey to which Piana “invites” is therefore that of Saramago, with its long time, with its progressive accumulation of suggestions, told through a few dozen images in which the photographer’s eye assumes the same importance of the represented subject. They are not pictures designed to document, just to instill a sense in the observer, to suggest a point of view.

    Time, finally. Almost twenty years have passed since Piana returned home from Saramago’s Portugal; and all that material accumulated to stop a month and a half of summer wandering in the mind has become something else. It has become an opportunity for reflection – not for rethinking! – but above all it has become that sentimental base that substantiates the act of artistic creation. This is a basis that Piana has referred to, with the help of time, to digest the sensations of the journey. After all, it is as if the artist had questioned himself on the correspondence between himself twenty years ago and that of today. The journey then becomes a pretext to resume the road, to retrace a journey no longer concluded with the body but with the look and the heart.

    What emerges is an accumulation of objects and their aesthetic representation, it is a dialogue between the materiality of what inspires artistic creation and the aesthetic – and narrative – reworking of that aura that the objects collected twenty years ago still conserve . Is it the same aura of the era or is it another? Perhaps this is a nonsense question because in reality the aura, precisely because it still emanates its energy after some time, is something that has become entangled in Piana’s biography accompanying it until today.

    “Towards Portugal – an invitation to travel” is a set of elements that, at the very moment in which they are staged, abandon their object status and become something else. The travel diary written by Piana in direct loss loses the value of a testimony recorded hot to become a set of words to meditate; in the same way the photographs taken are no longer just the memory to take home but assume a universalistic value that ends up transcending the physicality of the places they represent, and the collected objects are no longer fetishes but are transformed into the tangibility of the memory that does not it fades just because you can caress, cure or even forget and abandon.

    In his notebook Piana writes, July 31, 1999, at one and 34 am, a few days from that eclipse of the sun that should have represented, according to someone, the end of the world, that “the traveler feels lighter and he knows that tomorrow he will be able to be transported, without resistance or pain “. Here, this cycle of works is just that: time has transfigured the immediacy fibrillations caused by emotions and has transformed them into an instrument of liberation. The landing is a freedom that does not make a clean sweep of the past but digests it with a new look, with a different awareness. Liberation takes place therefore by reckoning with what happened, with a “past that does not pass” – but in a good way – and which ends up being an opportunity to verify itself, but without undergoing a judgment.

    The memories are those, the journey is over, the people with whom we shared everyday life have changed, on many things we think now differently, there are twenty years more on the shoulders, on the skin and in the head. It is something ineluctable. And the inevitability of what has passed is the precondition for returning on that month and a half past in Saramago’s Portugal. And to bring even those who today look at those memories turned into art, those who are not ashamed to do the voyeur because it is the artist himself who invites him to rummage in the most intimate dimension of his memory.

    When you look at someone’s photographs you always feel that mixture of modesty and curiosity, of effrontery and shyness, but when the private person is staged, it becomes something else that changes not only his status of meaning but also the gaze of those who observes, triggering a mechanism of liberation from prejudices.

    Piana weaves and prints, shares photos of what he has chosen to stop with the goal, absolutizes his will and transforms what has struck him into something that must hit everyone. He does not do it in an authoritarian way, or even with self-centeredness, but democratically, offering everyone his experience. The same plastic dimension of the works, thought of as notebooks open on the spectator’s world, become objects to take with them, metaphorically but also physically. The interweaving of photographs merge with the notebook paper and dialogue, beyond the space of the painting, with the objects that Gigi brought with him from Portugal and which he has kept for twenty years. Inspiration becomes so tangible.

    The journey does not end when it ends, the memory does not die when it is stored, time transforms, rounds some edges and makes others more sharp. The art tells all this: it is that tool of narration that, slamming the world in the face of the spectator, allows him to understand it, with delicacy.

    Marco Albeltaro

year: 2014

technique: photograph on transparent acetate

“96 variazioni d’onda” |96 wave variations| work, a homage to Hokusai, meditates on the contemporary relating to an icon of the artistic representation: Hokusai’s Wave, that depicts a tsunami. 

