Gianluca Malgeri Deutschvita

Gianluca Malgeri Deutschvita

Untitled, 1996, photographic print, 50 x 70 cm

Benedetton, 2008, inkjet print, laminate for outdoor use, 300 x 300 cm Clandestine intervention for the anniversary of the declaration of human rights. 1 st May 1998. Florence.

When Things Cast no Shadow Clandestine Installation: When Things Cast no Shadow by Italian artist Gianluca Malgeri. Venue: Johann König Gallery, Berlin. Date: Today, To night Action: To install a yellow, luminous crown over the gallery entrance. Concept: The form is simultaneously related to the logo of Rolex and the gallery name: König. A crown is a powerful symbol as are both Rolex as firm and Johann König in the art world. I want to respond to the group show Zuordnungsprobleme, hosted by Johann König Gallery. By working on the border between public space and the private space of the gallery, I wish to test the tolerance of Johann König and thus relate directly to the title of his exhibition in the context of the Berlin Biennale. I hope the gallery will welcome my installation as an addition to their show and leave it above the entrance until April 26. If not, I will remove the crown. For more information, please contact Magazzino d Arte Moderna (www.magazzinoartemoderna.com).

Love letter, 2010, adhesive paper, black marker, xerox, e-mail, site specific, Wedding stattbad Berlin Love Letter started as a tribute to the work of crosswords by George Brecht. Using the crossword box to tell of my conflict with the world. The first work was created following a decision to stop working with a gallery. An email exchange with the gallery becomes the first story of the love letter.

Cheap, 2009, public action, photo printed on PVC, glue, 300 x 200 cm For several years I thought of doing a work on the Berlin Wall, and for the 20th anniversary of its fall I decided to implement this project. There is a billboard of a portion of the scar in the ground left by the Berlin Wall, a few meters to the right next to the billboard, there is a monument to the memory of the wall. 9/11/11 this billboard becomes something unexpected and out of control. where before there really was a wall there is now an advertising image of the wall? or a window on the past?

Cheap, 2009, public action, photo printed on PVC, glue, 300 x 200 cm For several years I thought of doing a work on the memory of the Berlin Wall, and for the 20th anniversary of its fall I decided to implement this project. There is a billboard of a portion of the scar in the ground left by the Berlin Wall, a few meters to the right next to the billboard, there is a monument to the memory of the wall. 9/11/11 this billboard becomes something unexpected and out of control. where before there really was a wall there is now an advertising image of the wall? or a window on the past?

Cura art magazine Article Little Berlin italienische Künstler an der Spree by Raimar Stange Das Berlins Kunstszene jung, dynamisch und international ist dies ist Mythos, Klischee und Realität zugleich. Dieses gerne vermarktete Image der pulsierende Spreemetropole nämlich ist alles andere als nur falsch, der billigen Lebensunterhaltskosten, zumal im Vergleich zu Metropolen wie New York, London oder Paris, sei dank. So findet sich dann auch ein nicht unwichtiger Teil italienischen Kunstbetriebs in Berlin wieder. Die Galerie Isabella Bertolozzi z. B. zählt zu den interessantesten der jungen Galerien der Stadt, u. a. stellt sie immer wieder italienische Künstler wie Carol Rama oder Christian Frozi aus. In Kreuzberg betreiben Stefania Palembo und Gigiotto del Vecchio ihren viel beachteten, in Neapel gegründeten Projektraum Supportico Lopez und der Kurator, Kritiker und Sammlungsbetreuer Luca Cerizza wohnt und arbeitet im Szenestadtteil Prenzlauer Berg. Vor allem aber leben viele Künstler aus Italien in Berlin, so Monica Bonvicini, Alessandra Tesi und Daniela Comani. Aber gerade auch Künstler der ganz jungen Generation haben inzwischen ihre Zelte an der Spree aufgeschlagen, vier davon werde ich nun in meinem Text hier kurz vorstellen... seltsamen Begegnung von kleinen, naiv-spielerischen Murmeln mit tragischer Weltgeschichte. Auch sein neuestes projekt Wall (2009) beschäftigt sich mit der Historie Berlin: Malgerie hat Photos der Berliner Mauer, die einst die Stadt in Ost und West geteilt hat, eben dort an ausgewählten Plakatwänden platziert, wo die photographierten Abschnitte damals wirklich gestanden haben....last, but not least sei Gianluca Malgeri kurz vorgestellt. Er arbeitet noch ohne Galerievertretung, verdient sein Lebensunterhalt, wie viele seiner Kollegen auch, als Assistent bei Olafur Eliasson. Entscheidend aber ist: Gianluca Malgeris on-going-projekt o.t., seit 2008, gehört zu dem Besten, was in letzter Zeit in Berlin als Kunst im öffentlichen Raum stattgefunden hat. Malgeris künstlerischer Eingriff ist so minimal wie poetisch, so mahnend wie spielerisch: Der Künstler findet in Berlin-Mitte an den Häuserwänden Einschusslöcher von kleineren Geschossen aus dem Zweiten Weltkrieg. Diese Narben füllt er aus, indem er Murmeln in sie hinein klebt. Sichtbar sind diese (illegalen) Denkmäler erst auf dem zweiten Blick, genau deswegen aber sind sie gefeit davor, den urbanen Raum, wie es oftmals Kunst im Öffentlichen Raum tut, im Namen der Kunst aufdringlich zu besetzen. Wer allerdings genau hin schaut und die Murmeln und damit eben auch die Einschusslöcher entdeckt, dem gibt Gianluca Malgeris work in progress die Möglichkeit sich zu erinnern, zu trauern, aber auch sich trotzdem zu freuen ob der poetischen Schönheit dieser

