INSTALLAZIONI installations

 Installations and site-specific artworks

 

Gloria Veronica Lavagnini - Alserio - con istallazioni - Copia
Hurters – 2014
Published by the City of Art in Biella, Rebirth-day by Michelangelo Pistoletto. Exposed at the Brera Academy of Fine Arts.
The hurters is the first approach to the Floods Series. Black wall. 7 faces of mud on paper. 7 cans on a flooded table of which 6 full that show on their caps the photograph of the most affected area in the single episode: 1953, 1970, 1992, 2011 and the two in 2014. Inside them, in white, the names of the dozens of victims who remained imprisoned inside the mud. The table shows the dates to which the cans refer. Finally an empty jar asks for redemption with its green cap of hope, a projection of a future cured of its wounds that can boast of not being filled with names or mud. Even the light comes from the right, illuminating the future and leaving the past in the dark. The title The hurters is a reminder of the original name of the Bisagno river, the choice of the plural underlines how each river can also become a “wound bringer”.


Gloria Veronica Lavagnini-Dicotomia sempre attuale(contro le classi attraverso la parola)-2017- visione totale - CopiaAn ever present dichotomy – 2017. Project HOME (TO). 
Against social classes through the word. This installation was commissioned by the HOME Cultural Project located in Turin at Casa Gramsci, in 2017.
The installation is the result of an in-depth study of the political leader of the early 1900s. Gramsci, a Sardinian boy who arrived in Turin without money, meets the snow and his first Nordic winter. In one of the letters to his father he asks for money to buy a coat. I imagined owning his coat with his documents and writings in his pocket with original calligraphy. In the background the building perpendicular to the Library of Turin, where he studied every day. The building represents the social classes through the fabrics that the various social classes could afford. On the street level the shutters with the shops, on the first floor the nobles with large decorated windows, light silks because they underlined the possibility of washing the fabrics if they were stained, and pearls. Going up we find the wealthy families with fabrics and velvets of refined color. Lastly, attics with narrow windows, raw and dirty cotton cloth for the poorest. A snowy sky… so I tell of historical episodes really happened, so, I imagine Gramsci walking through the squares of Turin, young and poor, with his coat hardly conquered, with his writings on loose sheets slipped absently into his pocket, with his struggle against the social classes through the power of the word and even more with the hidden word, unspoken, erased as in these texts. It is from the unsaid that the stimulus evolves even more. A young man with a revolutionary soul and rich in dreams.

ALLESTIMENTO MARIANO 2018 (1)Social miniatures – 2016.
Among the social problems faced in the I Am Here Series we find that of Non-Respect and Non-Cure: these are the concepts of Social Mignon and Reflection Tables. They are notes, stimuli on the contemporary: from pharmaceutical waste, to the psychosis of our society based on work, from the impossibility of creating a family or maintaining what we have, to smog, from waste, to the exploitation of nature, from lobbies, to actions carried out for economic, religious, political interests and so on … finally, reflections on what ultimately belongs to all of us (rich, poor and of any ethnic or social state), death as mere men. So the question: what is all this for?
Society. Economy. Screws hanging from wires. Struggling to be able to live and overcome death. Small delicate reflections, aesthetically pleasing, calm and precious with soft colors but with a deep and sharp meaning: isn’t our society based on perfect appearances and imperceptible deceptions? The last aesthetic aspect to be emphasized in these works is the transparent support obtained here through the passepartout in grid which, as observed in other works of this series, tells of that camouflage, of that Pirandellian mask, of the change-face or worse of the change-thought man in front of different places, situations and people. Finally, as well as all the cuttings of materials that give life to these small collages, the frames also take the form of wood destined for waste for a consistency that is both conceptual and executive.