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).
BIO - Born and raised in the suburban countryside of a "one company town" like Turin, I studied architecture at the Polytechnic University of that city, always working constantly in the agricultural sector, in small farms oriented towards the use of traditional techniques and organic production.
By attending the two worlds of architecture and that of agriculture, seemingly so far, I have always reflected on their surface incompatibility and the role of technology and industrialization in modernity.
My reflections on the relationship man / nature / culture, my studies and my experiences have led me naturally to get interested in landscape design and landscape planning. Then I worked for over 13 years, especially in the field of public works. After this period, thanks to the knowledge gained, in 2014 I opened my own studio, "Michele Giacobino Architetture".
In an apparently almost unexpected way, from the beginning most of the time and the interests of my professional and artistic practice have been oriented towards land art. Immediately I got close to it in order for me naturally and spontaneously. Unconsciously I consider it the highest way of thinking about the relationship between man and nature, and then, in a critical manner (for those who, like me, was fascinated by the theories of Arne Ness) about who is and what it does, or should do, a landscape designer, and to whom should.
It was for me the way to reconcile theory and practice, to start again to learn by unlearning some learned notions in the past, the way to reason about my place in the world.
Despite my age (born in 1977), I consider myself and independent and emerging artist, with takes part in contests, looking for curators, galleries, sponsors, exploring a new universe for me, but that I feel close.
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).

2019, December 15 to 2020 January 31 - Urban design - JESI CITTA' REGIA - Jesi (AN)

2019, August 30 to September 29 - Land Art Concepts - MONTE BARRO ART AND NATURE - Garlate (LC)

2018, July 30 to August 25 – Land art / Art residency – “LAM – Land Art Mongolia 2018: WHO ARE WE NOW?”, steppe of Murum Sum / National Gallery of Ulaanbaatar,under the patronage of Prince Klaus Fund, Mongolian Government, City of Ulaanbaatar, Union of Mongolian Artists, Embassies of artists countries.
http://www.landartmongolia.com/ https://www.artavenue.mn/who-are-we-now---land-art-mongolia-5th-biennial--10---19-august-2018--mongolian-national-modern-art-gallery.html http://www.lj1media.org/h-nd-13695.html#_np=2_552

2017, September – Land art / Art residency – “LUPANICA 2017”, Muzzana del Turgnano (UD)(Italy), under the patronage of Regione Autonoma Friuli Venezia Giulia, Comune di Muzzana.
http://lupanica.it/page/2/ http://lupanica.it/2017/09/09/giacobino/ https://it-it.facebook.com/Land-Art-Muzzana-1020969354655839/

2016, December – Environmental design concepts – “ULTRA FAKE VIOLET”, Bologna, Urban Center.

2016, November - Environmental design concepts - “ULTRA FAKE VIOLET” at Centrale Fies, Dro (TN)(Italy), under the patronage of Comune di Dro (TN), provincia Autonoma di Trento, Centrale Fies. http://fiescore.squarespace.com/news1/

2016, November – Urban art – “PORTE AD ARTE”, Turin, Palazzo Chiablese.

2016, June/July - Land Art / Art residency – Title: “BAS – BOSCO ARTE STENICO 2016”, Stenico (TN)(Italy), under the patronage of Provincia Autonoma di Trento, Comune di Stenico, Europacreativa.
http://www.boscoartestenico.eu/2016/artisti.php http://www.boscoartestenico.eu/2016/artista.php?id=111

2016, February – Garden design concepts – MYPLANT&GARDEN, Milan, International Green Expo

2015, June - Land Art Concepts - MANTOVA CREATIVA

2015, March – Urban art – Title: “PROGETTO BANANITO – un’idea per la facciata verso lago di casa Rodari”, Museum of Design at Forum di Omegna (VB)(Italy), under the patronage of Fondazione Museo Arti e Industria di Omegna, Parco della Fantasia G.Rodari, Comune di Omegna.
www.forumomegna.org https://www.facebook.com/Concorso-Bananito-820470368033574/

2001, May - Landscape planning – Title: “Progettare la città – dalla periferia fordista alla città sostenibile”, Turin, Castello del Valentino, under the patronage of Regione Piemonte, Provincia di Torino, Comune di Torino, Politecnico di Torino.
www.progettonuovaspina4.org http://porto.polito.it/view/full/none/2001.html


since 2018 – Garden Design concepts – http://www.jardinsdemetis.com/festival/candidatures-anterieures/?y=2018 http://www.refordgardens.com/festival/previous-applications/?y=2018

since 2017 – Garden Design concepts - http://www.jardinsdemetis.com/festival/candidatures-anterieures/?y=2017 http://www.refordgardens.com/festival/previous-applications/?y=2017

since 2016 - textile design concepts - https://www.carpetvista.it/concorso-di-design/visualizza/50338/111716

Michele Giacobino, “Il parco - ponte”, saggio in Giorgio Preto (a cura di), Progettare la città – Dalla periferia fordista alla città sostenibile, Alzani Editore, Pinerolo (TO), 2001.

Michele Giacobino, “Plots without cities. Reading sprawl”, abstract at
http://webthesis.biblio.polito.it/2317/ http://webthesis.biblio.polito.it/2317/2/Giacobino_abstract_EN.pdf
Other infos
Master of Science In Architecture (Polytechnic University Of Turin)

2018, July/August – Ulaanbaatar/Murum Sum (Mongolia) – Residency at LAM
2017, September – Muzzana del Turgnano (UD) (Italy) – Residency at Lupanica
2016, June – Stenico (TN) (Italy) – Residency at BAS.


2017: third place at Italian National Graphic Contest “Un logo per la ceramica di Assemini”, Assemini (CA)
2017: second place at LUPANICA, International festival of Land Art, Muzzana del Turgnano (UD)
2016: second place at International Contest of Public Art / Urban Art “Porte ad arte”, Turin
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, Metal, Textile
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/
Michele Giacobino, Wood, Natural materials
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, Wood, Natural materials
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, Wood, Natural materials
“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, Wood, Stone

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