Manuela Granziol

Manuela is inspired by a variety of sources from literature, philosophy, art history as well as images and text circulated in traditional and screen based media. In her artwork she incorporates themes of power, war and loss. Many of her projects draw attention to the innumerable events and encounters that collectively form and shape every individual, expanding subjectivity beyond the subject itself to include ‘otherness’ within. Her artworks become then a vehicle with which to visually express not only the uncertainty and vulnerability of human existence, but also to convey the fluidity and multiplicity of the self, which she addresses through the affect, created by subject matter, form, materials, process and presentation.
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Vita
Manuela Granziol is an artist and an economist. She graduated with a Master in Economics, majoring in statistics and econometrics at the University of Zurich. After moving to London with her family she pursued her interests in art as mode of communication and connecting disciplines. She obtained a Master’s degree in Art and Media Practices (London, 2004) following completion of a Bachelor (Hons) in Photography at the University of Westminster (London, 2002). She worked and exhibited in the United Kingdom for over fifteen years. In 2016 she was awarded the PhD on the representation of the fragmented body in contemporary art. Manuela recently moved to Varese, Italy where she continues working as an artist.
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Exhibitions
2018 Lucca Biennale, Outdoor, 4 August -27 September

2018 Art Printed, Group International exhibition, CICA Museum, Gyeonggi-do, Korea, June 8 - 24, http://cicamuseum.com/wp-content/uploads/2018/06/Art-Printed-1_Catalog.pdf

2017 The Awakening Exhibit, Honolulu, Hawaii, October 5, https://theawakeningexhibit.com.

2017 Figures & Faces, Fusion Art, Palm Springs, California, Juried Art Exhibition, October 2017

2015 Solo Exhibition, The Seven Sins: A Meditation, The Framers’ Gallery, London, October

2013 Unfolding, The Brick Lane Gallery, London, May

2012 Site Specific Installation and Performance, Covent Garden, London, April

2011 Group Exhibition, City Lit Gallery, June

2010 Site-Specific Installation, Brighton, November

2010 Group Exhibition, city Lit Gallery, June

2009 Group exhibition, Beverly Knowles Fine Art Gallery, London, March 2009

2008 Solo joint exhibition, Disguise, I See, Thou Art a Wickedness, Beverly Knowles Fine Art Gallery, London, January-February 2008

