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with Marta Battistella


contents

design 9 11 15

calendar 2013 frutteto diffuso picking apples and so on

art works 19 21 23 25 27 29 31 33 35 37

bosco alimentare: a cooking perfomance ¿sabes lo que te quiero decir? heliopolis: art for urbanism bartelby and oficina project for a peelable fruit via castellana, 100-127 the suppliants: which identities? melons’ wedding homeless. other venice minuti

essays 41 43

spaces. notes about bruce nauman’s square depression about quadra medicinale

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design


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photo © erica boito

photo © erica boito

Photography and graphic design for Alpirod Company 2012.

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A calendar specifically designed for a company, that reinforces its corporate identity, a limited edition with hight photographic value. Pictures have been taken in two different situations: portraying the factory at work, and acting an intrusion of lightly ironic still-lifes into the hard metal workshop, with a bizarre interpretation of workspace and tools during the holidays.

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both pages: examples of Alpirod Calendar’s pages 9


design

frutteto diffuso design for an agri-cultural landscape 20011. thesis. implemented by the association Spazi in Frutto

The project stems from the interest in a specific landscape, consisting of a territory and the communities that inhabit it, and is proposed as an instrument for local development. The landscape concerned by this research is the piedmont of Belluno area (northeast of Italy), a neither strictly mountainous nor strictly urbanized territory. Starting with the recovery of local ancient fruit varieties and their culture, we planned a widespread orchard system, that involved different subjects/actors (farmers, caterers, schools, families and all citizens) and allowed different uses, weaving together agricultural production and cultural and services activities. A plurality of approaches and tools corresponds to a cultivated biodiversity. The concept of garden-orchard is the hearth of the project: a public space for farming harvesting and leisure activities. Between the two main spheres (agricultural production and leisure activities) we designed an educational program and a knowledge and information management function (from anthropology to graphics). A new young association, called Spazi in frutto (bearing fruit places), has sprung up (2011) with the aim to implement this project; some of the activities they have done till now are: starting a tree nursery

for the future garden-orchards, educational activities with schools, grafting and pruning courses, ancient plants recovery and involvement of people with participatory activities about taking care of the landscape and the communities. Currently the association is looking for the suitable ground to plant the main gardenorchard.

previous page, clockwise from top left an ancient fruit tree recovery and information collection with a local elderly lady; working in the 200 young rootstocks nursery; building the tree nursery; participatory activities with citizens: “ What would you take with you into a public garden?�. bottom a typical landscape with old fruit-trees.

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recovered elements from the ancient orchard system

tools tools

tools box

leasure

playground

collective harvesting

parties

biodiversity

direct sale

processed products

farmers markets

activities and relationships

products quality and distribution

advantages of old orchards

some characteristics of intensive cultures

sharing


design

new elements for the garden-orchard

water tank and containers for other activities

information tools

collaboration with canteen, library and school

net

markets in the garden

educational

cultural events

on-line selling

top left and right organization of the elements we

crafts

introduce in the garden. bottom left differences between ancient orchard culture and modern intensive culture: space qualities,

farmholidays farms

biodiversity vs monoculture, quantity of chemical treatments, irrigation intensity and types of products

Public Garden-Orchard

markets

(in the first case: relationships, culture and fruits; n the second: a large amount of one variety fruits) . bottom right net of involved places and subjects.

schools and libraries

families’orchards

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design

picking apples and so on personal fruit picking and carriage container, it can be used also as a base for picnics 2011. for Frutteto Diffuso project <p.9>

Picking Apples and so on is a simple object for fruit hand picking, designed especially for big trees cultivations. You can collect and directly carry home the harvest with one container. It consists of a review of an adapted shirt used by countrymen until the beginning of â&#x20AC;&#x2DC;900. The new version is optimized for the contemporary process of picking and selling fruits, and acquires versatility. It is the container used by orchard farmers or by citizens during the pick-your-own days, when they are climbing trees and ladders.

It works also as backpack or packaging, for the products you pick on your own or buy at the farmer markets. Last but not least, ones you open it, it is an excellent base for picnics in the orchard-garden. The container derived from a single piece of cloth with two strings. To pick fruits, it can be worn as a sling for babies, putting the arms in 4 rings and closed laterally with strings. You can fill it from the top. To empty it, just untie, took 2 rings off and let fruits go down.

