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Transcript of Angela Marzullo
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angelamar-zullo born 08.11.1971 in Zurich
rue Liotard 71 /1203 Genve
076 517 05 82 /022 344 71 76
www.angelamarzullo.ch
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festivals
2011 Arcipelago, 19 Festival Inter-
nazionale di Cortometraggi e
Nuove Immagini, Rome
2010 Eternal Tour, Khalil Sakakini
Center, Ramallah
2010 Mapping Festival, Geneva
2009 ImpaKt, Sorbonne Paris 1, Paris2008 Internationale Kurzlmtage,
Winterthur
2008 Les Etats gnraux du lm
documentaire, Lussas
2008 Eternal Tour, Institue Suisse,
Rome
2007 Point Impact, Performance
Festival, Geneva
2007 Biennale de limage en
mouvement, concoursinternational, Geneva
2007 Passion de lengagement et des
lms de Carole Roussopolos,
Cinmatheque Paris
2005 Nondeleted 2, Kunsthaus Glarus
2004 Version 2004, Centre pour
limage contemporaine, Geneva
solo shows
2011 Congrs de Libellules, White
Cube, Biennale dart des
Libellules, Geneva
2009 Blutgeil, Rodeo 12, Geneva
2007 Makita Strikes Back, Salle
Crosnier,Classe des Beaux-Arts,
Palais de lAthne, Geneva
group shows
2011 Satin Blanc, lov, CAN, Neuchtel
2011 Minigolf du dveloppement dura -
ble, Parc des Bastions, Geneva
2010 (re-) : un-historical documents,
Chapman University, Los Angeles
2010 Imagining Equality : Womens Art
and Activism, The GuggenheimGallery, Los Angeles
2010 Dont open that door, Istituto
Svizzero, Rome
2010 Accademia delle Accademie, The
road to contemporary art, Rome
2010 Gelato, s. t. foto galleria, Rome
2010 Spazi Aperti, Accademia di
Romania, Rome
2010 The dark side of the pink, Galerie
Forde, Geneva2010 The Swiss Cube 2, Istituto
Svizzero, Rome
2010 Laccumulation primitive,
Les Halles, Porrentruy
2010 Performances au fminin,
La Comdie, Geneva
2009 I am by Birth a Genevese,
Vegas Galerie, London
2008 Dark Design, Maison dAilleurs,
Yverdon
2008 Art Chne, Biennale dart en ville,
Geneva
2008 Leffet papillon, Centre ddition
contemporaine, Geneva
2008 Art cannot be unthought,
La Rada, Centro darte contem-
poranea, Locarno
2008 Touriste, Fondation dentreprise Ri-
card, Paris
2007 Home Cinma 1.7, Trac, Lausanne
2006 Open Houses, Muse Rath, Geneva
2006 Orchard, New York
artist residency
2009-10 Institut Suisse, Rome2007 Utopiana, Erevan, Armenia
prizes / awards
2009 Grant for geneva artists,
Dpartement des affaires
culturelles, Geneva
2009 Grant for lm production,
Dpartement des affaires
culturelles, Geneva
2008 Grant for the collectif artlaboratory duplex, Geneva
2007-10 Grant for an artists studio,
lUsine, Fonds dart
contemporain, Geneva
competitions with exhibitions
2011 Aeschlimann + Corti Stipendi-
um, Kunstmuseum Thun
2009 Concours fdral dart,
Messe Basel
2005 Bourse Lissignol, Centre dart
contemporain, Geneva
publication
2011 HIC 4, speciale Italia, dition
dasein, Paris
2010 Accademia delle Accademie, The
road to the contemporary art,
Sahra Wasserman, Rome
2010 Artistes Genve du XVe au
XXIe sicle, Karine Tissot,
Editions Notari, Geneva
2010 Flux News n. 51, Sur les traces de
Carole Roussopoulos,
Julia Hountou, Rome2010 Turbulences vido n. 66, Sur les
traces de Carole Roussopoulos,
Julia Hountou, Rome
2008 Cahiers du cinema n. 630, Image
activiste, Nicole Brenez, Paris
2007 Salle Crosnier, poster, Geneva
2007 Les lles et les crotes, Tissu,
Geneva
2006 RADIO, dition dasein, Paris
2005-06Start, journal junior dartcontemporain, Geneva
education and training courses
2004 Postgraduated studies,
Haute cole darts appliqus,
E. Fontanilles, Geneva
2001-03 Postgraduated studies,
Haute cole darts appliqus,
J.-L. Boissier, Geneva
1999 Diploma dissertation,
Ecole suprieure des beaux-arts
esba, Geneva
1998 Diploma, Anselm Stalder, esba,
Geneva
1994-98 Studies, Mixed Media,
Sylvie Defraoui,
Stanley Brouwn, esba, Geneva
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concettina
Concettina is a video based on Pier Paolo
Pasolinis Lutheran Letters, and on its ped-
agogical treatise Gennariello in particu-
lar. Through the adaptation of some of
its excerpts, the work tells of the uncer-
tainty surrounding the life of two teen-
agers. The video was entirely shot in theparking lot of the Villa Borghese in Rome,
which hosted a historical Contemporary
Art exhibition in 1973 (Contemporanea 73),
and is also a tribute to Luigi Morettis
architecture.
