Jodan Coriza, USA
Fei Li, USA/China
Blessy Man, Hong Kong
Lucie Mandeville, Canada
Juana Adcock, UK/Mexico
Annie Charland-Thibodeau, Canada
Tina Engels, USA
Josee Pedneaut, Canada
Tianyu Qiu, USA/China
Lara Zankoul, Lebanon
Rachel Crummey, Canada
Annette Elliot, USA
Kristen Heuschen, Germany
Emily Jay, USA
Yoonjung Kim, South Korea
Colette Krogol & Mathew Reeves, USA
Daun Lim, South Korea
Caitlyn Main, USA
Friederike Meinecke, Germany
Sara Pathirane & Kristina Sedlerova, Finland
Katrine Sloth, Denmark
Lisa-Marie Vilestra, Holland
Ilyn Wong, USA
Hyojung Ahn, South Korea
My first impression about Toffia was that it has a very picturesque and organic feature, which is distinctive from any other city I have ever visited and lived. Even though Toffia was felt like being made of drapes of its history and nature, ironically I found the metaphor from the urban construction sites that I found around the town. By using the graphic and material sources from the street of Toffia, I tried to make a connection between the real space and the artwork. The configuration of the work is of the found objects and the video, which finally works as changeable three dimensional drawings.
Saskia Bannasch, Germany
I am engaged in the topic of space, the known and the unknown. I am interested in the relation between space, time and body. From my point of view, the three components are related to each other and they create the volume of space. The decisive factor of my inquiry is not only the visible existence. In fact, I am fascinated by emptiness, which makes me aware of blurred tracks. I approach the whole extent of space just as I approach the little space inside a space. I use drawing to get a general idea of a room/ area/region in a two-dimensional way. Later fractions of my drawings become, again, part of my work as »transcripts«. Chance plays a role in this, as well. I bring out what I experience and tie it in with the observation, continuing to perceive these things. The outcome of this examination is a new perception of the space through a site-specific installation.
»How much space needs the present III«, 2014. fabric. dark-brownish bar. side-specific installation
I deal with the hidden space, with the secret and still visible space. The folding. If I unfold something its size increases, the surface grows. The folding is full of hope and mystery. The »thing« stays a secret until the folds are straightened. In the exhibition space there is a mural painting from a 13th century church. The painting shows saints wearing folded robes. The installation interacts with the old murals.
»How much space needs the present II«, 2014. seventeen old marble tiles. thread. side-specific installation
I found marble tiles at the stream. They are partially buried in the dry mud. They are on the ground to mark the path to the stream – like many other broken fragments of thrown tiles. The marble tiles are almost intact. I pick them up, I dig them out, I wash them, I remove the remaining seams, I carry them to the theater and oil them there… Just above the floor there are seventeen marble tiles on the stage of the theater. They are floating suspended on threads. Together they build a chain, a curtain, a fence. They surround the space in which I worked for the video (How much space needs the present I), the space I adopted through my interaction.
Julia Coursey, USA
David Baumflek, Canada
“Beauty is the mirror of divinity”
In this video and sculptural work, David Baumflek traces the fascinating career of Italian architect Luigi Moretti. Born in Rome in the year 1903, Moretti came of age at a time of international turmoil. After being a star pupil in the architectural school of Rome he was soon taken into elite circles of powerful Fascist politicians. With his ability to balance classical iconography with modernist forms, he became a prominent figure in the regimes building initiatives. Moretti constructed dozens of party buildings, public squares, and official spaces under Mussolini’s watchful eye.
After the war, Moretti would shed the history of his past affiliations, and work towards an aesthetics of mathematical perfection and abstraction, becoming a forerunner of contemporary, computer-aided ‘parametric’ architectural practice. It was Moretti who designed the Watergate Complex in Washington D.C., making it the first building ever to be constructed using advanced computer technology. In a telling interweaving of histories, Nixon’s burglars employed the same technological fantasies of mastery and control that were at play in the construction of the building. Time after time, Moretti’s work can be found at the interstices of the most complex political and aesthetic questions of the time. In this video project, Baumflek explores the ethical implications surrounding such a career, and situates it in the long traditions of western architectural history.
This viewing is a preview of the work in progress.
Deborah Chaney, Canada
Catriona Gallagher, UK
“Peering from the edge of a former doorway I could see right into the rubbly green heart: elder trees suspended in mid air by half-fallen beams from the first floor, underneath them carpets of parietaria over the hillocks of tumbledown stone, and lodged in the wall, seemingly having done the first damage, a huge majestic fig, spaccamure, wall-breaker.”
Subverted Shelter – when a building can no longer provide its base function, a roof over your head, to protect from the elements, the outside, thereby creating an inside. The rain and wind can enter, as well as the light of the sun, and with the wind seeds are carried too. Plants find a home wherever their needs for light, water and food are provided for. A roofless shell shelters no more, it is merely a green-filled remnant. Inside becomes outside when outside comes in.
Tincuta Heinzel, Germany/Romania
Light Curtain is my most recent work, realized during a residency at 33 Officina Creativa, Toffia (Italy) in October 2014. The piece was specifically conceived for their theater space. The lights are controlled by a potentiometer and the curtain will be used during performances.
Sonja Hinrichsen, USA/Germnay
Ginny Huo, USA
While searching for the 50 Euros I had lost on the St. Mary procession, I discovered abandoned dolls, toys, couches, bookshelves, among many other items that were thrown off the main road, Via Farense. I began collecting the items left behind all over Toffia. I photographed the objects and created custom boxes for each of them. On the day of the Equinox, with the objects in their boxes I carried them on Via Farense to a site to provide these objects a proper burial. There are 10 objects buried with their photograph and the date of when they were discovered on the tombstone. The site is found on the location of the map below.
Chinatsu Ikeda, Japan
Juyoung Lee, South Korea
I am fascinated by small objects that are generally considered trivial. My interest is inspired by the Chinese philosopher Zhuangzi whose basic argument is that each object has its own value, therefore all objects cannot be judged under one absolute standard. To visually represent this, I have chosen the method of creating and applying a nonexistent mathematic formula. My work is about visualizing something we cannot see, transforming the original form into other forms. Through my work, I would like to show that there is not such thing as a ›universal‹ value. Everything is valuable, because appearances can change at all times.
»Flew to Far Away«, 2014. plants on 680 stones. sound 02›12“. variable installation
I wrote a poem about my first impression of the residence place in Toffia and transformed it into sound through what I call the »Alphabet System«. The poem became number 680, and so I made 680 plants on small stones. The stones were placed between cracks in the walls of the corridor and the sound came out from a barrel.