Andrea / Raffaella Caretto / Spagna


Kategorien: Fotografie Skulptur Installation Performance Partizipativ Interdisziplinär

Being Pebble, 2011

Various artificial materials collected on the Rhône riversides, 120 x 90 cm - Assemblage of fragments of synthetic materials (polystyrene, polyurethane foam, etc.) collected by the artists along the Rhône riversides (France) during the residency period. The pieces were eroded by the river in the same way as the natural pebbles.

Rectification trials_Floated wood wall, 2011

Floated wood, screws, 290 x 250 x 210 cm - Wall made of floated wood collected by the artists along the Rhône riverside.

Ceromancy: 7 questions to the Rhône river, 2011

Performance that took place along the Rhône riverside river just before the opening of the exhibition "You could not step twice into the same river" CAP - Centre D’Art Plastique, Saint Fons, France (2011). During the performance we asked 7 questions to the river pouring, for each question, some hot liquid wax in the river water. (Ceromancy is a divination system by dropping melted wax into water and interpreting the figures made there)

Ceromancy: 7 questions to the Rhône river, 2011

Wood light-box, paraffin wax, 450x 50 x 85 cm Seven wax pieces resulting from a performance that took place along the Rhône riverside river just before the opening of the exhibition "You could not step twice into the same river", CAP - Centre D’Art Plastique, Saint Fons, France (2011). During the performance we asked 7 questions to the river pouring, for each question, some hot liquid wax in the river water. (Ceromancy is a divination system by dropping melted wax into water and interpreting the figures made there)

Beaver skin, 2011

natural rubber, 105 x 80 cm Patchwork of rubber molud of the traces of beaver’s teeth found on a tree trunk chipped by the beavers along the Rhône riversides

Back without warning

Exhibition at art3 - Art Contemporain, Valence, France (2011). View of the exhibition: A complex water system, fed with Rhône river water, innervate all the exhibition space, creating two interconnected installations concerning Rhône river domestication and relation between Valence inhabitants and the Rhône river. >Left and bottom-right - Nineteen sluice gates fountain, 2011 - water from Rhône river, plastic boxes, submersed pump, hydraulic materials, transparent pipes, nylon string, basin for garden pools >Top-Right - Spring, 2011 - water from Rhône river, molten lead poured in water, salad bowl, nylon string

Low Energy Transformations - Practices of experimentation on the origin of forms (2010)

partial views of the installation for the exhibition «Sketches of Space», MUDAM, Musée d'Art Moderne Grand-Duc Jean, Luxembourg - For the exhibition Sketches of Space, we created a link between the protected space of the museum and the exterior environment exposed to the elements by bringing rainwater from the roof of the museum to the exhibition hall thanks to a complex pipes system. Rainwater fallen during the exhibition was collected in a large water basin, the “Renaissance Greenhouse-Fountain”. From here, water was pumped through a black irrigation pipe and micro- drippers to “feed” different elements of the installation. >Top-Left - Vegetal stained glass_ Lemna minor, 2010 Galvanized iron industrial scaffold, glass basin, water lentils plants (Lemna minor), lamps for indoor cultivation, ventilators 170 x 60 x 410 cm > Bottom-left - SEAT, 2010 - Seat made of raw bricks with the imprints of the artists’s body > Right – Renaissance Greenhouse-Fontain, 2010 - Galvanized iron agricultural greenhouse, rainwater collection from the Mudam roof, plastic cloth in PE, submerged pump, irrigation pipes,

Food Islands, 2008

Food Islands, 2008 Installation for the exhibition «O», RURART Art Center, Rouillé (Poitiers), France. Water, iron drinking trough for animals, submersed pump, transparent polyethylene, oenological transparent pipes, micro‐irrigation drippers, plastic Christmas decorations, plastic glasses, aquatic plants, rocks (radiolarite and coal), bivalve molluscs, carnivorous plants, sod with wild plants ‐ Variable dimensions. Production Rurart. Food Islands is a complex water irrigation system, suspended in the air, that feeds several interconnected little islands containing various natural elements, belonging to the mineral, vegetal and animal Kingdom. A pump dipped in a water basin (an iron drinking trough for animals) pumps water to each island through transparent pipes and micro‐irrigation drippers. The water is then conveyed by funnels into a suspended discharge open channel and return back by gravity to the main water basin. Even if it seems to be an high‐tech system, actually it’s created assembling very common and poor materials. The whole installation constitutes a kind of hypertextual narration about phenomena of growth and transformation of matter, from inorganic to organic and vice‐versa. All the elements of the installation are in relationship to each other in a very complex, delicate and precarious equilibrium anyway all this complexity seems ridiculous and almost grotesque if compared with a real natural ecosystem.

Sativa, 2008

Installation for the exhibition «Eurasia. Geographic cross‐overs in art» - Barley grass fiber, clay, straw, photo on aluminium. MART (Contemporary and Modern Art Museum of Trento and Rovereto). The installation comprised three elements: Hordeumscape_ Susa Valley, Seats and Inverted Greenhouse. Hordeumscape_Val di Susa is a landscape made from barley grass fibre and reproduces, like a skin, the surface of the Susa Valley region (in Piedmont, Italy). For a few months, starting at the beginning of 2008, the two artists cultivated barley (Hordeum vulgare) in their studio. The barley 'fields' were progressively harvested and subsequently crushed, producing a dense green juice consumed as a beverage by the two artists. The grass juice of the cereals (wheat, barley…) contains all the amino-acids essential for human life, elements that progressively change the blood quality of the two artists during the months in which the project was under way. The fiber used for the construction of the Hordeumscape_Susa Valley is the waste from this process and constitutes the tangible counterpart to the organic (chemical and physical) transformation of the quality of the blood and bodies of the two artists. The remains of this landscape – similar to the faeces of a herbivore that grazes solely on grass – silently recount the events of a territory undergoing strong social tensions because of divergent interests between the inhabitants and the authorities, a place for which every choice and future decision should be deferred until a profound individual and collective renewal. The barley grass landscape is flanked by two other elements evoking different levels of relationship with the territory: seats of earth and straw, and a photographic print showing an agricultural tunnel‐shaped greenhouse overturned in a clay quarry used for the production of bricks.

Esculenta Lazzaro_ reviving action on cultivated vegetables, since 2004

ESCULENTA Lazzaro project originates from an instinctive necessity of knowing and revealing the latent vitality of some edible materials of daily consumption: vegetables and fruits. The point of view from which the investigation starts puts aside the usual way of considering fruit and vegetable products as object/goods (food for consumption) and diverts the attention towards the "vegetable subject" as a living organism animated by its own vital cycle. The subtraction of fruit and vegetable products from the commercial circle of small and large distribution allows us to study the vegetable subject through the reactivation of its suspended vitality, eliminating the growth limit imposed by human feeding necessity and allowing the manifestation of further phases of its vital cycle: growth, flowering, seed production and death. Once the gap between the vegetable/food/goods and the vegetable living organism is filled, the perception of an ancestral "choice" made a long time ago emerges: the domestication of some vegetable species, an action that marks a fundamental turn in the evolution of the human being. Lazzaro.pdf