Sara Benaglia - Italian Area

Sara Benaglia
+39 3471089943
via aosta 15, milano
[email protected]
statement
selected works 2013-2011
statement
My artwork comes from the abandonment of faith in economy, progress, development and from a critical view of the
history of art as a common place of aesthetic language, a clarity model based
on past understood as a value but not
as hereditary ideologies, including the
one of gender.
While I use a variety of materials and
processes, I conceive all the production
residue like a tramp to improve the real
work that consists in a behaviour change in fruition, not in an habitat but rather
in a pre-visual state in which there is no
dichotomy, but characterized by a loss of
visual hereditary balance.
During research and development new
areas of interest arise and lead to the
next body of work, whose visuality is an
excuse.
Opzioni rilassanti parzialmente limitate, 2013
Performance with wooden modules
80x80x80 cm
Photo: Lorenzo Gaspari
Copia di modulo di Sol Lewitt sostenuto da
una groupie. Il gesto è ispirato a Pamela des
Barres e al suicidio di Ana Mendieta avvenuto nell’appartamento in cui si trovava insieme
a carl Andre.
Mi segua, 2013
Installation with das sculptures with acrylic painting and a plastic bag
40x40x40 cm ca
Photo: Lorenzo Gaspari
Copie di pesi da un chilo, alcune in borsa
altre sollevabili.
So quel che fai*, 2013
Das with acrylic painting
140 x 30 x 30 cm
V.I.R.
Photo: Davide Tremolada
I consider incomplete a story that has been
made without considering woman as an
active role in it, but rather as humanity reproductor, connection with the divine or the
threshold of the animal world.
This height human bowl is born from the
comparison between human and animals
environments, not just thinking about the antics of the primates, but the emotion given us
by our lovely four-legged friends.
This operative image is inspired by the readings of the vision of the dog illustrated by
Jakob von Uexküll in which the environment
is the total complex of external conditions necessary to the existence of a kind, for education and for mimesis roles already present in
early childhood.
*I know what you are doing
Untitled, 2013
Drawing
A4
V.I.R.
Photo: Davide Tremolada
Capra espiatoria*, 2013
Peluche and wood with acrylic painting
130 x 50 x 50 cm
V.I.R.
Photo: Davide Tremolada
Against gender ideology I consider essential
to work with objects arranged in an exhibition
space in a physical manner.
Our species is in fact able to access, even if
indirectly, to the environments of other forms
of life, including the one of dog and goat.
Some girls during the open studio, jump the
obstacle, following rampage intimates.
*Sacrificial goat
Burina (Progressive), 2013
Flag with jumping rope
130 x 70 cm
V.I.R.
Photo: Davide Tremolada
An object presented on a set has not necessarily an established location but as an actor
itself can come in and go out in a non static
way dependent on the will and conviction of
those who carry the flag.
Two intern girls take off the flag from the wall
and use it to jump in the group show.
Telepathy, 2013
Collage
35 x 28 cm
Never ending campaign in Italy.
Concetto spaziale: le origini*, 2013
Clay, painted with nail polish, sellotaped
15 x 18 x 11 cm
What are Lucio Fontana’s Spatial Concept
made with?
The little sculpture, inspired by Fontana’s 30’s
production in ceramics, try to find the origins
of a Master vision.
*Spatial concept:origins
Barbara, 2012
8 Acrylics ocanvas
13 x 18 cm cad.
Galeria Espacio F, Madrid
Photo: Marta Goro
The eight portraits are political actors related between Italy and Iberoamerica in recent past.
Painting is a pretext to equate historical perspective and posture’s reflection.
Stefano delle Chiaie and Lega Lombarda’s
party manifesto upside down.
Pro test, 2012
Mujeres Libres’ flag (SIGNAL) tied on a jumping rope and two persons (STIRRING FACTORS).
100 x 150 cm
Photo: Lorenzo Gaspari
An anarchic MMLL flag, tied on a jumping
rope and mangled by a domestic dog, lies
hanged on a wall.
A person takes the flag and jumps some
times. Then he/she stops and puts back
the flag.
Ten minutes after that another person remakes the action and goes away.
The two persons are STIRRING FACTORS
and they work to build A PRECEDENT.
Now everybody stays in the same room with
them knows that the flag is TOUCHABLE
and that somebody used it to jump.
Behaviour is not controlled by reason but
it depends by counsciousness and so it’s
CONDITIONABLE.
Performance is a publicity and TEST consists
in verify the visitors’ behaviour after the act.
Manual Behaviour, 2012
Behaviour precedent
Foto-Documentation, Color Lambda Print on aluminium
40 x 26 cm cad.
Photo: Daniele Maffeis
Courtesy Spazio ALT - Arte e Territorio, Alzano Lombardo (Bg)
I executed a series of exercises in
an expositive space, in the middle of contemporary artists works of art.
The project is the result of a process that
brought me to deny my identity as artist for
thinking about myself first of all as a passive
receptor of signals: an informed spectator.
This lector’s gymnastics is the camouflage of the «man without a story, a biography, without a psychology».
Carla
Lonzi
wrote
that
woman
embodies the figure of the spectator
of artworks which lives completely oblivious to itself and to its creative abilties.