dv video, 10, roma, 2010
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Gelato
The protocol for this series of imag-
es consists in preparing a different ice-
cream each time, in order to overpaint
the photographic self-portraits.
ice-cream in different tastes,
digital photography, inkjet
printing, pearled photographic
paper, 92 cm x 122.5 cm, rome, 2010
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bodybuildinG
Bodybuilding presents a romantic-por-
nographic performance, rhythmed by
the sound of a remixed traditional piz-
zica which drives Makita, the performer,
into a trance. Bodybuilding is a perine-
um muscle training through the use of a
dancing spider device. Pizzica is tradition-al Salento dance, of the tarantella family.
edition 15 copies, centre dart
contemporain, porrentruy, 2010
video, 2, geneva 2010
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taranta
Taranta centres around the myth of the
Tarantula bite which is particularly vivid
in Southern Italys Puglie region. A pa-
gan resurgence which has survived un-
til the second part of the 20th century,
this myth claims that the spiders bite
provokes a mental illness that can be re-lieved, and even cured, through music
and dance.
video tape, 15, hd, taranto, 2009
Les devenirs animaux ne sont pas des
rves ni des fantasmes. Ils sont par-faitement rels. Mais de quelle ralit
sagit-il ? Car si devenir animal, ne con-
siste pas faire lanimal ou limiter, il
est vident aussi que lhomme ne devi-
ent pas rellement autre chose. Le deve-
nir ne produit pas rellement animal, pas
plus que lanimal ne devient rellement
autres chose. Le devenir ne produit pas
autres choses que lui-mme. Cest une
fausse alternative qui nous fait dire : ou
bien lon imite ou bien on est. Ce qui est
rel, cest le devenir lui-mme, le bloc de
devenir, et non pas des termes suppo-
ss xes dans lesquels passerait celui qui
devient.
deleuze et guattari, Mille plateaux
The tarentulated becomes spider. She
becomes the spider within her. Her
thoughts become pure rhythm and
from her almost mechanical move-
ments come out liberating gures, shot
through with desperate shadows. She
stands now ghting the spider, imagin-
ing herself squashing it, killing it with herdancing foot. Step by step, she searches
for balance, getting closer to vertigo fol-
lowing a musical curve that gets more
and more vibrant, until total loss of the
senses.
salvatore quasimodo, Notes on La Taran-
ta de Gianfranco Mingozzi, Italie 1962
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new york 2007
A parody of John Carpenters New York
1997, this video questions a contemporary
feminism that seems to have no other al-
ternatives than media-unfriendly activism
and dead-end extremism. More and more
often criticized for its moralistic positivist
and puritanical tendencies the feministmovement fails to reclaim its past pug-
nacity. In a context in which extremism
only provokes media attention, is there
only one option left : martyrdom ?
video tape, 3, dv, geneva , 2008
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the witch
In the video we see a witch, ying
around on her broom. Through a game
of mirrors, the Witch is reected on the
walls and ground. This multiplication of
reections is increased in the installation
which recaptures the structure of the
decor. The purpose being that the pro-jection surface then dissolve into the in-
stallation, and that everything becomes
reection. Even the spectator looses his
glance in this animated labyrinth
video installation, geneva 2008
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conGress
The statuette (bottom) from 1920 belongs
to the ethnographic museums collection
in Geneva. A mold was created from the
original. Copies were made with plaster
mixed with the artists urine.
plaster, urine.
height : 13,5 cm. variable
installation, number and
dimensions
editon 150 copies , centre ddition
contemporaine, geneva, 2008
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mi scappa la pipi 01
The Popess introduces a gender theme.
