LULÙNUTI SELECTED WORKS

Transcription

1 LULÙNUTI SELECTED WORKS

2 LULÙNUTI Lulù Nuti, EXHIBITIONS Calcare il mondo - solo show, GALERIE CHLOE SALGADO, Paris, France 2018 Une Histoire de tout - group show, Villa Belleville, Paris, France / curated by Lisa Eymet 2018 MORE - solo show, Galerie Mansart, Paris, France / curated by Azad Asifovich 2018 MFW Nouvelle Collection CC19 - La Panacée, Montpellier, France / curated by Sarah Nefissa Belhadjali 2017 PART 1 - group show, Galleria Alessandra Bonomo, Rome, Italy / curated by Teodora di Robilant 2017 Fail Better - group show, Revue Composition, Galerie OFR / curated by Dorothée Davoise et Sophie Gaucher 2016 Alinea - group show, public installations, Courbevoie (Paris), France / curated by Catégorie_Arts 2016 FRAGILE - group show, Galerie Mansart, Paris, France / curated by Azad Asifovich 2015 Sistema - solo show, Case Romane del Celio, Roma, Italy / curated by Carlotta Monteverde (catalogue) 2014 Tempo - solo show, Espace Boudeville, La Résidence, Dompierre-sur-Besbre, France 2014 Attractions - duo show with Sandra Plantiveau, Galerie Sainte-Catherine, Rodez, France / project by l Atelier Blanc, DRAC Aveyron 2014 Territoires perdus, géolocalisation - solo show, Galerie Tokonoma, Paris, France 2014 Biennale Du Dessin - group show, Cité Internationale des Arts, Paris, France / curated by Bernard Moninot and Gillian Genzler (catalogue) 2014 Portafortuna - group show, Spazio Y, Rome, Italy 2013 Le Temps d une Ruine - group show, La Maison des Ensembles, Paris, France / curated by Lulù Nuti et Charlotte Boutron 2012 Mirages - solo show, Galerie Droite, ENSBA, Paris, France (catalogue) 2012 Fairy Tale - group show, Biwako Biennale, Omihachiman, Shiga, Japon / curated by Yoko Nakata (catalogue) 2011 Under 25 - group show, Institut culturel Romain de Venise, Italy SPECIAL PROJECTS LU.PA - duo with Pamela Pintus to come- SANS TITRE (ZADKINE), performance commissioned by the Zadkine Museum (Paris, France) in the context of L Instinct de la matière ( The instinct of the Matter ) curated by Noëlle Chabert et Azad Asifovich 2018 Apulia Land Art Festival - Nodum, Casa Rossa, Alberobello, Italy / curated by Carmelo Cipriani 2018 AROUND HERE - Parla, performance, Astra VOL I, Monteluco (Spoleto), Italy 2018 OLO #1, SPAZIO Y, Rome, Italie / text by Valentino Catricalà Nouvelle Collection Paris - SS17 - Project by Sarah Nefissa Belhadjali, presented at : l ENSBA, Paris, 2017 / Rob à Robe, DOC! Paris, 2017 / Do Disturb, performance festival curated by Vittoria Mattarese, Palais de Tokyo, Paris, 2017 Akroma Collective - Founded by Madlen Estorm au Latvian National Museum of Art, Creative Studio of the ARSENĀLS, Riga, Lettonie, 2018 RESIDENCIES Villa Belleville, Paris, France, 2018 BOCS Art, curateur Alberto d Ambruoso, Cosenza, Italy, 2017 The Owner s Cabin, Atlantic Ocean, Cargo Cielo d Italia, 2017 Bikini Art Residency, Lake Como, Italy, 2017 La Résidence, Dompierre-sur-Besbre, France, 2014 Biwako Biennale, Omihachiman, Shiga, Japan, 2012