Ackerstraße, 2009, glass beads, glue, gunshot residue, variable size With a very powerful adhesive I glued the marbles onto the holes that firearms have left on the walls of the city. The project was born in Berlin but it is an installation that is intended to be installed in many cities, a monument to the ubiquitous geography.

Dr. Jekyll and Mr. Hyde Press release March 16 - April 30 2012 Magazzino d arte moderna - via dei Prefetti 17 - Rome Curated by Vita Zaman with the participation of : David Adamo, Tim Eitel, Andy Hope 1930, Robert Janitz, Gianluca Malgeri, Andrea Salvino, Dirk Skreber. Taking cue from the famous novel by Robert Louis Stevenson, the exhibition displays a kind of emotional script that narrates, through a play of mythologies, excesses, realities and absences, extreme and barely visible visual states, the complexity and wideness of painting related positions and researches through the works of the seven participating artists. This research articulates between the materic abstraction by Robert Janitz, the cold and metaphysical atmospheres of Tim Eitel s paintings, the anti-historic and explicit figuration of the paintings and drawings by Andrea Salvino, to the neo-pop references of Andy Hope s and Dirk Skreber, the latter crossing the border into the field of sculpture. Sculptural are also the expressions of David Adamo and Gianluca Malgeri, linked in different ways to Arte Povera, on one hand, a gesture and performative manipulation of materials, revealing its bare equilibriums and highlighting new semantic and symbolic functions (Adamo); on the other hand, the use of a trace-object, a remain, a rewritable and recombined element into some sort of archaeology of the present, that is, a central theme within Malgeri s oeuvre. With the intention of giving a concrete spatiality to this concurrence of positions and gestures, the exhibition is articulated between the spaces of the gallery as a confused discourse, sometimes crowded and rarefied at the same time, a schizoid flow of images that doesn t negate, but rather suggests, the possibility of a dialogue between such different actors.

Tower of Ishtar, 2004, wood, ceramic tiles, candles, 130 x 60 x 60 cm The work is composed of ceramic tiles, used for the construction of the ancient coal stoves. With them I build towers that are reminiscent of the past at the same time and decay. The light from inside is natural because it was created from the flames of the candles.

Anphora, 2008, ceramic tiles, steel reinforcement, 47 x 22 x 22cm The work is composed of ceramic tiles, used for the construction of the ancient coal stoves. With them I build towers that are reminiscent of the past at the same time and decay.

