Opere iscritte al Premio Ora

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Cristina Gardumi

Place of birth: Gavardo
Date of birth: 29/12/1978
works and lives at Pisa

Born in Gavardo (BS, ITALY) on 29/12/1978

She lives and works in Pisa (Italy)

For further infos please visit www.cristinagardumi.com

http://www.cristinagardumi.com

solo exhibitions

2018

FOOD OF LOVE/ FOOD OF LARVAE , in collaborazione con Mauro Balletti, a cura di Antonio Calbi, Teatro India, Rome.

HER/ HERR, curated by Alessandra Ioalè, Burning Giraffe Art Gallery, Turin.

, La Jetee/Stitching Foundation, Amsterdam.

2017

"IMPLUMA", Artinsolite /Teatro del Silenzio, Ex-asilo and blind windows, Lajatico (Pisa), curated by Alberto Bartalini/ Carlo Alberto Arzelà, Italy.

“Puellae” (ovvero “Educazione al nascondimento della fanciulla contemporanea”), curated by  Alessandra Ioalè, 79rosso art gallery, Florence.

2016
​”Il bosco è dentro”, solo exhibition curated by Luca Nannipieri, Viacavourcinquantasette, Pisa, Italy.

2015
“Mädchen/wrinkle vacuum elastomer/dry preservation of fairy damsels met in forest wide” curated by Alessandra Timossi & Maurizio Vallebona, a b o u t n e s s contemporary art, Genova, Italy.

“Adults don’t exist/Gli adulti non esistono” solo exhibition, curated by Beatrice Giovannoni, Sala Dogana, Genova, Italy.

2014
“My little house”, residenza artistica domestica curated by Fulvio Ravagnani, Milan, Italy.

2012
“Girlbook_Boybook”, curated by Chiara Pirozzi, Dino Morra Arte Contemporanea, Naples, Italy.


group exhibitions

2017

Pata rei, festival di Patafisica, Casalmaggiore (CR), Italy.

The Palace International Film Festival, Wroclav, Poland.

Tricky Women International Animated Film Festival, Kulturhaus, Vienna, Austria.

2016
La tela infinita, Centro Espositivo Villa Pacchiani, Santa Croce sull’Arno (PI), curated by Ilaria Mariotti, Italy.

AAF Affordable art fair, Milano ( Warsteiner Young Talents contest), Italy.

“Carta bianca” curated by Anna Lisa Ghirardi @ AAB galleria, Brescia, Italia.

2014

“WATTEAU+WOW una fête galante”, ABOUTNESS CONTEMPORARY ART, curated by Maurizio Vallebona e Alessandra Timossi, Genova, Italia.

“IFITRY artisti tra Italia e Marocco”, curated by Moustapha Romli, Centro Espositivo San Michele Degli Scalzi, Pisa, Italia.

2013

CELESTE PRIZE 2013, a cura di Ami Barak Spazio Fenaroli, Visitor’s choice award.

2013

CELESTE PRIZE 2013, Visitor’s choice award.

ZOOART 2013 a cura di Michela Sacchetto, Giardini Fresia, Cuneo.
“London Calling 2013”, curated by Factory art Gallery, Londra, Regno Unito.
COMBAT PRIZE 2013, Museo Civico “Giovanni Fattori”, Livorno, Italia.
SET UP, Fiera d’arte contemporanea indipendente, Autostazione, Bologna, Italia.

2012
BIENNALE DI CASABLANCA.
The Others Art Fair, Le Nuove, Torino, Italia.
“West End”a cura di Fabrizio Arcuri, MACRO
Testaccio, Roma, Italia.
Arte Laguna Prize 2012 a cura di Igor Zanti, Nappe dell’Arsenale di Venezia, PREMIO PITTURA.
Artist residence, Centre d’art contemporain d’Essaouira, Marocco.

2011
“Premio Celeste 2011” a cura di
Gabi Scardi, Alessandro Facente, Isabella Falbo, Museo Civico Archeologico, Bologna, Italia, PREMIO PITTURA.

 

other links : 
http://www.cristinagardumi.com/manuale-pratico-di-nascondimento-de

STATEMENT

 

For me, drawing is a kind of anthropological investigation – it helps me to better understand the reality surrounding me, who lives there, and myself as part of this bigger picture. I keenly feel the lack of that stability, that common foundation on which – according to social conventions – we build lives: a tribe, or religion, where we can recognise ourselves. We all share the day-to-day. Human beings in ancient times had myths and legends to reassure them and align their feelings with. Today we are absent-minded, with short attention spans – we grasp the here and now, with all its potential instability and sudden transformations. What I draw gives me a way of navigating this complexity.

“It is a kind of search, through the humdrum minutiae of everyday life, places beyond those pertaining to the official concept of 'sacred' (religion, nations, moral conventions), to reveal my sacred with a few small actions, setting the boundary from where I no longer operate on the basis of the ordinary but I am penetrated by a radically different world, different to the ordinary world like fire is to water.  These actions are like tears in a veil, a breach where a world of revelations can pass through.”

M.LEIRIS "Il sacro nella vita quotidiana"
[The sacred of everyday life] 

The constant encounter with the 'real' makes people more closed to the poetry of detail and to little revelations. I use drawing to highlight these activities and situations, which at first appear to be banal and inconsequential.
I see my works as short stories, but also as thinking exercises. The series of drawings I called Books I see as little manuals providing points for reflection on various fundamental themes. I use pages from old school notebooks - this simple “workaday” paper is the most apt to convey the sense of my work. I treat them with coffee to purge them of their previous roles. The lines blur slightly, the spaces where they remain intact offering little foothold spaces for my “actors”. 
The characters move on the paper like actors in a scene, playing more or less defined roles. They are humans and animals together because I see this zoomorphism as the essential image of the creature, a type of being with the unique characteristic of feeling guilt, and the beast, in its diverse forms and species, always (inevitably) innocent. 
Our conscience invariably traces this character back to the childlike world of the fairy tale (also in the most classic sense of the word – think of Aesop's fables or Jean de La Fontaine), and adults tend to classify this type of work as children's illustration. This becomes a useful tool when one wants to introduce a subtle disturbance, a doubt, a shadow, during the otherwise innocuous creation of a picture.
In the last three years I have also worked with animation, drawing inspiration from William Kentridge and Blu, and created my first videos, looking to transport the same investigative approach that I use in painting to the moving image. The narrative form that the video provides suits my need for synthesis.