3 OTHER Prix Dauphine pour l Art Contemporain, Université Paris-Dauphine, Paris, France, 2015 Prix de la Jeune Création, Prix Coup de Coeur du Jury, Saint-Rémy, France, 2013 Premio Arte Laguna, section Under 25, Venise, Italy, 2011 PRESS / EDITION PART 1, Ludovico Pratesi, Exibart 2018 (it) PART 1, Federica Soldati, Exibart, 2018 (it) PART 1, Galleria Alessandra Bonomo, Artecracy,2017 (it) 29 Days at Sea, the floating artist s studio, interview for Lightfoot Travel, Claire Turrell, 2017 (en) MORE, Paris-Art, 2018 (fr) REVUE COMPOSITION III, Revue Composition, édition limitée, proposition de Dorothée Davoise et Sophie Gaucher, 2017 (fr) 10 ritratti ad alta personalità da Roma verso il Mondo e vice versa, D di Repubblica, Margherita Tamraz,03/2017 (it) Biennale du Dessin 2014, catalogue,éd. Beaux Arts de Paris, 2014, préface de Nicolas Bourriaud. Textes de Gilgian Gelzer, Guitemie Maldonado, Bernard Moninot (fr) Diplômés 2012, catalogue, Éd. Beaux Arts de Paris, catalogue des Diplômés de l ENSBA, 2012, préface de Nicolas Bourriaud, texte de Camille Paulhan (fr) Fairy Tale, Biwako Biennale catalogue, 2012, préface de Yoko Nakata (en) Biwako Biennale, focus on Metamorphosis Garden, Asahi, 16 sept (jap) Fairy Tale, about Metamorphosis Garden, Shiga Prefecture, september 2012 (jap) V Premio Arte Laguna, catalogue, Ed. Arte Laguna, Italie, 2011, préface de Igor Zanti, Section Under 25, p.156 (it-en) + LU.PA Interview with Marco Arrigoni, ATP DIARY, Mai 2018 OLO o della danza del tutto, Carmelo Cipriani, Exibart, Mai 2018 Video su Rep. TV, La Repubblica, 2018 Dialogues #2 - LU.PA Lulù Nuti e Pamela Pintus, texte critique de Valentino Catricalà, Mai 2018 Lulù Nuti works across a number of different mediums from paper, charcoal, wood, metal, plaster and concrete, playing with notions such as time and space through the carefully orchestrated placement of natural and industrial materials. While Nuti continues to work both in two and three dimensions, in recent years it has been her site-specific installations that have been the driving force of the artist s practice and has resulted in Nuti living an increasingly nomadic lifestyle dictated by the location of her work. A constant for the artist, whether creating delicate works on paper or multi sculptural installations, is her strong belief that all materials embody inherent energies that serve as vehicles through which we are able to access a more infinite understanding of the universe, not only in the present but also in the past and the future. It is with this in mind that she creates work that explores and plays with balance and heightened tension between various objects and forms, tapping into the latent energy she sees imbued in all things and placing them in conversation with once another as well as their setting. Over and over again Nuti s work appears to stretch the limitations and expectations the viewer has towards the various materials and artistic forms that she employs. In this way, she blurs the line between usually defined categories such as drawing and sculpture, and instead presenting the viewer with something that sits between. The result is work that constantly surprises and with a unique poetic dynamism she encourages in the viewer to look, think and feel again. In many ways, one could think of her work in terms of performance, not of the work itself, but when activated through viewing, as it is only at this point within a in space that the work is triggered and the energy of the materials harnessed by the artist is relayed, experienced and internalized by the viewer. Alice Russotti, 2017

4 Studio view, Cielo d Italia, Atlantic Ocean, 2017, curtesy of the artist and The Owner s Cabin

5 BREAKING POINT Sculptures realized during The Owner s Cabin residency on board of Cielo d Italia vessel. The Iron Ore s load has created a glaze of dust on the whole of the external floor of Cielo d Italia, revealing the form of the atmosferico agents, usually invisibile: the wind, the rain, the waves and the passage of animals. This has allowed me to make visible, within the matter, the strength of the natural elements at sea. The plaster has been casted directly on the ground, mapping the floor of the ship, and recording the traces thanks to his power of crystallization and absorption. Once dried, the works have been left outside, at the mercy of the wind. The breaking point caused by the wind becomes the point of equilibrium of the sculpture. Each piece bears the title of the force of the wind that broke it. Studio view, Cielo d Italia, Atlantic Ocean, 2017, curtesy of the artist and The Owner s Cabin