Vouge, Magazine Article Art Basel 2012 Carlotta Loverini Botta Published: 06/13/2012 Art Basel 2012: nearly 300 leading galleries and more than 2,500 artists for one of the most important show for Modern and contemporary art. The rainy weather of last weekend softened the change of scene between Basel, with its typically northern cold weather today, and the rest of the world, ready for the annual contemporary art event: Art Basel. It s a fair at a level far above other events. Started in the 70s by a group of gallery owners in Basel, it has developed in Miami with the support of the big families of South American collectors and their foundations, and is due to arrive in Asia in May 2013 with an eagerly awaited version in Hong Kong. This year, as happens when it coincides with the biennials, the fair follows documenta (13) in Kassel, one of the most important contemporary art exhibitions in the world and an event that takes place only once every five years. Documenta has taken place 13 times since 1955 and is curated this time by the Italian-American writer with the Bulgarian name, Carolyn Christov-Bakargiev. She s been careful to reflect, as the curator of the Berlin Biennale Artur Żmijewski was before her, the winds of freedom that have blown across the East of the world this year. In the fair though the atmosphere is more Western and the focus is commercial. While the world has been shaken by an unprecedented financial crisis, we experienced a first day that was like the boom years, with the many interested international collectors jostling to get in at 11am and start buying.the modern and contemporary galleries are divided over two floors and wind around the familiar circular courtyard, where we returned for a much-anticipated bratwurst and mustard sandwich. There was a physical distinction, at times blurred, between the works of the 50s, 70s and today, with artists living and dead, well-established galleries and upandcoming ones. by Van Gogh in the grey cube of the Gagosian ("the stand in the stand"), where works by other masters such as Picasso and Giacometti are also on show. It s about an exciting solo show dedicated to the video artist Doug Aitken at the Eva Presenhuber gallery. You enter through splits in the wall to look at the inscription "ART" covered in chocolate or the latest light box works, all inspired by the video creations that won him an award at the 1999 Venice Biennale. The exhibition is made up of three sections: the main Art Galleries, Art Statement dedicated to young artists and Art Feature, which is focused on a curatorial project. The idea is to offer the widest possible overview of art from the sculptures of the Los Angeles artist Aaron Curry and the works of Chiharu Shiota to the young artists of Rome s Magazzino di Arte Moderna. We suddenly found ourselves in a small installation by the young artist Gianluca Malgeri. This Wunderkammer metaphor for the act of collecting is made up of fragile sculptures of antlers created from cherry branches and moss. It s a series of works that brings art to nature and is inspired by the myth of Daphne, who asked to be transformed into a laurel a "deathless" plant in order to escape Apollo. Walking through the long corridors yesterday was not just a delight for the eyes, it was also an intellectual entertainment, especially when you re trying to understand the direction that contemporary art is taking. It s wondering if Marina Abramović s performances are still valuable if the artist is not there they re on at Sean Kelly It s the adventure of unearthing unconventional masterpieces, like Hiroshi Sugimoto s photos of animals with a prehistoric air at the Pace Gallery. It s stealing a last glance at the beauty of the Le Corbusiers at Landau Fine Art. http://www.vogue.it/en/people-are-talking-about/vogue-arts/2012/06/art-basel-2012 Basel is about feasting your eyes on a small oil painting of two mice eating cheese

La stanza delle lucciole, 2013, wood, branches, glue site specific 85 pieces Mounts branches on the wall in such a way that they mimic the form of deer antlers in trophies decoration the halls of aristocratic hunting lodges. His primitive hunting and gathering confuses the disciplines of botany and zoology, horticulture propagation with the preservation of animal specimens. In the process, he poetically reconverts the symbols of gratuitous bloodsport into those of a naturalist s careful foraging and attentiveness to cycles of nature. Malgeri installation also allegorizes the mythological story, recounted in Ovidio s Metamorphoses, of Apollo pursuit of Daphne, the nymph who, in order to elude the sun god s ardent advances begged her father to turn her into a tree.

The Kiss of Judas, 2012, silkscreen on Arabic bread, 30 elements, each ø 20 cm Like a chessboard, thirty arab breads are placed on pedestals, each pedestal holding a coin that represents a political leader, mostly dictators. The work refers to the coinage and currency, which is one of the earliest forms of globalization, but also the bread symbol of survival in times of war, a contradictory representation of political power and the fragility of the subject. The title is a reference to the evangelical story of the betrayal by Judas for thirty pieces of silver.

The wolf of Constantine, 2011, ceramic mosaic sculpture, 180 x 57 x 90 cm, work in progress This sculpture is not mine, I did no task anyone to build it. I've only seen it in a shop window, and decided that I wanted to work with this statue. Five years later when I designed my show, I thought of positioning the sculpture inside a cabinet of curiosities, this kind of exposure is underlining it as bizarre finding.

