Nina Fiocco portfolio co

NINA FIOCCO Portfolio /

MIRAGE (*)

space

distance

time

(*) My work is over there in the top right corner. It’s looking for both the blunder and the dazzle in the information process, in communication, in geography.

THREE UTOPIAS

in collaboration with Juan Luis Burke Roco y Rogelio Sànchez Velàzquez.

2013

site specific installation and public action. variable dimensions.

Three piñatas representing three utopic buildings of three different periods of the global colonization process (Renaissance, Enlightment, Sovietic Union) realized in occasion of an exposition in Puebla, a city founded in Mexico by the spanish conquerors in order to be an experimentation field to build an utopian town. The city was bulit by using occidental urban, estetic, ethic parametres: the experiment was obviously destinated to the failure.

During the night of the show the exhibition’s visitants played the traditional piñata’s game by broking - being blinded by a bend - the piñatas in order to get the candies hidden inside.

Three utopias- documentation process and inspirational architectures

Three utopias- pinatas inspired in the historical utopian buildings of the precedent page.

Three utopias- public action at No Automatico ( Puebla, Mexico)

Three utopias- public action at No Automatico ( Puebla, Mexico)

Three utopias- public action at No Automatico ( Puebla, Mexico)

THE SALGARI METHOD

in collaboration with Andrea Balestrero, Ulises Matamoros Ascensiòn, Rogelio Sànchez Velàzquez. since 2013

Emilio Salgari was a novelist. Born in a small village close to Verona, he spent all his life in the north of Italy. He travelled just once: escaped from the college of the marine in Venice, he sailed the Adriatic sea on a commercial boat, Italia Una. His private life was characterized by the love and the charming for the exoticismthe names of their sons - Omar , Fatima , Romero , Nadir - , the duel with a man who accused him to be a liar , the tableau vivants he organized with his family, his suicide accomplished by a harakiri .

His quite total immobility wasn’t an obstacle to him; he wrote among 100 travel books about 200 countries around the world. Every description, every image, every sound which he reported in his books was the result of a long investigation process on books, newspapers, pictures, novels, encyclopaedias…Today to think about this writer, support us in aknowledging the way in which our world works.

In a blink all of us are able to see images of the littlest island in the Pacific Ocean, to check how is the weather in Uzbekistan, or to know who is the governor of a small province of Sri Lanka.

Maps, automatic translators, algorithms, web explorers conduct the navigation, even if it results to be just visual.

Our site-specific project “the Salgari Method” is devoted to apply this distance from the creator and the reality to our contemporary world. We work by reconstructing architectures and images of distant places with a specific community.

All the aesthetic and conceptual decisions are discussed with the public, in order to get a result, which is more the image of an imagery than a real reproduction.

The result is the process that we develop with the group of people we’re working it; we begin by discussing the idea and then we select the place – the architecture we want to reproduce, we reconstruct a common imagery, we build the installation with local materials.

Since july 2013 we produced three projects: three tepees in L’Aquila (Italy), a SET that reproduces the “Liberty enlightening the world” in Santa Inés Ahuetempan (Messico) and fifteen souvenir created by Osvaldo Sànchez Velàzquez, in the prison of Cholula (Puebla).

THE SALGARI METHOD - 3 PRISON of CHOLULA (MEXICO) 2013 fifteen wood souvenirs realized by Osvaldo Sànchez Velàzquez detained in the prison of Cholula. installation variable dimensions.

Gondola

Pirate galleon

Batcave

Christ the Redeemer

Leaning tower of Pisa

Taj Majal

Tour Eiffel

New York - Skyline

THE SALGARI METHOD - 2 LIBERTY ENLIGHTING THE WORLD SANTA INES AHUETEMPAN (MEXICO) 2013 site specific installation

The Salgari Method 2- process documentation

The Salgari Method 2- process documentation

The Salgari Method 2- process documentation

The Salgari Method 2- installation view

THE SALGARI METHOD - 1 THREE TEPEES L’AQUILA (ITALY) 2013 site specific installation

The Salgari Method 1 - process documentation

The Salgari Method 1 - process documentation

The Salgari Method 1 - installation view

MONTE GRAPPA

2012-on going CD - audiodocumentary and booklet

“Monte Grappa” is an audio documentary about Chipilo, a community of immigrants from Veneto (Italy) that live in Mexico since 1982. In 150 years they didn’t loose their dialect, they preserve their Italian ethnic characteristics, they follow discriminating Mexicans, which they consider absolutely inferiors.