The act of urinating in a public space is
for me a symbol of that theme as for the
same action, the two different positions
give it out. In this small lost corner of
the way, home to the most feminist of
tarot cards, I present The Pee-er a sculp-ture by belgian artist Ren Julien.
installation, bronze sculptur, ge-
neva, 2008
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makita pulls the strinGs
The performer presents herself with her
penis hidden between her legs. Then she
takes it out
The performer moves her arms along her
body, making the penis move up and
down. The performer dips her penis into
the paint and starts the action-painting.When the painting is nished, the per-
former opens the bottle of champagne.
She sprays it over the work and drinks
the end.
a white canvas (50 cm x 70 cm)
xed to the wall ; ve pots of
paint (red, green, yellow, blue,
white). the pots lay on a whitepedestal in front of the wall.
a hook xed to the ceiling,
with a string connecting the
performers left hand to
her penis-panty. a bottle of
champagne.
live-performance in the villa
du parc, annemasse, 2006
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short pedaGoGical treatise
This is a staging of Pier Paolo Pasolinis
Lutheran Letters, Short Pedagogical Trea-
tise, My Suggestions regarding School and
Television.
The video was shot in Lecces country-
side, where the author wrote the text
in 1971.
video tapes, 6 , dv, taranto, 2008
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stella, proletarian theatre
for children
As a starting point, this video takes one
of Goethes plays, in which the protago-
nists share the same name as the actors
playing in the video : Lucie and Stella.
In the rst part of the lm, we see Stel-
la and Lucie skating and skateboardingaround the Vieusseux estate in Gene-
va. They progress through this scenery
where the architectural aspects are un-
derlined during their whole ride.
Off screen, we hear Lucie reading a part
of Walter Benjamins theoretical text
about proletarian theatre for children.
Having arrived in a small public square,
the two girls nd a book : Goethes Stel-
la. They take it, and because of the simi-larity with their real names, they decide
to play the nal dramatic scene where
Lucie replies to Stella, the caracters of
the play.
7, video loop, dvd, geneva, 2006
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rha
This video shows a repeated dolly shot
around La Fontana del Nettuno on the
Neptune square in Bologna.
The soundtrack mixes voices (a girl, a
mother and a sister ) who line up a lita-
ny of inter-generational reproaches.
6, dvd, geneva, 2006
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h&m family project
label to the childrens
contemporary art journal
start
1 Start n 1, Geneva, 2006
2 Start n 5, Geneva, 2006
3 Start n 4, Geneva, 20064 Start n 2, Geneva, 2006
5 Start n 3, Geneva, 2006
1
2
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5
3 4
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performinG
This cycle of video works called Perform-
ing revisits several video-performance
works (*1 *6) from the seventies. The
protocols of these pieces are reenacted
in a childs room, by two sisters, aged
10 and 6.
Appropriation, by young girls, of these
signicant performances underlines the
childish source of the actions. Childhood
games sometimes seem to serve as raw
material to stage adult deviancies.
The video Performing therefore goes back
to the source.
video loop, 15, dv geneva, 2005
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performinG *1
Claim excerpts, Vito Acconci, 1971
Vito Acconci presents a three-hour per-
formance where the artist protects the
access to 93 Grand Street, blindfolded,
armed with an iron bar.
Aggressiveness from this ctional con-
frontation with hypothetical invaders
underlines the psychological relation-
ship between artist and visitor. By de-
fending his territory, Vito Acconci enters
into a hypnotic relationship with lan-
guage and places himself in a state of
possessive trance.
performinG * 2
Semiotics of the kitchen, Martha Rossler, 1976
Martha Rossler shows and tells from A
to Z the ingredients of a womans life.
While naming several kitchen applianc-
es, she mimes their use in a caricatured
way.
performinG * 3
S.C.U.M, Carole Rousopoulos, 1976
This video stages a woman dictating
Valerie Solanass S.C.U.M text to anoth-
er woman, somewhere in front of thecamera we see a television showing war
images.
performinG * 4
Art must be beautiful, Marina Abramovic,
1976
This video shows the artist violently
combing her hair with a brush in each
hand while proclaiming the two sen-
tences in its title : Art must be beauti-
ful, artist must be beautiful .
performinG * 5
Performer/Audience/Mirror, Dan Graham, 1975
Grahams performance is a phenomeno-
logical study of the relationship between
a performer and his audience, based on
concepts of objectivity and subjectivi-
ty. In the rst phase, Graham stands in
front of the audience and describes him-
self objectively. In a second phase, he
describes the audience in front of him,
commenting as he goes on the chang-
es in attitude that his speech provokes
within the public. In the third phase,
the performer turns around, placing
himself back to the audience, facing a
mirror, and describes himself, as seen in
the mirror ; in the fourth phase, without
moving Acconci describes the audience
as he sees it in the mirror.
performinG * 6
Relation in time, Abramovitch et Ulay, 1977
Abramovitch and Ulay are sitting back-
to-back, naked, hair plaited together
from behind in a single braid.