Picking Apples as packaging at farmers markets

Picking Apples as tool for hand picking up and carry home

Picking Apples as base for picnics in the

previous page how to use Picking Apples.

garden

this page concept for Picking Apples. 15


art works


Sambucus nigra (Sambuco) Sembra che derivi dal greco sambychè, uno strumento musicale simile allâ&#x20AC;&#x2122;arpa costruito col suo legno. Vive da 0 a 1400 m s.l.m., in siepi, boschi umidi, schiarite. In primavera si raccolgono i fiori, ed in estate i frutti (drupe). La marmellata e il succo hanno proprietĂ  lassative. Popolarmente viene anche utilizzato come diaforetico, febbrifugo, lassativo, diuretico, emolliente. Sambucus nigra

contiene semi


art works

bosco alimentare research and cooking performance about â&#x20AC;&#x153;spontaneous foodâ&#x20AC;? 2012. with Valentina De Col, Nicola Montebelli, Lorenzo Brunelli; selected work at landscape festival arti nel bosco 2012

Landscape is not at all natural, but manipulated by humansâ&#x20AC;&#x2122; activities and imagination, here especially by intensive agriculture and its organization and geometries. Is it possible to create another landscape and to achieve an alternative way to feed ourselves?

other not-cultivated delicacies. This cooking performance opened the landscape festival week.

previous page, top a recovered landscape in the festival

Looking for a different dis-equilibrium, we began with a field work about spontaneous (not cultivated) - edible plants; we ended by cooking and serving grasshoppers with

zone previous page, bottom spontaneous food this page during the performance: cooking and serving spontaneous food at the festival opening

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art works

Âżsabes lo que te quiero decir? an approach to mediterrean posibilities 2010. II international competition Mediterranean Design launched by PAD. photography section

A

A boy cycles on a neglected beach; people go swimming among the iron trellises of a disused industrial building. Sabes lo que te quiero decir? (Do you know what I want to tell you?) There are residual spaces that are waiting for a re- organisation; there are places to breathe, that become spontaneously occupied places because undetermined. There is no more to add; go walking: you will realize that the boy on a bike is Chinese, the family is from Peru and your Catalan friend is... Argentine. We start from here: searching between a lost space and a second hand scrap, looking at inhabitantsâ&#x20AC;&#x2122; interests and enterprises, for a participative and multicultural landscape design. left riding in one of the best and wildest beaches. top having a picnic out of common pathways. bottom bathing in a quite hidden place.

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art works

heliopolis: art for urbanism favela Heliopolis in São Paulo, Brazil, with FAU - Faculty of arquitecture and Urbanism - of the University of São Paulo, Brazil 2009. with Hugo Sánchez Vicente and Catarina Simões. workshop by Euler Sandeville

We worked on urbanistic themes with the inhabitants of the favela Heliopolis, (São Paulo) actuating an art program for Heliopolis children and teenagers (5-15 years old), in collaboration with local educators. The basic idea? Know and act in the world “favela”, to make it better. 1. Creating a special map of the places they like in Heliopolis and discussing about the reason why they like them. 2. An action-tour (planned by the teenagers) through the places they like: going out, marking the public ground with coloured and indelible handprints. 3. Talking with local people about what we are doing and invite them to the final exhibition. 4. Final public exhibition and party.

previous page running through the favela streets during the tour. this page, top creating the places we like map. this page, bottom leaving indelible handprints on the favela streets ground.

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art works

Bartelby and Oficina works about non-production 2007. workshop by Rene Gabri

Beginning with the philosophy of Walter Benjamin and Robert Walser, we consider the artist as a loafer. The loafer represents an opposition to the way of life and primacy of production of the capitalistic society. On the other side, we began with this very basic formulation: what is it to question something? What is the relation between the work of art and questions? The act of questioning corresponds to a particular moment of conformation: it is an exhibition of a transformational state. The intention was never to “produce” something finished, or much less to prepare for an “exhibition”: the aim of the laboratory was just to be a temporary measure for the participants to share their ideas and questions. The first work I realized was born of an exercise named Bartelby, from the novel Bartelby, the Scrivener by Melville. My question was: what is the relationship between Bartelby and the lawyer? I constructed a fiction story with two fantastic young characters that are playing in a deserted area. One runs after the other, but he isn’t really chasing him. This is a quite representative imagine of human relationships.

