Michele Giacobino

PACIOC

PACIOC (2017): It is an installation made for “LAND ART LUPANICA”, a land art international annual festival in Italy. It works on surfaces of trees as natural sculptures.
According with traditional “patois” that I talk with my family, “pacioc” means “mud”: a special kind of mud, with a secret formula, it is used to make decorations over more than twenty trees that are growing in a part of a very very ancient forest that survive between Italy and Slovenia. In the formula, there is a bit of soil of the place. Different soil with different compositions make different colors of paint, according to “genius loci”, i.e. the spirit of that place.
According to curators of festival, “wood is an open wall”, so it is ready to receive any kind of message. Mud shows an ephemeral way (the real essece of environmental art), a transient way (and so also a sort of pessimistic symbol of era that we live in) to express myself as man and as artist. No messages, only symbolic decorations. This is also connected to idea of “to leave a sign”, a trace on this earth.
The mud applied to the trunks, then, is part of me, of my story, of my family and of the activity that we always do in agriculture. It's a traditional remedy we still use today to help a tree to repair wounds or diseases of the trunk and bark. Sublimating this gesture through an ephemeral artistic installation that decontextualizes it from its practical purpose and deconstructs it by reinventing it… here this seems to me one of the things that comes closer to my concept of art. http://www.lupanica.it/

FACTSHEET:

Abmessungen : 300 cm x 2500 cm x 2000 cm (Height, Width, Depth)
Jahr : 2017
Material : Holz, Naturstoffe, Ton, Sonstige
Bearbeitung : Kunststoffguss
Stil : abstrakt, zeitgenössisch, Land Art, Geometrisch, politisch, symbolistisch, surreal

Michele Giacobino

STATEMENT - I am interested in relationship between human manufactures and landscape, between nature and culture, between inner landscape of everyone of us and how it reflects on external landscape.
So, starting from architecture and design landscape, with particular regard to garden design, I converged on ephemeral art, public art and land art, declined in their most varied ways. Large sculptures in open spaces (and, often, wild spaces), installations, public events, interaction with citizenship and cultural promotion of the territory are the object of my interest.
I work not only with natural materials (but that otherwise I prefer, especially wood, soil and “alive” materials as trees and shrubs). Respect for nature is for me a priority.
Using shovel, pick and other tools traditionally used working in agriculture I connect myself whit the most intimate part of me and, at the same time, with gestures and manual abilities of my fathers, abilities that they transmitted to me since I was very young.
Through my work I speak about civilization, about the attraction exerted on man by the wilderness and its contemporary result of feelings of fear and repulsion.
My work always starts from intimate memories or suggestions to interpret reality in a personal and often surreal way, through free associations of ideas. I still believe in the social value of art, or at least some of its forms. Dreaming does not cost anything (perhaps, for now).

auch interessant:

CLUB
CLUB (2018) (from exhibition catalog): As an artist and architect focused on landscape, Michele Giacobino is concerned about the land, the ways in which humans use it, and in particular the question of which humans decide how the land is to be used. In this work for Land Art Mongolia 2018, the purely visual association between the green rolling grasslands of Mongolia and the game of golf is straightforward. But this artwork is not about golf as a sport, or about the enormous areas of land, and water resources, devoted to golf courses around the world. The title Club refers instead to the ‘club’ of G20 nations (20 of the nations with ‘developed’ or more powerful economies) whose attitudes largely determine the use of natural resources – including the land – around the world. So, in Club, the use of the flags of the twenty nations refers to he globalized culture of the G20. As Giacobino points out, the homogeneity of globalized culture leads people to seek out the unusual, ‘exotic’ or ‘undeveloped’, adjectives often applied to Mongolia. Since there are also artists from almost 20 nations (not G20) in this edition of Land Art Mongolia, come to experience the land and its people, Club can also be understood as a reflection on the artists and Biennial workshop. Flags are an ambiguous device, of course, referring not simply to the marker of the golfer’s ambition, but also to the territorial ambition and claims of nation states to possess the land. Giacobino’s artwork was present in the landscape for only a few days, and the artist was careful to return the soil to the places from which it had been displaced..
Michele Giacobino, Metall, Textil
THE RAIN IN THE WELL
THE RAIN IN THE WELL (2016): It is an installation made for "BAS - BOSCO ARTE STENICO", a land art international annual festival in Italy. Reflection concerns water as a vital element. Growth rings of a tree represent a lifetime and before their growth has been cut off it has been influenced by the amount of rain fallen in the woods. They tell, in some ways, rain stories (rain poetry in the woods) and they themselves refer to concentric waves on the water's hair. We have to consider the vital importance of trees in the life cycle of the element necessary to life. The WATER well is also an ancient and emblematic element of survival, in this case with a decontextualized reference: instead of being the essence of an inhabited center is placed in the middle of a forest, realizing a double referring to a fairy tale: the forest and the well are both united by mystery and desire, attraction and repulsion. http://www.boscoartestenico.eu
Michele Giacobino, Holz, Naturstoffe
CENTURIAE?
CENTURIAE?(2015): It is a work made in a private historical mansion. It is a work that is between land art and landscape planning, for this reason I'm particularly fond of it. In countryside near Turin airport, 180 poplars trees are aligned with lines of roman centuriation (maibe?) and with lines of landing track of airport. Because of the reduced distance to the files and because of turbulence, they seems to move like signaling landing on planes. Growing, they will not be so monotonous as others bigger plantations of poplars.
Michele Giacobino, Holz, Naturstoffe
ANCESTRY II OR POLIFEMO’S BIVOUAC
“STIRPE II (O IL BIVACCO DI POLIFEMO)” - (“ANCESTRY II OR POLIFEMO’S BIVOUAC”) (2015): My first land art work realized in a farm not so far from my studio, with my hand (and with the help of a tractor 50hp). Work that it was first and foremost a performance lasting several days. It was inspired by the camps of nomadic shepherds, that in my country are disappearing or are being transformed. A little as Polyphemus, who was the last of a long line of ancient giants (and shepherds too). Not only for this reference the fire was so big. The fire shaped roots of trees, staring or removing clay from them, changing their curves, coloring it with a complex scale of greys. Result still remains, farmer loves it, a gigantic natural brazier.
Michele Giacobino, Holz, Stein
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