|Medium||Bic pen on paper|
|Dimensions||29.7 x 21 cm|
|Nominated by||Alfredo Camerotti|
About the work
At this time in history when we were imprisoned because of COVID, I was particularly interested in analyzing interior environments. Within these interiors I depicted Malevich with his black square, a Russian icon, and a work by John Giorno. At a time when I no longer had any perception of life outside the walls, I was trying to cling to my identity, my history, and my education. I was trying to hold on to art, my life. I was anxious about that black square on a black background, I was afraid of losing myself in the resetting of my life, but paradoxically this same square fascinated me and attracted me to it. This is because I saw in it a possibility to question ourselves and create a new beginning in a sort of new renaissance, with new contents and new forms.
About the artist:
Born 1974 Clusse, Giuseppe Stampone works beetween Rome and Brussels. Graduated from Ceramics, Institute of Art of Castelli (1990); and Academy of Fine Arts of L’Aquila (1995).
Stampone’s practise is linked to time. Making is not a mannerist action but a conceptual choice. With the dilation of time, the artist reappropriates his own time through the stratification of drawing. The stratifications represent a time that is slowed down and dilated compared to the speed and dictatorship of the art market and the new global village. The art market today imposes through fairs, exhibitions and the demand of collectors a fast and numerically large production, the artist must return to harmony, with the time of his body and his breath. Work is made in the studio out of daily necessity, regardless of the demands of the market. History is re-appropriated and reinterpreted in a contemporary key so as not to lose identity in this global village where everything is standardised.
Selected solo exhibitions include Precipitato formale, galleria Edoardo Secci, Florence (2018); Welcome to Gransasso, galleria MLF di Marie Laura Fleisch, Brussels (2018); Il disegno come pratica di resistenza, Rave East Village, Trivignano (2018); Saldi d’Artista – La cooperazione attraverso l’arte, CentroItaliano di Documentazione sulla Cooperazione e l’Economia Sociale, Arte Fiera, Bologna (2017); Europe vs Europe, Marie-Laure Fleisch, Brussels (2016); The Show Must Go On, special project site-specific, Porto Fluviale, Rome (2016); and Stampone – Banerjee and the third meaning, Italian Cultural Institute, New Delhi (2016). Selected group exhibitions include 17th Biennale International Architecture Exhibition, Venice Biennale (2020); A volte penso che…, Ex Chiesa di San Matteo, Piazza San Matteo, Lucca (2020); Seoul Biennal of Architecture and Urbanism, Imminent Commons, Donuimun Museum Village, Seoul (2017); El artista entre la individualidad y el contexto – Padiglione di Cuba, 56th Venice Biennale (2015); Nature, Limit or Liberty?, MAXXI – Museo Nazionale delle Arti del XXI Secolo, Rome (2014); Kochi-Muziris Biennale 2012, Kochi (2012); XI Cuba Biennial, Havana (2012); Liverpool Biennial 2010(2010); and XV Quadriennale di Roma, Palazzo delle Esposizioni, Rome (2008).
Residencies include Youngeun Museum of Contemporary Art (YMCA), Gwangju (2013); and American Academy in Rome (2013).