6 NE 4 ( 11/05/ N W) Plaster and tow 90 x 80 x 5 cm (approx.) Studio view, Villa Belleville, Paris, 2018 E 5 ( 9/ 05 / S W ) Plaster and tow 80 x 40 x 35 cm (approx.) Studio view, Villa Belleville, Paris, 2018 NE 5 (le blason) Plaster and tow 80 x 40 x 15 cm (approx.) Studio view, Villa Belleville, Paris, 2018

7 The narrative will be constituted of a series created during her crossing of the Atlantic Ocean aboard the Cargo Cielo d Italia, with «The Owner s Cabin» residency. The artist recorded her journey from Tubarão (Brasil) to Rotterdam (Netherlands) on several mediums (video, sculpture, drawing). Her tools were the shipment, the ocean, the wind and their unpredictable result on the material. MORE focuses on part of the works created aboard. Azad Asifovich, 2018 ENE 6 (la danseuse) Plaster and tow 40 x 52 x 35 cm E 6 (ROME) - back Plaster and tow 192 x 85 x 2 cm MORE, exhibition view, Galerie Mansart, Paris, France, 2018 Photo Ludovica Anzaldi

8 MORE, exhibition view, Galerie Mansart, Paris, France, 2018 ENE 6 (Mero), Plaster, tow, cotton, wood and plexiglass, 248x114x10 cm, / RIO ORE, Video installation / 4 screens, 4 04, 100 x 15 cm, 2018 / E 6 (ROME) Plaster and tow, 192 x 85 x 2 cm / Atlas from Lulù Nuti s private collection / ENE 6 (la danseuse) Plaster and tow 40 x 52 x 35 cm, Photo Ludovica Anzaldi

9 MORE, exhibition view, Galerie Mansart, Paris, France, 2018

10 E 6 (ROME), detail

11 CARDIOGRAMS 13 drawings on paper front and back, made during The Owner s Cabin, representing the movements of Cielo d Italia cargo ship during the crossing of the Atlantic from Brazil to the Netherlands, with all informations related to the tracking, the Beaufort Notation, the speed, the wind strength, the sea strength. The resulting installation is a sensitive path of the journey, the measurement of the relation between sea and ship. Considering the ship as a being that comes alive at sea, the series is entitled cardiograms. The goal of the series is to give an alternative iconography of the idea of route, composed by the linear movement of the ship, and at the same time from the internal movement of it, dictated by its clash with constantly changing climatic events. The drawing has been realized with a pen suspended on the ceiling of my personal cabin. Each drawing represents on one side the night and on the other side the day. Studio view, Cielo d Italia, Atlantic Ocean, 2017, curtesy of the artist and The Owner s Cabin

12 CARDIOGRAMS Nights from to Ink on watercolor paper 32 cm each 2017

13 CARDIOGRAMS Days from to Ink on watercolor paper 32cm each 2017

14 Night 8/05/2017, detail

15 CARDIOGRAMS Ink on watercolor paper, plexiglas 500 cm 2017 PART 1, exhibition view, Galleria Alessandra Bonomo, Roma, 2017 Foto Alessandro Vasari, curtesy of the artist and Galleria Alessandra Bonomo

16 ORIZZONTE SESTANTE Wrought Iron, wall Variable dimensions (here 550 cm) PART 1, exhibition view, Galleria Alessandra Bonomo, Roma, 2017 Foto Alessandro Vasari,curtesy of the artist and Galleria Alessandra Bonomo