My second project looked at the connection between art and job. I did that to clarify my position of potential artist and woman who needs working, and to inquire about art craft work and industrial one. Then, I had to show it to the workers, test their impressions and film them. I could only realize the first part of the project but I’m going to continue it.

Robert Walser, The walk left column Bartelby (video 3’15’’) peformance in a abandoned industrial place: two actors playing an unknow game. right column Oficina (video 4’) documentary about work and workers in a mechanical semi-industrial workshop. 25


art works

project for a peelable fruit a peeling interactive sculpture 2007. with Marta Battistella. workshop by Nicolas Bourriaud

Studies for a sculpture based on the principle of peeleability. Beginning from a performance that analyses the necessary actions of peeling and eating a grapefruit, we obtained the principle of physical insistence. It takes shape and emphasis in the sculpture: we invited architects, artisans, designers and artists to design a new giant fruit, a new organic and interactive form, that could be peeled by the public.

previous page some concepts we received for the peelable fruit. this page the project main concept: a giant peelable fruit; analysing the process of peeling a grapefruit . bottom center Prince Charles riding a fig (our imagination flies reading newspapers).

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art works

via castellana, 100-127 a report on a contemporary industrial area in Veneto region 2006. photography workshop by Guido Guidi

right Cover image of the photographic book Un Resoconto (A Report), curated by Guido Guidi, UniversitĂ  Iuav di Venezia, FacoltĂ  di Design e Arti. left and bottom images of via castellana, 100-127.

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art works

the suppliants: which identities? actors potraits before they start acting in the Suppliants by Aeschylus 2007. with Notodeatro theatre company

previous page potrait of Elisabetta; she played the role of a supliant. previous page bottom Aeschylusâ&#x20AC;&#x2122; Suppliants by Nodoteatro. this page potrait of Leonardo; he played the role of an Egyptian. 31


art works

melonsâ&#x20AC;&#x2122; wedding performance and photo series about procreations 2006. with Marta Battistella. workshop by Alberto Garutti

In this performance the melon serves as provocative element that revives disgusting things, viscidity, perfumes and games; it is a pretext/excuse to stimulate feelings and thoughts of a coupleâ&#x20AC;&#x2122;s fine understanding, almost a dance. The first suggestion came from readings about assisted procreation, where the ovary stimulated by hormones was compared to a big melon. We presented the photographic series in the same room where we acted the performance, as a memory of what could (or could not) happen. Photographic tale and performersâ&#x20AC;&#x2122; interpretation transformed the work into a primordial love story, a contemporary Adam and Eva.

previous page melon wedding. this page, clockwise from the top Adam and Eva and other immages from the photographic series Melons. actors: Marta Battistella and Salvatore Pinto.

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art works

homeless. other venice interactive instalation resembling a public toilet and talking about homeless people in Venice 2005. with Marta Battistella and Riccardo Giacconi. photography workshop by Armin Linke. exhibited at Bevilacqua La Masa Gallery, Venice

The workshop concerned the mapping of a non-touristic Venice; my group focused on the social theme of homeless community. Working in collaboration with specialised centres and psychologists and meeting homeless people, we achieved to present an interactive installation resembling a public toilet that put together audio and visual materials we produced. The installation is organised in two interactive stations, symmetrical about a cardboard wall. There are, on each side, a stool, a CD player fixed in place of the flush bottom, writings and images on the wall and a soap and toilet towels dispenser. Sitting on the stools, in a small intimate space, the visitors can listen to the records, (interviews and street sounds recordings),

look at the photographs on the wall and write something on it. Once they get up, from the working dispenser they can take a towel, on which we printed pictures of homeless people traces we found in the city.

previous page scketch of the installation. this page, left some of the picures of homelessâ&#x20AC;&#x2122; stuff we printed on toilet paper towels. this page, right during the installation of the work at Bevilaqua La Masa Art Gallery, San Marco, Venice.

