Michele Giacobino

EMPREINTE LABYRINTHE

« Dans le noir, nous verrons clair mes Frères ! Dans le labyrinthe, nous trouverons la voie droite ! »
(Henry Michaux)

« Do not go where the path may lead, go instead where there is no path and leave a trail. »
(Ralph Waldo Emerson)

My work revolves around the idea of "imprint", approached from different angles: our existential imprint on this earth, the ecological footprint of man, what human and non-human traces tell us in the natural cycle, making us part of an indissoluble whole.

Reasoning the labyrinth as a key element to face the heart of my poetics, namely land art to connect the interior landscape and the exterior landscape and the relationship between man and nature and between man and man, I wanted to explore anthropologically the labyrinth as a constant theme of European art.

From a local-global relationship perspective, I returned physically and symbolically to the Alpine valleys where my family is from. In recent years, it has become relatively famous among prehistoric scholars for the presence of "Masso Falchero", a huge millstone that takes its name from the family that owned it. The peculiarity of this stone is that it was engraved in prehistoric times with representations such as bas-reliefs that researchers have traced to the representations of the rituals inherent in the cult of the Great Mother, a cult in relation to which we find labyrinthine representations in different regions of the Alps. It is curious that from a linguistic point of view in the dialect spoken in “my” valley unlike the neighboring valleys all the important elements of daily life are feminine. In addition, it is emblematic, in my childhood memories, how in my family's home village old women, and not old men, played a key role in collective decisions concerning community life.

I thought of the graphic and formal relationship between our fingerprints, the symbol par excellence of our uniqueness and our individuality, and the symbol of the labyrinthine representations of communities united by daily practices and cults that attach them deeply to the earth.

In particular, my attention has focused on the thumb as a symbol of human skill and evolution and, in particular, a symbol of female talent and power: the opposable thumb, the thumb injured by the spindle in the ancestral fairy tale, thumbs for sewing and (above all) embroidery, thumbs to mark in the ancient practices of magic with mud and ashes, your thumb to support a child's head, thumb to assess and sample distances and shapes, as an artist, the thumb to clean the kids' faces, the thumb to hitchhike and so on! Nevertheless, the thumb is also used for counting banknotes (a gesture I associate with men) and today the thumbs are used for text messaging and for playing video games (is that an involution?). So I thought of creating an ephemeral labyrinth based on the graphic synthesis of the thumbprint.

I was struck by the image of Accous and its valley, and the fact that it has always been an important transit point to the Iberian Peninsula, connected to a route like that of Santiago de Compostela which follows paths of even older routes that linked the old continent to the four corners. I thought about how the two great mountain ranges of the Pyrenees and the Alps, far from being physical barriers in reality thanks to their valleys, have always favored exchanges and movements. I thought of an ideal link between the Aspe valley and "my" Val di Viù, part of a path that crosses the Italian peninsula and the Alps connected Greece with England, a route taken later in the Middle Ages by pilgrims from all over Europe to Rome and Holy Land. I thought that in such a place a labyrinth, symbol of spiritual journey, could find an ideal location. I thought of current events. The theme of travel, thinking of how the labyrinth can express the complexity and the labors and tortuosity of those who travel out of necessity and for change, in search of a better life for thousands and thousands of kilometers, and how the Alps and the Pyrenees, always a place of connection and exchange, become insurmountable barriers due to new frontiers dictated by man. Moreover, I think of the fingerprints taken, the thumbprints, taken even by young children so that men can lay down, imprison, and repel other men.

What is our current footprint? What are its meanings? What are its implications and labyrinthine facets?

The imprint is the imprint of my grandmother, the last descendant of these women from "my" valley. The idea of the grandmother's fingerprint lies in the homage to an idea. In my idea, it is an ephemeral labyrinth, made of natural materials and intended to fade slowly and naturally over time, made with the materials available on site, guided by the "genius loci". The place (and the premises, after all, a place and its spirit are or are given especially by those who live there) will inspire the best formal solution on the spot to concretize the concept by expressing all the meanings contained therein.

PHOTO CREDIT:

MILA BRAUDEY for photos n. 6 / 7 / 9 / 10 / 11 / 12 / 14 / 15 / 16 / 19

GREGOIRE LAVIGNE for photos n. 1 / 8

PHILIPPE LE COZ for photos n. 18

thank you so much.

And really special thanks to all "Phonies Bergères" organization and members, to Cler&Sandrine of "Maison Despourrins" and to all Accous friends.

FACTSHEET:

Abmessungen : 150 cm x 900 cm x 1400 cm (Height, Width, Depth)
Jahr : 2020
Material : Holz, Naturstoffe, Stein
Bearbeitung : Collage
Stil : Land Art, politisch, architektonisch, interaktiv, surreal, symbolistisch, zeitgenössisch

Michele Giacobino

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).