My work is mainly based on their relationship with Fascism, in their struggle against Zapata’s soldiers and on the controversial history that made that a local hill was renamed Monte Grappa* by a group fascist intellectuals in 1924. The research was conducted by interviewing a large number of people from Chipilo and Mexicans living around the village, recollecting historical and contemporary images, The narration is focused on the storytelling of the archive of images I recollected in a year of researches; the music of the audio documentary was realized with the participation of a Mariachi Band “los toros de Mexico” that rearranged the Italian traditional songs about Monte Grappa and the fascist hymns. * Monte Grappa is a mountain in Italy that was the main front of the First World War and that became, during the fascist Era, one of the most powerful symbols of italian nationalism.

Monte Grappa - documentation images

Monte Grappa - documentation images

Monte Grappa - documentation images

LUFTMENSCHEN - PEOPLE of AIR TO ADD A VOICE 2011 site specific performance

Feltre (Italy), my hometown, since more than a century, is an important religious city for the Sinti, a Romani nomadic group. In this place Sinti bury their dead people and come every years in order to visit and remember them. Although this long relationship, the ethnographic museum of the city hasn’t a session dedicated to these people and there aren’t books and studies that tell their history. So I decided to add a voice to the museum in order to represent them, the people of air, luftmenschen, as the Germans say.

After some months of research in order to recollect oral narrations about Sinti, on 28th November 2011, in collaboration with the Citizens Band Radio Club (Radiomatori Feltrini) I transmitted from the cemetery (the evidence of their inclusion to the community) the result of my investigation to the ethnographic museum (the place of their exclusion from the local history).

The transmission was ephemeral, quite clandestine and could be listened by all the people connected to the Citizens Band Radio in that moment.

Feltre’s Cemetery - documentation images

Serravella’s ethnographic museum//Feltre’s documentation cemetery// the map of the transmission.

Fortunata Adelsburg è morta il 17 ottobre 1929 a quindici anni. È stata sepolta a Feltre. La sua tomba del suo popolo vogliono che si trovi un posto dove stare per sempre quando si muore. Un posto a terra sepolti nelle colombaie. Le tombe sono onorate frequentemente dai parenti che vi spargono petali e porta di anni. Si occupano anche delle tombe dei gagè, i non-zingari, che hanno amato. Di come Fortunata sia lo so.

Citizens Band Radio Club president and I in front of Feltre’s cemetery

aggiungere una voce.

Il museo discerne; separa l’ammesso dal non ammesso consentendo a qualcosa di restare tra le sue mur escludendo il resto. Il museo d’arte lo fa con le opere, selezionandole per qualità o perché ritenute il museo etnografico individua e descrive le culture endemiche legittimandone la presenza in un luogo.

La comunità da cui vengo –Feltre, un paese nel nord-est d’Italia - ha progressivamente escluso un gr luogo dalla consuetudine di seppellire i propri morti, persino una loro regina, nel cimitero locale. non trova nessun tipo di rappresentazione nel museo etnografico della provincia di Belluno.

MUSEO NON-NAZIONALE: SENZA TERRA.

La maggior parte dei musei è organizzata da un’istituzione; spesso nazionale. Le motivaz statali avvertono la necessità di conservare il proprio patrimonio è legata alla necessità d una “suggestiva coreografia” al concetto di nazione, o d’altra parte di attestare attraver legittimità del loro operare. Gli archivi delle nazioni conquistate, prime fra tutte le anagrafi della stessa esistenza dell’essere umano, sono bruciati dai nemici durante la guerra, il K luftmenschen, le persone d’aria, i senza terra, come venivano definiti spregiativamente gli ebr non possiedono un luogo dove posizionare la loro documentazione e costruire il loro immagina all’oralità e all’immaterialità della trasmissione storica, li rende più vulnerabili ai s invece normalizzano la loro permanenza nel luogo. I nomadi attraversano i luoghi e spesso ai lu

Me, transmitting from the cemetery // a visitant of the museum listening to the transmission

“Luftmenschen - to add a voice” installation view, at Antoni Muntadas’ workshop, Bevilacqua La Masa (Venice, Italia)

CASTAS

2013-ongoing digital video 9 min.