  • it represents an interesting topic in an everyday that provides continuous images of that same event: daily cloudbursts and climatic upheavals, migrations of human masses and boundaries shifts. in this case the wave, besides talking about the previous themes, ponders what is happening on an historical, economic and social level and on the difference between what is taking place and what we perceive. the distance between real and perceived is abysmal. instrumentalized, indirect and deformed informations create so many different waves. the wave is one, but if it is overlapped and altered, it ultimately changes its shape. the invitation to the viewer through the visual fragmentation is to the mental exercise of recomposing: the search for a subjective possibility to create an idea of something in the likes of the real.

year: 2014

technique: photo on transparent acetate, various sizes

“heard-t” series investigates the feminine and masculine body intertwining and uniting to create the magic of the love ritual: not in the symbolic but in the physical sense. 

  • the united bodies produce a light, as soul and flesh give birth to one of the most archaic and primordial experiences of life.

year: 2015

technique: plexiglas, silicone e materiali vari

The series “diseasesnotstudied” is the continuation of a research begun in 2002 with the personal “up to here” in which the theme developed was inspired by a movie’s quote from “La Haine” (The Hate) by M. Kassowitz. 

  • A man, falling from a skyscraper with his gaze turned upwards, before the inexorable crash repeats obsessively: “Up to here, everything is fine.” The image is an explanatory metaphor of the present: some of us have already collapsed, others are flying … While in “up to here” the fears of the 20th century are faced, on the occasion of “Contaci” the same discourse is re-elaborated and updated in its declination in the dangers that, now, threaten our future possibilities, in particular in the aspects close to the theme of psycho-physical “wellness”. The shapes (self-portraits) carved in transparent Plexiglas are grappling with “therapies”, “bad nutrition” and “environmental pollution”: a critical look at the business that exploits the aforementioned themes to manufacture pills and fears, as well as new patients to be treated .

year: 2014

technique: photos on transparent acetate, various sizes

the very maps detailing our solid grounds are updated by the artist. he moves the territories into continental drifts, leading lands out of them (reale-percepito|real-perceived). 

  • he de-attaches maps in “distacco|separation” (an operation that gives material substance to the disorientation related to our identity and the world) or he anchors them to multiple surfaces, overturning perspectives and creating new ones. submerged lands surface, the emerged ones are inundated by floods or disappear, empty, letting a new-but-familiar profile show (collasso mediterraneo|mediterranean collapse). water pollution pollutes man as well. mankind is the same responsible and victim of a collective insanity that takes the loud colours of pills. the very same we diligently swallow to cure illnesses and anxieties coming from society itself (anti_doti|antidotes).

    an apparently negatively condemning view, but the aim is not to add fear to fears, terror to terrorism. the attempt is to widen, clarify, giving space and possibility to reflection. and to regeneration: a human potential for the ones that can open up to a crystalline relationship with the self and the other (generare mondi|generate worlds).

     

year: 2013

technique: wood, transparent pvc, colored ink

intertwining and transparency create a living and moving basis to the (in)definition of geographical borders. in this transparent canvas, the planisphere is represented as “the arch-image of order and disorder, chance and necessity” (J. C. Amman). 

  • the weave gradually unravels until it falls apart: the immediate reference is to social disruption, highly topical issue in Italy and elsewhere in the world. an ongoing change that can hardly be read, deciphered, that few feel the desire to decode.

year: 2014

technique: photos on transparent acetate, various sizes

year: 2014

technique: photo on transparent acetate

year: 2014

technique: photo on transparent acetate

ricerca_d_identità (6161_seiunoseiuna) |search_for_identity (youareone_maleandfemale)| faces one of the oldest reflections of man in the definition of his ego, the male and female component which together constitute the essence, the deepest and most torn root of our being.

  • We can find this concept even in the Tao, the symbol of universal balance, made explicit in the small white drop immersed into the black and vice versa. For the human being, the acceptance of this simple truth continuously clashes with the prejudices and the cultures in which subjects interact. A natural disposition that collides with social conventions, generating in some cases real “monsters”… of ignorance! We can find a further reading level in this work: that of the social interaction between individuals, not necessarily of different sexes. In both cases, the invitation is to the exchange, to deepening, and to relationship.

    Interlacement is coexistence, acceptance of other individuals with no domination but equal dignity, of other individuals in mutual respect.

    Alessia Locatelli

year: 2014

technique: photo on transparent acetate

identity research_ bodies

year: 2014

technique: photo on transparent acetate

search_for_identity  (6161_seiunoseiuna) addresses one of the most ancient reflections of man in the definition of his ego: the male and female component that together constitutes the essence, the deep root and most in struggle of our being.