17 PART 1, exhibition view, Galleria Alessandra Bonomo, Roma, Foto Alessandro Vasari, curtesy of the artist and Galleria Alessandra Bonomo

18 ARGINI (ORIZZONTE SESTANTE II and III) Archive of elements waiting to be activated to compose a wall installation. Copper and brass Variable dimensions 2017 PART 1, exhibition view, Galleria Alessandra Bonomo, Roma, 2017 Foto Alessandro Vasari, curtesy Galleria Alessandra Bonomo

19 The whole residency has been based on the technique of moulding, which has two properties, as Lulù describes them: one is to register and trace a form that is witnessed, the other is to create emptiness, which has the potential to be filled again by the reproduction of a new form. Therefore, this project is also developed as an idea to emphasize the world as a container of matter and resources. For the first Studio Visit organised to present her research to the public, Bikini and Lulù Nuti showed on a research table clues and references that she used to develop the project. The second Studio Visit was the occasion to exhibit the series of sculptures. All works are shaped from globes or world maps, which helped Lulù Nuti to draw the Earth reproducing it into a negative, artificial and symbolic form of itself. The result is a coherent, although heterogeneous series of works. The artist used the classic technique of moulding, while employing construction materials such as concrete and tile-plaster. Lulù Nuti also used blue pigment in an intervention that is similar to the one of frescos: the colour is slowly absorbed by the wet material, fixing itself during the drying process and giving shape to the water in her sculptures. In this process, every time quite unexpectedly, some words and signs from the original maps were copied on the surface of the art works, as reminiscences of the original piece. The works produced at Bikini Art Residency include a squared diptych, two monolithic diptychs, six segments of the Earth, and a map in concrete. Continents, mountains, oceans and seas appear as unfamiliar and distant. With another work, Lulù attempted to introduce a casualty into the process by deflating the air globe while she was pouring the concrete, provoking the collapse of the sculpture, which unpredictably gave shape to another trace of the Earth that is at the same time its son and its abortion. The last work is an Urn. In this case, both the traditional technique and materials of moulding have been used. In this work the concept is pushed to its extreme point, the world containing the world. Bikini Art Residency, 2017 Studio Visit #2, Bikini Art Residency, Lake Como, Italy, 2017

20 Studio Visit #2, Bikini Art Residency, Como Lake, Italy, 2017

21 UNTITLED (MOON WORLD) Moulding the world on six parts Tile-plaster and pigments 29x150 cm 2017 Studio Visit #2, Bikini Art Residency, Italy, 2017

22 BEYOND OUR CONTROL I and II, Studio Visit #2, Bikini Art Residency, Como Lake, Italy, 2017

23 BEYOND OUR CONTROL I (VAGIN) If an error occurs Concrete and pigments 25x24x25 cm 2017 Photo Benoit Soler, curtesy of the artist and GALERIE CHLOE SALGADO

24 BEYOND OUR CONTROL IV (CASCADE) If an error occurs plaster and pigments 30x20x28 cm 2018 Photo Benoit Soler, curtesy of the artist and GALERIE CHLOE SALGADO

25 SANS TITRE (NUAGE) Plaster, pigments 27x8x6,5 cm 2018 Photo Benoit Soler, curtesy of the artist and GALERIE CHLOE SALGADO

26 LAST CHANCE Sculpture with wearable detail Wax, tar, bees nest, tissue, plastic 15 cm Part of Collection Croisière 2019, Nouvelle Collection Paris, La Panacée, Montpellier, France, 2018

27 LAST CHANCE Sculpture with wearable detail Wax, tar, bees nest, tissue, plastic Part of Collection Croisière 2019, Nouvelle Collection Paris, La Panacée, Montpellier, France, 2018

28 UNTITLED Iron 80x250 cm 2018 Studio view, 2018

29 ABU DHABI Brass 180x80x33 cm 2018 BABILONIA Copper 80x102x35 cm 2018 PALMA Part of Corrispondenze drawings series Charcoal and soft pastel on paper 2018 PART 1, exhibition view, Galleria Alessandra Bonomo, Roma, 2018