Suncity, 2010, collage, 200 x 220 cm, Sunny art fair, Jordan Guest artist: Gianluca Malgeri Text by: Rasha Shaath As part of its program, SAF 2010 invited guest artist Gianluca Malgeri to show two works he produced during his two-month stay in Jordan. Malgeri arrive in Jordan in October as the artist in residence for the Kempinski Arts Support Programme and his participation at the fair marks the end of his brief stay. The Italian artist studied and trained extensively in Italy and has been the recipient of few international grants and awards. His professional experience and exhibition record are testament to a hugely ambitious body of work and collaboration with some of the world s most renowned artists. Malgeri s interest in architecture and archeology found the perfect setting in Jordan. He traveled throughout the country, from Aqaba to the Dead Sea to Amman and admits that Wadi Rum was his most powerful experience. Malgeri is as much interested in the archeological as he is in the social interactions; his insistence to maintain a respectful distance with locals is, he says, a way to avoid falling into an orientalist experience with his surroundings as a visitor in a foreign land. This is very much represented in the two works he shows at SAF 2010 entitled Orienalism and Jordan River.

Ercole, 2011, photographic print 100 x 70 cm

Odalisque, 2010, photographic print, 70 x 100 cm

The Great Virgin, 2011, photocopies b / w A4, scotch, 300 x 200 cm The great virgin is a direct reference to the great odalisque painted by Ingres but also in relation to the pictorial tradition of the odalisque, which European painters have painted for up to half of the 1900s. Figure is the collage copied from a painting by Francois Boucher.

Sunday, 2012, photocopies b / w A4, scotch, 300 x 200 cm

Making Worlds by Raimar Stange Press release Für seine Ausstellung "Apollo & Daphne - making worlds" bespielt Gianluca Malgeri beinahe das gesamte Areal dergalerie. So nutzt der junge italienische Künstler für sein "making worlds" den repräsentativen Garten ebenso wie deneher schmuddeligen Hinterhof, die prominente, 20 Meter lange Fensterfront genauso wie einen vergleichbarunscheinbaren Kellerraum. Leer allerdings bleibt der eigentliche Galerieraum, dessen Leere so ex negativo dasspannungsvolle Zentrum der Ausstellung bildet. In diesem Setting nun erzählt Gianluca Malgeri die ewig jungegeschichte von Apollo und Daphne, diesen zeitlosen Mythos um vergebliches männliches Werben und Begehren versusweiblicher Verweigerung, Askese und Metamorphose. Diese vieldeutige Narration liest Malgerie in Bezug auf seineigenes Leben hier und heute. Dazu aktualisiert der Künstler, wie wir sehen werden, immer wieder auch dasformenvokabular der arte povera aus dem 1960iger Jahren seiner italienischen Heimat. Berlin gesammelten Ästen hat Malgerie gut 100 "Geweihe" gefertigt, die in nebeneinandergehängt in der Fensterfront eine eindeutig mehrdeutige Geschichte erzählen, deren Assoziationsspektrum zumindest vom"hörner-aufsetzen" über das modisch-sexy Tattoo bis hin zu schon erwähnter Metamorphose Daphnes reicht. Begleitet wird die Ausstellung "Apollo & Daphne - making worlds" von einem Projekt des Künstlers, in dem erschulkinder der vierten bis sechsten Klasse der Goethe-Gesamtschule Potsdam aufgefordert hat, ihre eigene Ideevom Schicksal Daphnes zu zeichnen.seltsamen Begegnung von kleinen, naiv-spielerischen Murmeln mit tragischer Weltgeschichte. Auch sein neuestes projekt Wall (2009) beschäftigt sich mit der Historie Berlin: Malgerie hat Photos der Berliner Mauer, die einst die Stadt in Ost und West geteilt hat, eben dort an ausgewählten Plakatwänden platziert, wo die photographierten Abschnitte damals wirklich gestanden haben. Im angesprochenen Garten erwartet den Besucher eine überlebensgroße Figurine eines weiblichen Kleides, streng ausstahl gefertigt, mehrdeutig mittig über die Fontäne der kreisrunden Rasenfläche des Gartens installiert. Diesergroßartigen ästhetische Verkörperung Daphnes steht die dagegen fast schon verzweifelt anmutenden RepräsentationApollos im Hinterhof entgegen: Ein T-Shirt hängt dort an einer stacheldrahtigen Wäscheleine, auf dem T-Shirt, diesermenschlichen Haut zweiten Grades, sind echte Haare des Künstlers geklebt, ein erstes Indiz für die biographischekomponente dieser Ausstellung. Ein zweites Indiz hierfür findet sich dann in einem kleinen Kellerraum der Galerie: Ausseinem Tagebuch entnommenen Zeichnungen und Collagen stellen hier verschiedene für den Künstler einst wichtigefrauen vor, die u. a. mit Hilfe von Ästen diverser Bäume visualisiert werden. Wir erinnern uns: Daphne verwandelte sicham Ende ihrer Flucht vor Apollo in einen Lorbeerbaum. Daphne selbst, sprich: eine große verflossene Liebe Malgeris, istebenfalls dargestellt, und zwar gleich in drei verschiedenen Lebensaltern: als Kind, Jugendliche und Erwachsene.Schließlich ist da die lange Fensterfront, die der Künstler als Display nutzt für eine so minimalistische wie manischemanifestation: Aus in