2007 LIP Annual Exhibition, Cotton’s Atrium, London, 14 - 27 October 2007

2006, MTV Gallery, London, November

2006 31st Smethwick International Exhibition of Photography, Birmingham, January

2005 LIP Annual Exhibition, Cotton’s Atrium, London, 15-30 October 2005

2005 Enigma, Waterman’s Art Gallery, London, May

2005 30st Smethwick International Exhibition of Photography, Birmingham, January

2004 Shifting boundaries, Waterman’s Art Gallery, London, June

2004 LIP Annual exhibition, Cotton’s Atrium, London, October

2003 Fresh Art, Business Design Centre, London, July 2003

2002 Unlimited, The Well Gallery, London, July

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Publications
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Group Exhibitions
The Awakening Exhibit, Honolulu, Hawai, October 2017, https://theawakeningexhibit.com.          
Figures & Faces, Fusion Art, Palm Springs, California, Juried Art Exhibition, October 2017 Photography Now, The Brick Lane Gallery, London, May-June 2014
Unfolding,The Brick Lane Gallery, London, May 2013
The Seven Sins: A Meditation, The Framers’ Gallery, London, October 2012
Flux, Beverly Knowles Fine Art Gallery, London, March 2009
Disguise, I see, thou art a wickedness, Beverly Knowles Fine Art Gallery, London, January-February 2008
LIP Annual Exhibition, Cotton’s Atrium, London, 14 - 27 October 2007
Untitled, MTV Gallery, London, November 2006
31st Smethwick International Exhibition of Photography, Smethwick Photographic Society, Birmingham, January 2006
LIP Annual Exhibition, Cotton’s Atrium, London, 15-30 October 2005
Enigma, Waterman’s Art Gallery, London, May 2005
3Ost Smethwick International Exhibition of Photography, Smethwick Photographic Society, Birmingham, January 2005
Shifting boundaries, Waterman’s Art Gallery, London, June 2004
LIP Annual exhibition, Cotton’s Atrium, London, October 2004
Fresh Art,  Business Design Centre, London, July 2003
Unlimited, The Well Gallery, London, July 2002
Inferno
War and power have been recurring theme in Manuela's practice. During the Iraq war she was particularly concerned with the meaning of words such as ‘war’ and ‘peace’, and the different roles played out by ‘women’ and men’ in war time. In her work she questioned weather and why we, as individuals, are capable of such acts, Although we may recoil in horror at newspaper reports of atrocities carried out by human beings upon each other in the name of ‘war’. If we are the rational beings we often define ourselves as, why do we continue to repeat the same fruitless patterns? To explore these themes she uses photography, turning the media itself on its head, by deconstructing the conventional photographic form through the manipulation, cutting, bending and knitting of images to take the photograph beyond its traditional two-dimensional confines.
Manuela Granziol, Mixed Media, Papier
Save the Last Dance for Me
Knitted Photographs In "Save the Last Dance for Me" the motivation to reproduce objects suggestive of the female body was prompted by the news of the Darfur Genocide, especially with reference to the mass slaughter and rape of Darfuri women and children in Western Sudan. The killings began in 2003 and was the first genocide in the 21st century. Moreover, the Darfur genocide, an appalling, brutal and systematic attack against humanity seemed to evade the attentive eye of the international media, and the suffering of the Darfurian people was felt as a distant echo in the West. The artwork "Save the Last Dance for Me' could be seen as a reminder of the lost opportunities to take action and stand against this atrocity.  In this artwork I have knitted together images of Darfurian girls and women cultivating farmlands or seeking water and firewood with their traumatic stories of mass rape and violence. With this artwork I draw attention to the fact that rape and sexual abuse are not just a by-product of war but are used as weapons of war, as an orchestrated combat tool often used in ethnic conflicts as a way for attackers to perpetuate their social control and redraw ethnic boundaries. 
Manuela Granziol, Mixed Media, Papier
Sunday Afternoon, Knitted Photographs
Manuela Granziol
Fragments, Knitted Photographs
Manuela Granziol
Logistics of Power, Screenprints on Wood, Installation View
Manuela Granziol
The Key Question is Never About Truth
In the series "the Key Question is Never about Truth" , I have deconstructed the conventional use and meaning of newspapers as objects of information by cutting them into strips. While I was cutting the newspapers, I felt as if I was peeling back the outer, superficial layer of their messages to reveal the secret spaces beneath. By knitting the newspaper’s strips together, I have created a new information object, which has a different structure, context and message. In this way the words, the overload of inconsistent information in the newspapers are reassembled to obtain a still existence: a tangible presence that arises silence.
Manuela Granziol, Mixed Media, Papier
125451 Words: A Thesis submitted for the Degree of Doctor of Philosophy
In this work, as well as in "The Question is Never Abut the Truth" the regular arrangement of sentences and words is disrupted. The resulting lack of order or “shredded chaos” is then manipulated in such a way to obtain a new tangible reality, in which chaos and silence cease to function as binary opposites. Chaos and silence become symbiotic and are dependent on one another. My aim, with these projects, is to explore the unknown realms between language and not-language, between communication (and its chaos causing misunderstandings), and silence (the chaos of the unsaid). In this context, chaos can be seen as a constitutive element of signs production in both language and silence. Silence is often seen as the reverse of language, however silence is an integral part of language, as not only does it divide and link sentences, but it is also to be found inside of them and is, furthermore, inhabited by them as well. For "125451 Words: A Thesis submitted for the Degree of Doctor of Philosophy" I have painstakingly glued together, layer after layer, the shredded and jumbled words that once formed my thesis. It took me four years to select, order the existing knowledge on the topic and to formulate my contribution. I spent interminable hours determining the right boundaries between static order and incomprehensible chaos. Through shredding and reshaping my thesis into a still and impenetrable object I have drawn attention to the fact that the boundary between order and chaos is constantly in a state of flux and forever being redrawn.
Manuela Granziol, Mixed Media, Papier
Puzzled
Puzzle game
Manuela Granziol, Mixed Media, Holz
Liminal Place
In my recent work I have produced sculptures and installations, in which I disrupt the regular arrangement of sentences and words. The resulting lack of order is then manipulated in such a way to obtain a new tangible reality. My aim, with these projects, is to explore the unknown realms between language and not-language, between communication and silence. Silence is often seen as the reverse of language, however silence is an integral part of the message, as not only does it divide and link sentences, but it is also to be found inside of them and is, furthermore, inhabited by them as well. To communicate is to put into language (spoken, written, digital, visual, sound), a process which establishes the boundary between static order and incomprehensible chaos. This boundary between order and chaos is constantly in a state of flux and forever being redrawn. Finding relatable meaning in today’s flow of data plays an important role in understanding the world we live in and our place in it. Information overload may cause stress and fragmentation. Silence may often seem the only alternative in this threatening disorder. However this data glut also contains the opportunity for creativity and connection. With the digitalization of the media, our own semiotic production is becoming more and more complex and abundant. Signs are proliferating. There is hardly a space without writing in it or a quiet time to be found. Silence stands in the way of the speeding up of life. Additionally, the built-in silences in speech and writing are being shortened or eliminated by new media technologies. In fact, our knowledge is increasingly experienced, shared, learned, recorded and stored digitally. Our identities are increasingly shaped by faster modes of communication and by the footprints created in the process. When new signs take the place of silence, the relationship between communication and silence becomes more intimate, more microcosmic, and takes on altogether new forms. The figure is retreating from the sensory overload in order to interpret and connect this chaotic information glut. The pause or introspection is paramount not only to understand the contrasting, fragmented flow of information she is continuously subjected to, but more importantly, the ‘thinking pause’ also becomes a constitutive element of thought itself and therefore of creation. The moment of inspiration comes when chaos and its absence come together. The figure’s outer layer, made of parcels of text and images, aims at capturing the complexity of human beings, as well as placing subjectivity in correlation with social and cultural factors. In this project the fragments of knowledge become part of the figure; they seem to flow into each other to form a new whole. This new whole, however, is never static or finished. As an innumerable amount of events and encounters concur to form and shape every individual one could also say that human beings are made of various fragments (memories, images, text and people we meet) and therefore made of parts of others. Accepting the fact that we are made of parts of others, may involve dealing with a subjectivity, which expands beyond the subject itself to include otherness and chaos within.
Manuela Granziol, Mixed Media, Papier

Manuela Granziol

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