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art works

minuti theatre photography of the play Minuti by Nodoteatro and Samuel Beckett 2005. with Nodoteatro theatre company

this page and previous page photos for the playbill.

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essays


essays

about Quadra Medicinale an essay about Jef Geys’ work Quadra Medicinale at Venice Biennale 09 2009. abstract

Jef Gey’s works are like a map, which was made collecting what grows spontaneously in urban areas. It seems a geographic treatment that includes the human experience into its cosmography. The starting point is the concept of terroir. Geys asks four people to mark a square around the place where they live and, within that space, which is adherent to a ground, to research and collect weeds, wild, unnecessary, unintended herbs. Dry, paste them and add names and medical proprieties. It consists of a knowledge process, that uses cataloguing methods. The process is based on a practice, and in the art work, i.e. in Quadra Medicinale, remains the sign of that practice. The aim is not only exhibiting, but also addressing education and knowledge; therefore the art work entails a utility, since we defined these plants as medicinal herbs. (In fact, the final idea was to produce an eatable newspaper for homeless people containing weeds medical information). Geys’ proposal is to resume organic forms of urban development, considering that, under the modern grid and despite the grid, the globe continues to be inhabited or can be inhabited as terroir, in a organic way. Gardens are the element that links art

with the ground; in fact, it is in the garden that the nature finds an urban legitimacy. However, in Geys’ view, the garden is not enough and must be replaced with a vegetable garden, the potager. The practice of harvesting is a way of getting closer to the ground, to free it from the territory (whereas territory is the geographically and rationally planned ground). The idea of vegetable garden as an art work (to be sold as a masterpiece), the growing as an artistic practice, backs in Geys’s works with insistent frequency. But what does this art work reduction to an everyday practice mean and entail? And in particular in a praxis directed to knowledge and utility? Enlightened by the cradle to cradle thought, in addition to the fascinating botanical and geographical documentation of urban areas, Quadra Medicinale is a principle, an example of an implementation process, and a metaphor for its development.

previous page images of Quadra Medicinale by Jef Geys at Venice Biennale 09. 41


essays

spaces. notes about Buce Nauman’s Square Depression art and public space 2008. bachelor degree thesis (visual arts and theater). abstract

How can we speak about the concept of public today? How can we use the term public today? What is the meaning of public art? Bruce Nauman’s work Square Depression, realized for the sculpture projects muenster 07, takes place in this contemporary debate. I approached the questions proposed by Nauman’s work and in general by the sculpture project, with some suggestions from scholars such as Rosalyn Deutsche, Jean Luc Nancy, Paul Zumthor, and Maurice Blanchot. The art work stimulated the lectures, and the lectures back then and affected the work with new ideas and problems. Therefore, my text is organized in two parts: first, the analysis of the work, where I support the claim that Square Depression is not a public place but precisely a place in which you speriment with the public; secondly, the neighbourhood, which is composed of a series of essays free -connected about space, the public, wanderers and nomads. Rhetoric on openness and accessibility has political connotations and conceals the real fact that public space is structured by exclusions. The sense of belonging constitutes the ommunity and its space, but the modern concept of belonging cannot exist without the invention of the Others

as something negative. The homeless, wanderer, loafer, gipsy, or poor person are all excluded, because they do not own and are not owned by their land. The question is, in contrast with bourgeois concepts of the public (which equalize state and public), if the notion of public must be space- connoted (spazializzato); in other words, we are inquiring if public belonging is necessarly bound to place and to space (border, property, territory). The nomad, indeed, frees himself from the land and the politics, tends towards anarchy, and lovingly disturbs critical categories. A longing for a spiritual nomadism appears near the real nomads, which would allow the openness to the alterity, the plurality of reasons, and the conflicts. (In Deutsche’s opinion conflicts constitute the public space). So, the art work originates from man’s frustrating condition between a fixed center and the flight. Actually, nomadism in this sense is a utopia, a desire.

previous page Square Depression by Bruce Nauman at Skulptur Projekte Muenster 07. 43


Thanks. Erica Boitoâ&#x20AC;&#x2122;s Portfolio + CV 2013 all rights reserved


erica boito's portfolio