A conversation between Giulia Brivio and Ermanno Cristini about their project «Prière de toucher» and the art of concealing and hiding an artwork.
Criticism of the redundancy of comtemporary exhibitions is reflected in the style of the video: a white background, cuts only editing, the chacters' (never crossing) voices and some thuds and beeps, at the beginning and the end, which aren't an error of the recordist, rather a pertinent quote. If you got it, or you want to check a hypothesis, let us know: please, mail to firstname.lastname@example.org and we'll tell you.
Prière de Toucher is a “dispositif” (1) built exchanging ideas with Giulia Brivio and thanks to the work of all the involved artists, who made it take shape. Yes. Since Prière de Toucher deals with bodies and, stealing its title from a well known artwork by Marcel Duchamp, immediatly refers to the act of showing. Shortly, Prière de Toucher wonders about the limits of bodies and the nature of exhibitions. Perhaps it's only a way to show something, despite thinking about concealing.
"Prière de toucher" is a cycle of exhibirions, each strictly depending from the hosting place. First edition was in Imola at Novella Guerra, october 2013, with Patrizia Giambi and Microcollection; second edition at Something Like This (Florence), may 2014, with Oppy De Bernardo and Aldo Mozzini; the third edition took place at MARS (Milan), and 45 artists were involved. This video describes the fourth edition, in the countryside at Roccaverano, with Umberto Cavenago and Barbara De Ponti. Recently, the Boite magazine N. 12, which is about the "hidden artwork" presents the operation.
“When one writes he always hides something so that it's going to be discovered later", Italo Calvino wrote; behind all, there's a lingering question: can you touch what you can't see? And is, concealing, perhaps, the essence of showing? During times where no reality exists out of “exhibiting”, the question gets a specific sense.
1) Dispositif is a term used by the French intellectual Michel Foucault, generally to refer to the various institutional, physical, and administrative mechanisms and knowledge structures which enhance and maintain the exercise of power within the social body. Dispositif is translated variously, even in the same book, as 'device', 'machinery', 'apparatus', 'construction', and 'deployment'.
Giulia Brivio (1981) graduated in Visual Design at Noèsis Academy and in Art Sciences and Technologies at Milan's Catholic University.
From 2005 to 2011 she manages the Archivio Artisti Italiani at Viafarini DOCVA, Milan and from 2011 to 2013 is project manager at Fiorucci Art Trust, London.
In 2009, with Federica Boragina, she founds the cultural association Boîte and the editorial project of the same name: www.boiteonline.org. Together with Federica she authors "Interno domestico. Mostre in appartamento 1972-2013".
Now she takes care of Art Publishing at Choisi - one at a time, Lugano (CH) and, since 2015 with Federica Boragina, curates editorial projects for the newborn publishing firm Boîte Editions.
Ermanno Cristini is an artist /curator who, along with Alessandro Castiglioni, developed Roaming. This is a research project which had so far produced 22 exhibitions in museums and project-spaces in many european countries including MNAC Annexe, Bucharest; Cabaret Voltaire, Zurich; Musée Saint Denis, Paris; Riso Museum, Palermo; Forum Stadpark, Graz; Mestna Galerija, Nova Gorica; Musée Cantonal Des Beaux-Arts, Lausanne; Szeeman Archive, Maggia, etc.
The topics of negotiation are the main focus of his work and are developed in other experiences he produced, such as Dialogos (www.dialogosart.jimdo.com). This project made in 2010 an exhibition at Assab One, in Milan, in 2013 at MACT / CACT Center of Contemporay Art, Bellinzona (CH), in 2017 at Vitrina Deniska and Galerie Caesar, Olomouc (Cz); in 2018 at Current Space, Milan.
Since 2009, he opened his atelier inviting other artists to exhibit in the project The host and the Intruder, recently exhibited at PROGR in Bern. In 2011 he started a new project of “domestic” exhibits called Riss(e) (www.risseart.jimdo.com/), which since 2014 it takes place in a “deposit of ideas” named Riss(e)- Zentrum. Since 2013 he is also working on the cycle of “hidden” exhibitions Prière de Toucher (www.prieredetoucher.jimdo.com/) and on projects about the idleness named Doppio Stallo, which is starting in March 2016 in Milan at Nowhere Gallery and then in Naples, in 2016, at Primopiano Gallery , and is developing at PROGR, in Bern with Giancarlo Norese in the context of To be late Project, at the Cabaret Voltaire, in Zurich, in occasion of Obsession Dada; in Rome with To be late Tutorial at MAXXI; at Thun, Konzepthalle 6 ,To be late – 100 Jahre Dada; in 2018 at Triennale di Milano, Hotello: abitare un ritardo, into the exhibition 999 domande sull’abitare contemporaneo.
Hi is co creator of project Walkabout (www.walkabout-art.jimdo.com/) wich had produced some exhibition at Fondazione Fabbrica del Cioccolato, Blenio (CH), 2018; Lato, Center of Contemporay Art, Prato; Kunsthalle Lana-West (Bz), 2019.
Hi is co creator and curator of Strabismi (www.strabismi.jimdo.com/) and Walktable (www.walktable-art.jimdo.com/)
A conversation between Giulia Brivio and Ermanno Cristini about their project «Prière de toucher», an exhibition about concealment.
Directors: Lorenzo Baldi, Liliana Carugati
Photography: Lorenzo Baldi, Liliana Carugati
Camera: Lorenzo Baldi
Editing: Lorenzo Baldi
Production standard: shot HD e 4k 25p, edited HD 1080p
Camera: Sony NEX-FS100 (works), Panasonic GH4 (conversation)
Lenses: Sigma 16-35 mm f1,8, Tokina 11-16 mm f2,8, Nikkor 50 mm f1,8, Metabones Speedbooster
Codec: AVCHD 28 Mbs, mov H264 100 Mbps
Postproduction: Final Cut Pro X
The conversation is filmed with green screen