5 grafts documentation images.

I began this work by looking and studying a particular kind of representation diffused in Latin America and in particular in Mexico: pinturas de castas.

These series of paintings, painted during the XVII century, had the aim to represent social classes - established according to the level of race mixing in order to illustrate the rights and obligations of every group.

This abominable application of a bio political power struck and imposed me to think about the natural desire and necessity to survive of every biological form of live. I focused on the implicit violence of this act.

I decided to work on grafts; I got in contact with the owner of a greenhouse in a very cold area of the north of Italy, which possesses and take care of 14.000 succulent plants. I had long talks with her and filmed her plants and the struggle to save them from the coldness and the different habitat, in open contrast with the nature around them. With this material I edited a nine minutes long digital video. (http://vimeo.com/26371660 - password friends) With the help of Elvia, the greenhouse owner, I began to conduct some experiments by grafting different species of plants coming from different continents. I progressively take notes and pictures of the process of living of this grafts, of the success of some experiments and of the failure of others.

Castas - documentation images

Castas -9 minutes digital video - video still.

Castas -9 minutes digital video - video still.

Castas -grafts (America +Africa)- documentation image.

Castas -grafts (Asia+America)- documentation image.

ATLAS. NINE IMPOSSIBLE JOURNEYS (in collaboration with Nicola Turrini) 2011 book 29,7 x 42 cm and installation - variable dimensions

This is an attempt to make a revisionist historical atlas by using Google Maps as totalitarian device. We tried to put in the search engine the origin and the destination of several conquest travels from the roman age - Hannibal- to the XX century - Roald Amundsen. We recollected in our “Atlas� the travels that according to the system resulted to be impossible to make.

Atlas - installation view - A+ A gallery (Venice, Italia)

Atlas -one of the nine impossible travels

Atlas -the nine impossible travels

THE LAMP OF DIOGENES 2011 Site specific work during Manufacto in situ.

Mirror, spotlight.

This is a work I realized during an artist-residency in a village in the centre of Italy, which was destroyed and abandoned after an earthquake in 1999.

In Cancelli, the atmosphere was really heavy and desolated, quite as a physic presence, and I decided to work on this sense of abandon. I made an intervention on a monument dedicated to the people dead during the Second World War that reported an inscription: “Vi uccise l’odio, vi salvi l’amore” (Hate killed you, love will save you).

I decided to isolate the second part of the enunciate “love will save you” in order to borrow the original matter of the monument and re-dedicate the same moment to other dead people, this sort of living ghost, the people that left their village after the tremor. I wanted to concentre all the attention on this “hope”, not a real, concrete effort but a mysterious force, quite a utopia.

I realized the installation by using a spot light and a mirror, during the night, and, by illuminating in a complete darkness, only the last part of the sentence.

It wanted to be a poetic but even sceptic intervention.

The title make allusion to the famous sentence by Diogenes of Sinope who used to walk in the daytime with a lamp repeting: “I look for the man”.

The Lamp of Diogenes - documentation image and installation view Manufatto in Sito (Cancelli, Italia)

The Lamp of Diogenes - installation view , Manufatto in Sito (Cancelli, Italia)

MIRAGE/VENICE

(in collaboration with Nicola Turrini) 2010 Performace documentation and installation: accordion book composed of 88 photos, audio.

“The language is as a road; it can not be perceived together because, whether we hear or read it, takes place over time“ R. Solnit, Wanderlust. A History of Walking.

An investigation in form of promenade about a sterotype.

A book documenting the path towards the epicenter of a concept: Venice.

I^ movement: The description of Venice made by Mirella, a lady who lives in Feltre, 100 kilometres far from there, but who has never visited it. (Although in some sunny days the la- goon and the city are visible from the mountains that surround her own place).

II^ movement: To travel by walking for 100 kilometres from Feltre, the small town of Serenissima old Empire, to Venice in an attempt to recover the physical and non-physical distance that inevitably settles between information, narrative and truth.

Mirage, text and notes of the conversations with Mirella

Mirage, image selection

Mirage, installation view , Fondazione Buziol (Venice, Italia)

Nina Fiocco (Feltre, Italy, 1985) Lives in Puebla (Mexico) and Feltre (Italy).