Soundtrack
Kathy Ackers lecture, recorded at the
Festival de la Btie, 1997, excerpts from
the book Pussy King of the Pirates.
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*3
*1
*2
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*4
*5
*6
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mi scappa la pipi 02
In this video we follow a woman, dressed
in a mans suit, wandering around the
UN, in Geneva. She marks the territorial
limits of the international organisation
by several pees. During her walk, she
witnesses two different kinds of mani-
festation: the never-ending ballet of the
busses bringing tourists and the demon-
stration of communities asking the UN
for attention.
photography glued on aluminium
150 cm x 100 cm. video, 3 min, loop,
dvd, geneva, 2004
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camra
vido projecteurs
projection mobile
the chainsaw
The chainsaw is a video performance
transposed into an interactive video
piece. The preconception of the instal-
lation is to t into a white cube adapt-
ing oneself to the given facts (light, di-
mensions, surfaces). This conception
therefore opposes the traditional black
box which separates the projected piece
from the projecting area : the white wall.
This video performance is thus con-
ceived as a scene, an animated and mo-
bile scene.
The video image projected on the wall
shows a wall being broken through by
a chainsaw. The perception of the real
space coincides with the video projection.
The walls status is confronted to the pro-
jection of this identical wall where the
chainsaw action is taking place. The vid-
eo begins with the sound of the chain-
saw being started behind the wall. Then
the blade cuts straight lines through the
wall, drawing an abstract shape, slow-
ly turning into an oblong hole. Parts
of the wall fall apart. We then discover
the chainsaw an androgynous woman
with pin-up tattoos on her arms- com-ing across the wall and falling forwards,
still carrying the chainsaw. The sound of
the machine gets louder as the hole gets
bigger. The subjective moment where
we feel threatened in a horror movie is
thereby transposed into a real space (in
Jouable, Art, Jeu et interactivite , 2004).
The interactive disposition follows the vis-
itor with a surveillance camera that proj-
ects the video in front of him. If the visitor
moves, the image follows him instantly.
Closed longitudinal space with a light
trap entrance. Three suspended video
projectors facing one of the big walls,
opposite to the entrance. Macintosh G4
computer, mixer, hidden. PD 10 camera,
with sh eye lens, xed to the ceiling.
In the corners of the wall of projection,
two speakers.
interactive video installation,
geneva, 2004
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makitas Guided tour
Makitas guided tour is an interactive cd-
rom which takes us through the discov-
ery of a museal kind of universe. These
rooms to visit are in fact an assemblage
of different photographies of spaces dis-
posed one beside another, forming a
loop. This display of varied objects exists
only on CD-Rom.
Active zones allow us to zoom in on cer-
tain parts of the visit, making some pho-
tographs of higher pixel density, bigger.
The zoom sizes are pre-established, as
well as their length ; and accompanied
by a peculiar soundtrack. These active
zones seem to be randomly disposed.
We can only see closer the things that
Makita will let us see. That way the visi-
tor is always on two different point of
views; either a bit too far, or a bit too
close. The freedom of movement is very
calculated, controlled.
The frustration emanating from this cal-
culated freedom of observation is repre-
sentative of the apparent liberty offered
by the new medias. The limits of this vir-
tual universe are similar to this ill-assort-
ed exhibition, in which the objects sym-bolism is beyond our power of analysis.
interactive cd-rom, macintosh g4
computer, video projector,
chair recovered with a patchwork
zurich, 2003
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mi scappa la pipi 00
Against a wall, a photograph shows a
woman peeing in a eld.
In a le containing several photographs,
we see the same woman peeing, with-
out any kind of embarrassment, all
around town. Available to the audience,
leaets announce a performance which
will take place during the exhibition.
color photography glued on
pavatex and left in the original
plastic packaging 70 cm x 100 cm
leaets black and white a6
edition mi scappa la pipi 11 x a4
black and white, geneva, 1997
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