30 CORRISPONDENZE (drawings), Adu Dhabi (brass sculpture) and Babilonia (copper sculpture) PART 1, exhibition view, Galleria Alessandra Bonomo, Roma, 2018

31 UNTITLED Brass 110 x 60 x 2 cm 2017

32 58 VARCHI ELEMENTARI Work realised during BOCS Art residency in Cosenza (Calabria, Italy), inside La Riserva Nazionale dei Giganti della Sila, which aims to preserve the last centenary pines (inus nigra var. calabrica) still present in south italy. The idea was to shape the door between visible and invisible, give a form to the limit between what is known and unknown : as the underground development of these giants or their exact age, informations that can be discovered only when the plant dies. The result is an archive of the form of the space occupied on the floor by each centenary tree. 45 copper forms have been organised in a mural installation, representing the plants still alive. Every void in the installation correspond to a «falled giant» (see (see next page). Pictures taken during BOCS Art, 2017 by Emanuela Barilozzi Caruso

33 58 VARCHI ELEMENTARI, installation view, detail,wall with plant n 21 to n 40 (up) and plant n 41 to n 58 (bas), BOCS Art, Cosenza, Italy, 2017

34 UN LIEU POSSIBLE Two installations in situ realised for the Nuit Blanche in Courbevoie. Rather than occupying space, Un lieu possible seeks to influence viewer s perception, modify his movement within public space. Metal 350 x 600 x 800 cm A Linea, exhibition view, Courbevoie (Paris), 2016

35 UN LIEU POSSIBLE 2 Metal 2 elements, each 130 x 120 x 80 cm A Linea, exhibition view, Courbevoie (Paris), France, 2016

36 The exhibit, entitled Sistema, is a site-specific journey in which seven installations and one video interpret the space and the story of the Monument. The concept matches the research Lulù Nuti has been pursuing in the last years: the idea of ruin, balance of the matter, translated in sculptures that literally display their hanging between formal completeness and possible fracture and, then, transformation in something else. The transition, the moment in which the magic is broken, the sparkle of change are the worries which lead the work of the artist who explains: «balance is a moment of grace crystallized in a fragile order; the eternal instant in which something stops in an amazing position continuously threatening its own end». The Case Romane del Celio, Monument restored and brought to fruition in 2002, have been for years buried in the foundation of Ss. Giovanni and Paolo Basilica: from active, daily life place for martyrs worship and burial, in the end the loss of any function, to be Musem-made in the last decade. It is the transition from one condition to another the result of years-long processes, or decisive instants to affect the author; the transitory nature of reality inherent to every action, artifact or monument itself. It is this perception of precariousness that Lulù Nuti has decided to underline with the exhibit, disseminating the place of sculptures or installations which play with the concept of balance; they either simulate or actually stage it. Using the metaphor on instability, using as expedients ambiguity and misunderstanding, the artist tells the weakness of human actions, the eternal cyclicality of birth and destruction, the intrinsic temporariness of all things, all elements amenable to the story of the Case Romane themselves. Carlotta Monteverde, 2015

37 SISTEMA I (Aracne) Site-specific installation Plaster, metal and nylon thread Variable dimensions Sistema, exhibition view, Case Romane del Celio, Rome, 2015/2016

38 SISTEMA V Plaster and metal 130 x 130 x 40 cm Sistema, exhibition view, Case Romane del Celio, Rome, 2015

39 SISTEMA VII «Chez l homme, la mémoire est moins prisonnière de l action, je le reconnais, mais elle y adhère encore : nos souvenirs, à un moment donné, forment un tout solidaire, une pyramide, si vous voulez, dont le sommet sans cesse mouvant coïncide 1 avec notre présent et s enfonce avec lui dans l avenir.» Video realised for Sistema, solo show at Case Romane del Celio, Roma. The video has been imagined as a site-specific installation, giving to the watcher the sensation of being submerged by sand, in reference to the story of the archeological space, wich has been buried for years. The movie produced, at the end, an image of the universe. Projection on wall, variable dimesions, 4 min. Sistema, exhibition view, Case Romane del Celio, Roma, Italy, Bergson in : Le rêve, Conférence de 1901 à l Institut général Psychologique, in L énergie spirituelle, Paris, Ed. Alcan, 1919