Apollo and Daphne, 2009, exhibition view, Berlin Daphne is a fountain of very modern appearance, a bust that is almost a cage around a beautiful garden. Inside the bust stands a fountain, a clear reference to a voluptuous pleasure or at the time of conception. The myth of Daphne has always been a great passion of mine. My interpretation of Apollo and Daphne presents almost reversed roles, victim and executioner exchange the role, it is a love story of modern and contemporary. The result is a very human Apollo hung out to dry on a wire. for contrast.

A QUASI-ARCHAEOLOGY OF LOVE Press release Text by Anna Engberg-Pedersen, 2011 Ferdinand de Lesseps: Oh, Eugénie, darling, I'm leaving for Egypt in an hour and forty-five minutes. Will you marry me? Countess Eugénie de Montijo: What? Ferdinand: I'm going there as secretary to the Consulate. Marry me, come with me. Rene's going for the license. Eugénie: What license? What are you talking about? Ferdinand: The marriage license! Quick, pack your things, we've just time to get to the church. Eugénie: But I couldn't possibly do a thing like that, you know I couldn't... From Suez, a 1938 Hollywood production starring Tyrone Power and Loretta Young as Ferdinand and Eugénie. Eugénie de Montijo, a countess of Spanish origin, advances to the French throne in 1853 as the wife of Napoleon III, ruler of the Second French Empire and a reputed womanizer. In 1869, Empress Eugénie, European style icon, devout Catholic and conservative, travels to Suez to shed light on the inauguration of the Suez Chanel, a project initiated and led by the ardent entrepreneur Ferdinand de Lesseps, her long-time acquaintance and, so the film has it, former lover. Suez possible setting for a revival of their impossible love. Eugénie and Sultan Abdülaziz. Public figures, exposed in all directions, but sharing a love almost imperceptibly nestled within the love story. In 1869 Eugénie, on a courtesy call, meets Abdülaziz in Istanbul before continuing to Suez. An intimate letter may have changed hands. Words uttered. Upon her departure from Istanbul, the Sultan presents her with a costly sword for her husband Napoleon. The engraving runs: Pese et vainque. Pressurize and conquer. Pronounced in Turkish: pezevenk son of a bitch. What language did he speak? What fires were kindled? The emotional backdrop remains obscure. Dig below Hollywood glamour, decade-spanning love, power and European politics, repression and action. This is no excavation expedition, no standard archaeological dig. Take a trip to the inside where evidence and hard facts are substituted for soft allusions and traces, remnants deftly reorganised to speak a different language, one steeped in memory. This is the Malgeri method. By extracting and recovering the artist composes. He excavates objects, characters, sentiments, words, fragments of narratives, mundane or precious, old or new, from cultures and sites well-known or recently encountered, and welds them into suggestive atmospheres. He tinkers on the light framework of a story of Occident (Ama biz hayatım, güneş ve ayız, birbirinden ayrı yaşamaya ve sadece tutulma anında kucaklaşmaya mecbur. Sersemleme, korku ve hayranlık yaratarak...) and Orient (Ama biz hayatım, güneş ve ayız, birbirinden ayrı yaşamaya ve sadece tutulma anında kucaklaşmaya mecbur. Sersemleme, korku ve hayranlık yaratarak...), of a Sultan and an Empress, of public appearance and half-disclosed passion, of seeming and being, of the city of encounters, constantly in transformation around the waters of the Bosphorus. Istanbul a cacophony of voices and ways and cultures and exchanges, alluring to the foreign visitor. For Gianluca Malgeri the past is never simply past. He reassembles it to speak to you in a voice you may not fully identify, one that is unnerving yet familiar and intimate. Like when love is involved. What really happened? Who cares! This is no whodunit. A story takes shape as you move from one trace to the next. It is not so much about a man and a woman as about that shared moment, charged with meaning, however fleeting. Reality is with you. Gianluca Malgeri b. 1974, is an Italian Artist. Since three months travelling around Jordan with Kempinski Art Fellowship. Malgeri works and lives in Berlin.

