Artistic curriculum vitae 2017

GUIDO MITIDIERI architect and artist

Land Art installations Avendo sentito fin dalla nascita una totale disarmonia con la realtĂ che mi circondava, la materia della mia ispirazione non poteva essere che quella disarmonia.

Eugenio Montale

Guido Mitidieri. architect and artist

Nationality: Italian Date of birth: 14 Janyary 1990 Actual domicile: Helsinki

Contact: guido.mitidieri@gmail.com

about me: an atypical goat.

I grown up in the countryside, in Montale, a small town close to Florence in Tuscany. I’ve always been interested in nature and its process of creation, its contrast, violence, irrationality and strenght, reason for why it is my first source of inspiration. I like to refer to myself as an “atypical goat”. My grandparents’ family was breeding goats and sheeps in the mountains of south Italy. They were used to follow the animals and seasons’ rythm of life to live. Their life was depending on goats. Like them I am following a cyclical time, to create my land art installations. I am aware that the form is just a temporary crystalized life’s shape inserted in an infinite movement of growth and decay. My artistic work is a tentative to know the expressions of life’s materiality creating an unexpected point of view on everyday’s landscape.

education.

Wood Program Master Studio- 2017

Aalto University School of Arts, Design and Architecture

2016

Helsinki, Finland

Habilitation to profession of Architect Florence, Italy

Graduation summa cum laude - 2015

Erasmus - 2013

University of Architecture Florence, Italy

Ecole Nationale Superieure d’architecture Strasbourg, France

spoken languages.

Italian: mother tongue

English: B2

French: B1

Spanish:A2

Work with metal

Work with Ropes and Fabric

artisanal skills.

Wood work and craftwork Work with Scaffolding

practical training workshop.

Summer school and workshop of architectural and social renewal

Summer school and workshop

Spetember 2015 Pietrasanta, Italy

August 2014 Ayia Napa, Cyprus

The City and the water

Workshop of architecture and construction

Hellastock Building an ephemeral city July 2014 Athen, Greece

Sudesco - Sustainable Design in coastal Areas

Organizer of the Workshop of architecture and construction

WAARK - Do it yourself architecture May 2013 Florence, Italy

We are already at home artistic project

My art project is a personal inititive which aims to investigate an open and timeless relationship between human and nature. It is a way of making art with the hands’ intelligence. Hands intelligence that is losing terrain in the practice of doing art while is taking more importance an expression of artistic cultural vaccum and anonimie. My art goes in the other direction. It is an awareness of importance of nature, and my presence in it. Nature is the art of which we are a part, and me, as an artist, I see my work in a indivisible ecosystem. In practice I do my art as form of living Earth, to practice it, to investigate what is called “situated cognition”. The idea that thinking doesn’t happen in some abstract, disembodied space, but always in a particular brain, in a particular body, located in a particular social and physical world. Body, and ideas, shape the space. Is there still a line between Nature and humanity? Which are the relationships and influences of Art on the terri tory and viceversa? What is relation? These are some of the questions I’d like to investigate using my body as an instrument of knowledge and creation. The goal of my work is to look for an elemental cyclical relationship with the environment, besides stereotypes and traditions, by making site specific Land Art trough the world. From one side this ephemeral art expression is the instrument to perform a process of knowledge of a territory and its qualities, its growth and decay process.

On the other side the action of freezing art installations by photos is a way to show the energy and

differences of nature, hidden under the surface of generalization.

“We are already at home” is a practice that I can executes everywhere in the world, but everywhere is different because the landscapes are different too. One of the reason it is a bold initiative is that it doesn’t matter in which part of Planet Earth I could live, I am always at home in my body in the Nature. This can happen till when I could establish a relation with me, and with me in the landscape. Each season tells a different story in a different region, the materiality tends to take other forms under a different light.

Prometeus

Helsinki, October 2017

Prometeus is the greek Titanus who stole the fire from Zeus to give it to humanity. He is the symbol of shrewdness, deceit and ambiguity. This is a polysemic work. Made during a windy morning, the sculpture do not fight against the blow, but it’s an adaptation to this external force.

At the same time wind gives life to the installation, which moves and comes alive. The effect is the one of fire flames suspended on the grass level.

Materials used: yellow maple tree leaves attached on top of Epilobium angustifolium.

CHTON

Helsinki, September 2017

The greek word Chton refers to the Earth in its most dark and nocturnal aspect, in contrapposition to the positive concept of mother Earth, safe and protective. This work is made with rowan’s red berries put inside a natural hole in between moss plants. The red colour is like a wound on the ground. An opening into a deep space, on which we walk everyday without being aware of it. It’s a metaphor to violence of creation and primitive impulses of life.

SURFACE

Helsinki, September 2017

Rowan yellow trees on aspen trunk. Against the direct light of low scandinavian light the leaves perimeter produce a yellow line of energy around the tree’s bark.

During the autumn the leaf is close to the end of its lifecycle.

It loses clorofylle and becomes yellow revealing other pigments which produce other tones of colour. Yellow is like a colour of a transition for nature, something not green anymore and not even brown and dry. Life is still in there.

PAUSE

Moliterno August 2017

This work made in 4 hours in a forest of Basilicata, Italy, portrays a beech’s empty dead trunk.

Nature is an undying dance of silences and speeches, and as like in human discourse pauses for breath are important in nature too. In this work time and space of pause are created with the contrast between plants’ colours, moss, fern and ivy. Inside a black silent shape is like a door to Tartaro, the greek underground.

Moliterno, August 2017

SUN TREE

Moliterno August 2017

Trees are made of energy. They are like ray of sunlight, sculpted by the natural process of growth following the sun. A tree constantly grows and, for the law of balance of opposites, constantly dies. A tree is composed from 50% of carbon an important reserve for our planet. Even if we cannot see it, inside a tree there is the light of the universe and the nourishment of planet.

EMPTY

Helsinki, July 2017

This work borns in a spring morning walking in Otaniemi’s forest.

Like most of my work, it comes from an intuitive process. The presence of violet Lupinus Albus flowers was evident. These flowers introduce, for a couple of week a year, a strong unexpected tone in nature’s palette. I used these flowers to create a door in the nature, in between the trunks of an aspen tree. The empty space in this trunk is not just a form, it’s a choice of growth. Thanks to this empty interspace the tree can actually stand up in its most natural, elegant and spontaneous way,

PREISTORIC LAKE Helsinki, July 2017

Working with stone is very hard for me now. It’s a material I do not now enough and need more practice.

This work is a first skin to skin operation with a granite stone found in Otaniemi. A stone is still alive. It’s in a phase of solidity and stability that is very usefull for other elements as a structural support. It was surprisingly moving when I realized that a stone was liquid thousands of years ago, and probably in other thousands of years it will be liquid again.

Here the liquidity is represented by a river of leaves, that imposed on the surface of the stone are like floating on top of a preistoric lake.

The strong contrast between the ambiguos solidity of a rock and the tricky lightness of leaves

ANTEA

Helsinki, May 2017

The main theme of this work, is the end of the body’s life manifestation. We are culturally teached to consider death as an absolute enemy, and we tend to exorcise it. This is a gesture to give it back a symbolic meaning threw the use of ephimeral materials, as such as human life. After dandelion flowers are cut away from the ground, they remain open just for 8/10 hours and their brilliant yellow colour tends to become brownish in a few. The exposed roots of this big dead tree become a place of touch between different materials, in a reciprocal relation of exchange.