40 PAESAGGIO ELASTICO (CLOSED) Paesaggio elastico can be displayed following the architecture where it is showed. Charcoal on paper, plaster and wood 130 x 65 cm (closed) Studio view, La Résidence, Dompierre-sur-Besbre, France, 2014

41 PAESAGGIO ELASTICO (OPEN) Charcoal on paper, plaster and wood 130 x 1000 cm (open) Tempo, exhibition view, La Résidence, Dompierre-sur-Besbre, France, 2014

42 BOA Sculpture with wearable detail. Wood 120 cm x 160 x 40 cm Tempo, exhibition view, La Résidence, Dompierre-sur-Besbre, France, 2014

43 BOA Wearable detail activated Wood 120 cm x 80 x 10 cm Part of Nouvelle Collection SS 2017, ENSBA, Atelier Ann Veronica Janssens, 2016

44 COMPOSITION / DECOMPOSITION Concrete, tile-plaster, plaster, plants, metal, wall Variable dimensions Tempo, exhibition view, La Résidence, Dompierre-sur-Besbre, France, 2014

45 TWICE Wesp-nest, concrete, wall 25 cm Tempo, exhibition view, Espace Boudeville, Dompierre-sur-Besbre, France, 2014

46 IRREVERSIBLE Charcoal powder, black sand and half iron funnel Variable dimensions, 30 minutes Tempo, exhibition view, Espace Boudeville, Dompierre-sur-Besbre, France, 2014

47 IRREVERSIBLE, Tempo, exhibition view, last day, Espace Boudeville, Dompierre-sur-Besbre, France, 2014

48 GEOLOCALISATION (Territoires perdus) Charcoal on geographic map 200 x 315 cm 2014 Territoirs perdus, géolocalisation, exhibition view, Galerie Tokonoma, Paris 2014

49 AT WORST Concrete, pigments, metal 35 cm 2014 Territoires perdus, géolocalisation, exhibition view, Galerie Tokonoma, Paris 2014

50 VISIONS NOCTURNES Drawings made as an installation destined to be divided. It has been showed as a whole, only once, at ENSBA in charcoal drawins on Arches paper Between 150x 200 cmand 150x 250 cm 2012/2014 Exhibited at La Biennale du dessin, Cité Internationale des Arts, Paris (catalogue) and Attractions, Galerie Sainte-Catherine, Rodez, France, 2014

51 VISION NOCTURNE 4 Charcoal and soft pastel on paper 150 x 250 cm. 2012

52 VISION NOCTURNE 5 Charcoal and soft pastel on paper 150 x 250 cm. 2012

53 NI LE DÉBUT, NI LA FIN Assuming that infinite is something from which you cannot see neither the beginning nor the end, if I take a line and hide simultaneously it s beginning and it s end, I obtain a form of infinite. In order to cause circular movement of the public around the sculpture the words, engraved on the concrete blocks, are placed on opposite side. Timber from an abandoned house near Paris and engraved concrete - second version 630x40x40 cm Mirages, exhibition view, ENSBA, Paris, 2012

54 NI LE DÉBUT, NI LA FIN Carved wood and engraved concrete - first version 630x40x40 cm ENSBA, couloir des sculpteurs, 2012

55 1 KG= 1KG Sculpture composed by two pieces of wrought iron. The balance of the object is given by the elements placed on the two extremities: one kilo of plumages and an industrial weight of one kilo. Iron, feathers, 1kg weight, 135 x 230 cm Studio view, ENSBA, 2012

56 1 KG=1KG, details