  • even in the Tao, symbol of universal equilibrium, we find this concept explicit in the small drop of white in black and
    the other way around. for the human being, the acceptance of this simple truth clashes continually with the prejudices and cultures with which the subjects interact. a natural arrangement that goes into
    collision with social conventions generating in some cases real “monsters” … of ignorance! for this work there is a subsequent level of reading: that of social interaction between individuals, not necessarily of different sexes. in both cases it is an invitation to exchange, to deepening, to the relationship.

    the plot is coexistence, acceptance not dominated but with equal dignity, of other individuals in mutual respect.

anno: 2014

tecnica: foto su acetato trasparente

anno: 2014

tecnica: foto su acetato trasparente

L’artista elegge a personale cifra stilistica due elementi fondamentali: l’intreccio e la trasparenza. E li utilizza per suggerire direzioni, per dare strumenti di possibile comprensione del reale, nell’ottica di un’arte attiva, vitale e viva, compartecipata.

  • Una concezione di arte che richiama quella beuysiana di “arte come esperienza globale, processo totalizzante di rigenerazione e liberazione dell’individuo”. Il gesto artistico peculiare che compie l’artista biellese nella definizione di identità parte proprio dalla tradizione del territorio natio: piana intesse tele macroscopiche partendo da stampe su acetato trasparente. Le immagini fotografiche che ritraggono l’abbraccio di due corpi nudi, femminile e maschile (uno dei soggetti è, necessariamente e responsabilmente, l’artista stesso) sono tagliate con minuziosa precisione in trame orizzontali e orditi verticali per essere poi intrecciate sul telaio della cornice. Il risultato è la coesistenza di entrambi i generi, nell’incontro con l’altro/a da sé che può avvenire solo a patto di riconoscere i confini sfumati dell’uomo e donna in noi stessi.

     

anno:

tecnica:
foto: ewa gleisner

year:

technique
photos: ewa gleisner

year: 2011

technique: glass, transparent gel wax, photographs on transparent gloss paper, magnetic letters, magnetic boards
photos: ewa gleisner

a work on words, on the meaning of “word” as a concept even before the single letters used in composing. lower-case letters, light and colourful: they express the potential of coming out from the strict sense and germinate. upper-case letters, black and heavy: they hoard, decant and die. the work, thought from several points of view, moves around these possibilities.

  • gigi piana’s words – critical text

    I often think over the weight of words, on their being living organisms composed of a body and a mind, over the strength and the dangerousness intrinsic to their identity. I don’t think that scripta manent and verba volant (spoken words fly away, written words remain). Words are boulders, which you can disperse or forget but never erase. they leave behind traces, echoes, they fall on deaf ears and can kill.

    I think over them because I look around me and try to understand what is going on in our society: a continuous abuse regarding the use of the word, generalized to every level and situation. John Berger, the writer, made it clearer to me some months ago, during a meeting at Carignano Theatre in Turin.

    In the contemporary world, he said, the media and social models are slowly depriving people of language.

    The language is treated improperly, words are defrauded of their real meaning to be used with another, slightly different one that increasingly moves them away from their initial semantic value.

    So, the common language gets lost, together with the opportunity of conversing, actually understanding, matching, struggling. The opportunity of remembering and passing on. It becomes a false, apparent communication between people who no longer own a common language and lose their past, present and future possibility. Words are abused and talked down, and so are thought, freedom. The wealth of a language and a culture is replaced by a primitive and reduced vocabulary – induced, especially – stuffed with clichés and common sayings, in which the wit of the word and thought construction evaporates. A lobotomising regime of mediocrity establishes and talks down people through the denial of verbal expression as a rationally and spiritually elevating experience.

    John Berger would like gigi piana because of his work of visualization of the condition of words and language nowadays.

    gigi piana revolves around the concept of “word” and adopts the English language as it is the one adopted by the globalised society, a spurious pastiche used for a basic, coarse and quick communication between people who talk different languages.

    Word is then the common word in the horizontal society, virtually reduced to a village; but it is also “the Word” of which things are made and must firstly be pronounced to exist.

    piana lets language decant: he isolates bad, dead, abused and deceitful words, presenting them as black. The other words, the ones that remain pure, still embody meanings and can create a vital thought; those are seen as coloured by gigi and they fly up towards heights as existential aspiration. He puts them in front of us, actually asking us to choose, to side with the black or coloured words. It is an ethical choice, even before linguistic.

    I like gigi’s conceptual guerilla warfares, his weapons made of words and thoughts. I wish they could become a collective sabotage method.

    Come now, let’s talk well and hands off our words, hands off ourselves.

    olga gambari

year:

technique
photos: ewa gleisner