Nina is an artist and researcher focusing on the relationship between art, oral history and anthropology in the globalized world.

Since 2012 she is professor of contemporary art at the university ITESM Puebla (Mexico) and curator and researcher at Inah (national institute of anthropology and history) Puebla.

EDUCATION 2009/2012 MA Visual Arts dept., IUAV, Venice (Italy) 2008 ITESM Monterrey, Latinamerican art history certificate, (Mexico) 2007 Erasmus scholarship, Philipps Universitaet Marburg (Germany) 2004/2008 BA History of Art, Università degli Studi, Milan (Italy).

ARTIST RESIDENCIES 2014 Laalvaca, Museo Erasto Cortes, Puebla, Mexico.

2011-2012 One year-residency at Fondazione Bevilacqua La Masa, Venice.

2010 Real Presence,Beograd Cultural Centre, Belgrade (Serbia).

2010 Manufatto in situ 4, ViaIndustriae, Cancelli, Foligno, (Italia).

GRANTS 2012 Chipilo, Movin’up grant, GAI Torino in colaboration with Museo Tamayo (Mexico) SELECTED EXHIBITIONS: 2013 Atmosfere, curated by Maria Francesca Palmerio e Anna Dusi, Spazio Heart, Vimercate (Italy).

Civico/Hurbano, curated by NoAutomatico, Tong Proyectos, Puebla (Mexico) Atmosfere, curated by Maria Francesca Palmerio e Anna Dusi, Nova Milanese (Italy).

The Salgari Project, in cooperation with Andrea Balestrero, Ulises Matamoros, Rogelio Sanchez, Santa Inés Ahuetempan (Mexico). Il mercato degli spiriti, curated by Maria Francesca Palmerio e Anna Dusi, Centro Storico, L’Aquila (Italia).

On/Off entre el recuerdo y el oblio, Alianza Francesa,Puebla, (Mexico).

2012 On/Off entre el recuerdo y el oblio, Buap, Puebla, Mexico.

Geografie erranti, curated by 22:37, Indipendents, Verona (Italia).

Front of Art, curated by Katia Baraldi, Crac, Cremona (Italia).

Opera 2011. Lunar Park, Bevilacqua La Masa, curated by Angela Vettese,Venice (Italia).

Parlour, nomadic curatorial project, curated by Leslie Rosa.

B x H x Me, A+A/Centro Espositivo Sloveno, Venice, (Italia).

2011 Stonefly Cammina con l’arte / Walking with art, Fondazione Bevilacqua La Masa, Venezia, Italia This Place, curated by Marta Carboni and A+A gallety, Venice.

Front of Art, curated by Katia Baraldi, Nervesa della Battaglia, (Italia)..

Coda, curated by Marta Ferretti and Gaia Martino, Neohesperia by Osvaldo Galletti, Treviso(Italia). “…” curated by Filipa Ramos, Serra dei Giardini, Venice (Italia).

Skype Performance, curated by Amara Antilla, AAA Hong Kong (Hong Kong).

2010 Inventing Venice, curated by Lewis Baltz and Giuliana Racco, Fondazione Claudio Buziol, Venice(Italia).

Adotta un Doc, curated by Marco Bertozzi, Santarcangelo 40 Festival del Teatro in Strada, Santarcangelo di Romagna(Italia).

Euganea Film Festival, curated by Marco Segato and Euganea Movie Movement, Monselice, Padova (Italia).

Real Presence, group show, curated by Dobrila De Negri and Biliana Tomic, Beograd Cultural Centre, Belgrade (Serbia).

Eyjafjallajoekul, curated by Letizia Calori and Giulia Zennaro, East China Normal University of Shangai (China).

94^ collettiva giovani artisti, curated by Stefano Coletto and Angela Vettese, Fondazione Bevilacqua la Masa, Venice (Italia)..

Manufatto in situ 4, group show curated by Emanuele De Donno and ViaIndustriae, Cancelli, Foligno (Italia).

2009 93^ collettiva giovani artisti, curated by Stefano Coletto and Angela Vettese, Fondazione Bevilacqua la Masa, Venice.

Contacts/ mail: ninafio@hotmail.it skype: ninafio. mobile: 0052 1 222 508 78 /// 0039 320 76 42 256