Sultan Abdülaziz, 2011, collage, 100 x 70 cm Eugenia de Montijo, 2011, collage 100 x 70 cm The relationship between the sultan and the wife of Napoleon III is not accredited, it is perhaps only a legend, and I wanted to treat it as such, almost as one of the possible stories of The Thousand and One Nights. The shape of the profiles is taken from a painting on display in a hotel in Istanbul. And in the photographs, there are details of the Sultan s palace, where the protagonists of the story seem to fall in love.

Pese et Vainque / Pezevenk, 2011, exhibition view, GALERiARTiST, Istanbul Upon returning from a trip to the Middle East, I decided to exhibit my first impressions, where the filter is a love story between the Sultan of Istanbul and the wife of Napoleon III. In this exhibition I compare two ways of doing and being. The space is divided between private and public, creating tension for the audience between "the weapons room with the original Ottoman sword" and the melancholy of the private space made of lights and shadows. I reflect on the idea of unlikely encounters, and the story represented is on the border with the legend. Among the many stories that were discovered, one said that the Sultan gave a sword to Napoleon engraved PESE ET VAINQUE. The sound of this word in Turkish sounds like PEZEVENK which means pimp or son of a bitch, perhaps hence the title of the window in English and in Turkish in letters of gold on the sword.

Metamorphosis, 2011, collage 160 x 120 cm

Insha Allah Press release 7 October 6 November 2011 Magazzino is pleased to present a new exhibition by Gianluca Malgeri entitled Insha Allah. For his second solo exhibition with the gallery, Malgeri will present the first formalization of a work in progress that has been developed throughout the last 15 months, during which the artist travelled between Jordan, Turkey and Italy. The exhibition results from a reflection over the concept of mapping, intended as a formation and description of a non-physical space, transformed by Malgeri into a series of rooms connoted by an imagery that refer to a cultural territory in continuous oscillation. Within this territory and this mapping, there is a series of objects, images and testimonies collected by the artist and arranged in a path marked by constant tension between elements, within the exhibition and within the works themselves, where they coexist and overlap common polarities: East and West, male and female, rationalism and empiricism. Thus the map is translated into a sign inscribed on the human figure, which is drawn with a sense of ambiguity between female characteristics and a constant suggestion generated in turn by iconic male figures in the history of art, such as San Sebastian, Adam, or Orpheus. The idea of presenting a collection without an order is one of the expedients that Malgeri uses to draw this map; the collection that Malgeri shows is not linked to the found object tout court: its contents are in facts projections, reconstructions, synthesis of information and images chosen by the artist to describe the territory of his orientalism, which excludes form but assumes the experiential datum as subjective and objective at the same time. The odalisque, the eunuch, ancient coins, breads, flowers (just to mention some of the references) are objective translations of an abstract that comes before the image and its origin. As in a new mythology, Malgeri invites to reconsider the characteristics of what we commonly call "culture" that sinks its roots much deeper than the old rationalism tends to give.

The risk of mapping, 2011, silkscreen 200 x 90 cm "The Risk mapping" of Bruno Latour inspired me to do this work where the map is not only geographical but also at other levels, psychological and physical. The maps have a human shape and within these boundaries there appear to be tattoos, each with a specific story, but all together, placed in the corridor of the map wants to be a mental projection of an exotic trip.

The corridor of map, 2011, exhibition view Magazzino, Rome "The Risk mapping" of Bruno Latour inspired me to do this work where the map is not only geographical but also at other levels, psychological and physical. The maps have a human shape and within these boundaries there appear to be tattoos, each with a specific story, but all together, placed in the corridor of the map wants to be a mental projection of an exotic trip.

Insha Allah, 2011, exhibition view Magazzino, Rome The exhibition at the gallery Magazzino, sums up my thoughts on the journey of the late nineteenth century to the exotic worlds. The exhibition is divided into: studio room, corridor maps and golden cage. The reflection is on the journey, the collection of unusual objects and the various translation errors between different cultures.

God Bless You

God Bless You, 2012, exhibition view, GALERiARTiST, Istanbul The project was born in Jordan, the original idea was to draw a portrait of the two kings of Jordan on Arabic bread, I did not make it because the hotel where I was guest artist did not want to create real discontent considering the importance of the icon. In Istanbul for my solo show, I made the work in a larger scale.

God Bless You, 2012, exhibition view, GALERiARTiST, Istanbul The project was born in Jordan, the original idea was to draw a portrait of the two kings of Jordan on Arabic bread, I did not make it because the hotel where I was guest artist did not want to create real discontent considering the importance of the icon. In Istanbul for my solo show, I made the work in a larger scale.