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The third Stefania Galegati exhibition by pinksummer is made up of
two videos, an installation of writings projected on a wall, some pictures
taken from things often found in art galleries and then from a small
book, around which, as Galegati explains in the following text, the
whole exhibition is based: it’s a love story between an artist
and a collector exchanged through e-mails; an intimate story. They are
works that move from an attitude that could be defined as the pathology
of the delay that a tourist imposes on daily life, a sort of neurosis
in registering things so as to prolong the enjoyment of holidays on
returning back home, when in intimacy he is finally able to live by
extending life's images. The concept of intimacy is developed by a prismatic
project, whose faces are connected by subtle references that move from
the individual to reflect the collective. The self seems to end up in
the manifestations of the world, and the world finds a unique body in
the vibrations produced by people and with it its essential metaphysicality.
Tell us quickly something about the show you have in mind for pinksummer.
In the pinksummer show I would like to present a series
of random notes. It is a direction that the work has
taken in the last two years and that until now I have
refused to show as a real work… material that I used more for
events or evenings. It has a different weight, in the sense that are
notes taken from here and there, but slowly it becomes an essential
part of the work, I have probably been influenced by my gipsy behaviour,
but also from the necessity to assimilate the world in a maniac way
and to give it back being a filter. In a word, what
I considered real work gets so near to this attitude, and what is born
as notes shifts so near the real work that now I am no more able to
distinguish them from each other.
I would like to show the photos of the writing as slides. You can see them on my web site. I have many writings, I have to select them well.
I will take particular care of sorting the small book: it is also a
random work, because a friend gave it to me, I changed the names and
places… however it’s a collection of series of emails that
form a love story between an artist and a collector. I have attached
it. (be careful, those who read it, as you will not be able to do anything
else all day).
In the show therefore, there are two video “L’ora del sud” (“The Southern hour”) and “Implosion” (seen yesterday) one on screen and one projected, then there is a carousel for the writings and pictures of the signatures and albums of the galleries (They are 10, 27x36 cm, I did a print proof yesterday to see them hung and I think it is a good size) and then the small book containing the love story between collector and artist. I cannot wait to see it installed, and for me to install it!! I haven't slept for ages because I've been thinking about this show. We like the idea of the foam rubber seat, how do you think you will present the small book? Do you need a stand?
don’t know… it also depends on the effect on the rest of
the space and to how everything interacts, but we can decide at the
last minute whether to put them all on the ground and maybe one print
hanging on the wall in a way that someone can read some of the phrases
here and there as a preview… or on a table… in any case
I was thinking that we need someone for the opening a person that can
distribute them… if Nelda wanted to do it… in any case
I would keep it at the centre of the space. It is the intimate fulcrum
around which all the show turn and through it all the other things get
connected. I am giving you some of the writings as written down, as
gestures of freedom, they make a connection between the book and the
videos that are instead more open to the world and less specific but
they have many connotations.
What do you mean “I’m a gipsy”?
It means that I don’t have a house. The only I have is here in
New York, is the living room a over crowded apartment,
it means that I don’t have any intimacy, not at all in the last
two years… and
this has probably conditioned my work.
When you said that you follow that moments in which there is the need to trust someone or something, do you think that some public phenomena, such as football or historical events as the Giovanni Paolo II funerals produce emotive vibrations like those induced by ritual psychology, and that in this sense they are in some way to intend as metasensible research: that humanity, essentially, looks where it can, where it is able its own metaphysic?
Yes, this is evident. It’s a bit like having a vision in which
everything is clear and simple, like what happens if
you think the world as a warship or as a Gaia (B. Fuller and Asimov,
I always steel from that!)… The fact of staying behind a camera
means having this attitude of distance with things. It seems a contrast
with respect to “richness” in
terms of the quantity of images of the show, but it is
like distancing yourself from the things in order to
be part of them. The method is the opposite but the intentions are the
same for the canvas of the zoo architectures. I have another beautiful
quote, now I will find it.
Often, when you talk about your work you are talk of the absurd, do you mean those strange moments in which a less dense world, but not a lesser reality, reveals itself. We are looking to see the reason of this project, also in relation to what your work is, or at least what we believe it is or what we should like it to be: a sort of evocation, or better, a revelation of a magnetism, of a thin and powerful energy that always arrives in your drawings to make nature stumble, or better, an existence from which the spirituality has been put aside.
This last phrase is very beautiful. I believe that you
encapsulate the intentions. I add that I should like
give to this show a bit of an abstract shape in which
there are some lines that come back to everything with
a different focus. There are some continuous references
between every work and I would like to discover them little by little.
It should be like a second editing, beyond the one of the single work.
And there are a lot of references, both for similitude that for contrast:
To put together the game park of Saint Land with the North American
mother that isn’t able to explain to her daughter what happened
to the plaza De mayo mothers. The madness to invent a
belief and a faith in sporting events, as much as the jazz man who spits
out his soul on the drums, as much as to invent a possible digital love
at distance and to live it as if it were true…. I’m not
able to find a general idea behind all of this, but if I connect everything
together, a clear image opens up. Like a tangle of knots
that shape a ball, if you are distant you see a ball,
if you approach it you see only a knotted rope…
One more thing: Garibaldi.
Garibaldi isn’t a work, I don’t know what to do with it,
it is by now an invitation. I’m collecting all the images of all
Garibaldi monuments in the world. It talks about "italianity” in
the same way as the video “Implosion”. I’m interested
by the fact that he was revolutionary by chance. He at
the end wanted only to fight, but he made Italy. I like
to collect things that I don't know what to do with, but that are all
things that will take me somewhere else. In the two videos that are
in the show there is Garibaldi in Plaza Italia in Buenos Aires and the
one of Washington Place in NYC.