The woman, as the viewer, does
not have the opportunity to bring her
point of view and to provide her own creative contribution but must live in the illusion of the report that is provided
by man.
I sustain that doing gymnastics is, in its
absurd thoughtlessness, a form of action that, proposing the public to let down
in a gestural role, could show her/him the
farce of Author and Spectator’s categories
whose gender and identity is not neutral.
Also mountains melt, 2012
Performance
Handpainted book
27 x 22 x 2 cm
Dal Tribunale della Mente, Basilica di Santa Maria Maggiore, Bergamo
An inquiry hold in the Seventies by Edizioni
delle donne into Church’s silent women operators, entitled La Casalinga di Cristo (Christ’s
Housewife), gave evidence for those who
belonged to congregations and female catholic orders.: nurses, jailers, ex mental hospitals guards and teachers who, at the vocation moment, had as alternative, specially
in the past, enter in convent to marriage.
I translated the interviews of these women, and the replacements of nuns who
gave up votes with indian women at Dc
times and the physical education teached at primary schools with gestures
that are expressions of an impossible talk.
The translation included a book handpainted and a performative gesture in two times.
In the book interviewe s are translated in idrawings inspired by Bruno Munari’s Gesture Dictionary.
This book is readable acting with hands.
1st part: to Debora
2nd part: to visitors
Performance was divided in two parts: in the first one I made a request to Debora and in the second one I acted a physical education lesson
for visitors, trying to make them interact looking at my gestures.
I made this performance during the opening and other two times. Everytime the execution had a different duration: every execution was five
minutes long; sometimes I repeated gestures for an hour, sometimes for twenty minutes.
Distraction n.8 (I see the stars), 2012
Trampoline with Acrylics on canvas
13 x 18 cm cad.
Museo BACO, Bergamo
Courtesy Fondazione Mia
This is a proposal for breaking artspacewalk fruition. Every visual index contemplates an enjoyment speed: 35 km/h for Las
Vegas or 0 km/h for a movie, for example.
I painted some boys and diamonds + a horse.
I hang them on the wall so people could
enjoy their sweetness jumping on a
trampoline getting higher and higher.
Distractions (n.1-7), 2012
Fitness Trail
Seven posters (printed on cardboards, 20x20 cm), a blackboard, a frame, a magic base, a clothes hook.
Officine dell’arte, Careof, MIlan
Distr-actions is a proposal fitness trail made
of seven stations, four with tools and three
free body. At each station, a sign explains
how to do exercise properly. The exercises
are designed for those who are not trained
to aesthetic enjoyment too. Everyone has to
adapt to exercise his own skills: you must
stop if you feel to be close to your limits.
The project is inspired by parks’ fitness trails
and it aims to let the public use its body instead of its eyes in museums.
The project has been developed in the show
time in two months: every thursday I added
a new station.
The second station, Vostok1, asks to lift an
empty frame and to conquer the space.
The fourth station, inspired by the story of a macaca and a potato eaten with
sand on a island, asks to raise a coat.
The third station has got a magic
base that the public is invited to lift.
The fifth, the sixth and the seventh station are without objects.
Cleaning service, 2011
A black bag (35x25x30 cm), an mp3, two speakers
Audio listening: 54”
Officine dell’arte, Careof, MIlano
I synthesized notes and drawings about anti-spectacolarity, fallen and rupture in an
audio recording. The speech comes from a bag left on the ground.
Audio Speech:
L’abbandono dell’esposizione coincide con
la realizzazione della stessa.
L’ordine dello spazio e’ visivo, dotato di un
vocabolario della forma molto preciso.
Esistono varie tecniche di conservazione
dell’ordine: la natura aggiunge e complica
mentre il processo puo’ sottrarre.
Molto spesso l’ordine dello spazio e’ associato alla pulizia, che invece e’ la nozione
soggettiva dell’autore, involutiva e generatrice
di comportamenti: l’esercito delle cameriere.
Le costruzioni dell’uomo conoscono incidenti, appena terminate esse degradano in
quanto sistemi chiusi.
Quando l’opera e’ compiuta e’ gia’ morta.
Il demonio di famiglia, 2011
Acrylic on canvas
13 x 18 cm
Videos
Environmental horizon, 2012
Video animation,HDV 16:9
Rotoscopyng, 25”
No sound
If man realize himself only in a civilized way
then I decide, as Toni Braidotti, to place instead of Leonardo’s man a dog, and the
relation with the animal instead of the one
between male and female.
This project is absolutely not urban.
Wanna Be, 2010
Video animation,1.33:1 4/3 DV-PAL,
Rotoscopyng, 36”
Music credits: Maurizio Bonfanti / Garage Ermetico
Effectiveness of the real estate system in the
background of a Milan commuter.
Photos
Without restraint, 2012 Minus Habens, 2012
Holga Optica
Holga Optica
Lambdaprint
9 x 9 cm
This image was shooted for the article Il visitatore esemplare, Doppiozero, Luglio 2012.
In this article I wrote that every action we
make depends on two variables: antecedents and consequents of each action. A
change in operative behaviour can depend
on these two factors.
Muscle exercises with home furniture.