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Change.
Holzskulptur aus Eiche. Auseinandersetzung mit dem Leben und seiner Entwicklung.
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Schöpferische Zerstörung
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Nest 2
Material: Bronze Size: 19x12x12cm, 0,6kg Year: 2015
Judith Mann, Bronze, Bronze
'between intimacy and alienation'(continuing..)
About the work ‘Between intimacy and alienation’. The initial idea behind this work was to create sort of a performance, not a live one, but a static performance, in a way it is a combination of sculpture and theatre, a performance in the form of an installation. By its nature, ‘between intimacy and alienation’ is both sculptural and theatrical, but nevertheless it remains static. once started the process I was in a need of looking, finding, re-defining to myself my ‘red-line’ (yes, later, translated into a transparent nylon wire ..) , how it all connects to one another. Along the way I got the urge, the need to re-arrange things to myself, to clarify, contextualize the work and the process too, the ways from A to Z, the way in which the idea develops. It means to discover where ‘things are laying ‘, as for me, having finished the work is somewhat like having reached the end. In fact, this work is a collection, a collage of thoughts, sketches and maquettes and video clips from various performances, derived from my body of works I call ‘body-sculpture’s’, which I began to develop in the mid eighty’s (1985-86 and onwards…). I started this ‘collection’ once I began to develop my body-related works, constantly adding new materials which I brought into this process. This particular work (in very short…) existing and influenced by the human body, its movements, physic & mental, which is being presented in the form of dance performances (see DVD’s and website: www.noamben-jacov.nl ). When creating the performance I’m relating, enhancing the contact between ‘work’/object & human body and the space in between them as well as to the sound the ‘work’ makes. Many thoughts cross one another (concisely (?) or not….) along this way. As result of this search the steps I took become like a collection of ‘things on the move’, crossing from the one to the other, from down to up, from left to right …, emphasizing the interrelations and putting it all in a context of mutual relations. As to the title: ‘Between intimacy and alienation’, perhaps it is In 4 words the balance I’m looking for in all my works. I‘m searching to catch, to put all this process into ‘one large open box’, to show first and foremost to myself the connections between it all, and how one thing lead to the other. …..
noam ben-jacov, Mixed Media, Naturstoffe
Nest 3
Material: Bronze Size: 27x14x14cm, 2,1kg Year: 2015
Judith Mann, Bronze, Bronze
Universe 3
Material: Bronze Size: 19x15x15cm, 2,5kg Year: 2016
Judith Mann, Bronze, Mixed Media
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'atlas'-'dynamic body-sculpture'
I am fascinated by the simple… the daily small things in life. In general all my works are responding to a personal situations or events. Maybe… I am somehow the viewer and the participant at same time, on one hand the center of the unit, however, on the other hand, also the viewer, watching the ‘things‘ happening around… Noam Ben-jacov has been developing his ‘body related work’ (body-sculptures) for a bit more than 30 years. Creating the work I emphasizing on the mental, physic & movement, relating to the human body as the ‘motor’, the center’ buildings, creating the construction around, with and on the body, paying much attention to the overall contact between sculpture & human body as well as to the sound the ‘work’ makes and just naturally not forgetting the space surrounding it all, ‘enjoying’ the restrictions taking, incorporating them along into this moving sculptural unite. A unit where the human can define owns space ,room , saying space meaning the inside and outside space , a room where you can be in… caring it ,living in, thought of extension, sheltering with…in. I am strongly believe in very personal self-expression and wanting my work to be as associative as can be, or perhaps just letting the work to talk …to scream… preferably to sing…. .
noam ben-jacov, Sonstige, Performance
Universe 4
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Judith Mann, Bronze
Universe 7
Material: Bronze Size: 23x14x14cm, 3,1kg Year: 2017
Judith Mann, Bronze, Metall
Arms 5
Material: Bronze Size: 16X16X14cm, 5kg Year: 2017
Judith Mann, Bronze, Metall
Sorry to the flowers
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Samsara
Vases, many, silver Installation, growing size Reincarnation. Body as vessel, change of perspective. Endless depth, darkness. Past is concealed. All is one.
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PRONO TOTEM
The sculpture was selected for the art prize “PREMIO ARTE 2018” Curated by Cairo Editore. Mention of honor and Exhibition between the 40 finalistis in 4 categories. Work published in the Catalogo dell’Arte Moderna 2018, Giorgio Mondadori. 1/7
Alessandro Pongan, Bronze, Metall
Aufbruch 3 | Departure 3
Das Thema AUFBRUCH beschäftigt mich. Haben wir aus der Pandemie gelernt? Gibt es einen Aufbruch in eine neue, ja sogar bessere Zeit? Der AUFBRUCH zu neuem, spiegelt diese Arbeit. . . The topic of departure concerns me. Have we learned from the pandemic? Is there a start into a new, perhaps better time? The departure to something new reflects this work . . Bronze Edition: 3
Helga Kaes, Bronze
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