Thursday, June 6th 2013 at 6pm 1/9unosunove presents Glendalys Medina Colin Snapp
Galleria 1/9unosunove is pleased to announce the exhibitions by Glendalys Medina and Colin Snapp.
 
Glendalys Medina (Puerto Rico, 1979) Glendalys Medina is an interdisciplinary conceptual artist that examines cultural systems, psychology, repetition, and self-transformation. The Shank is a project in which she documents and teaches herself MCing, breakdancing, DJing and writing graffiti, in other words, the elements of Hip-Hop. She began The Shank to discover her hidden potential to become and do anything she desires through practice and resolve. A ‘shank’ is a slang term for a handmade knife commonly made in prisons or impoverished neighborhoods. By cutting out a new identity for herself she serves as a model for others to escape confinement, discover one‘s true self and recreate one’s identity. The work presented here is related to graffiti. ‘Cut Project’ documents her first time tagging at Gagosian Gallery in New York. ‘BlackGold Video Tag Diary’ is a compilation of videos she made to be viewed online. They document her posting her signature tag ‘BlackGold’. The drawings belong to a series called ‘Alphabet Series’. Each drawing is of a letter in her stylized alphabet. She uses two stencils as lines to construct the composition of each letter: ‘BlackGold: Outline’ and ‘BlackKraft: Outline’. Their composition is a rearrangement of the basic shapes from the face of a boombox, Hip-Hop‘s quintessential image. During the opening night, Glendalys Medina will perfome by posing her signature on the gallery walls.
Colin Snapp (Lopez Island WA, 1982) In a world where technology relegates us to the status of objects -”observers observed”-, where ordinary experience is so infiltrated with media, isolating organic life moments becomes on one hand a keepsake, and on the other hand the spectacle of visibility of growth, something utterly distanced from participatory involment. It has been said that one of the functions of art is to critically disrupt the seeming transparency between viewers and objects viewed and Colin Snapp, with his series called TC Studies, wants to question whether images can preserve the vital presence of what they necessarily represent. These images are derived from video footage of various plant species. The artist produced these works by photographing the LCD screen (view finder) of his video camera and printing the image of the 3inch screen at a significantly magnified proportion. This process came about as a by product from the Panorama project in which Colin Snapp spent a month filming within national parks. Much of the footage ended up being of visitors experiencing these national parks through their cameras. In a sense the view finder has become a sort of third eye and within these natural landscapes becomes very apparent. What might otherwise be documentary realism, plain and simple, translates into commentary on the contemporary technologies by which we take in the world, thus labeling it and reducing it to the status of a commodity.
 
Glendalys Medina (Puerto Rico, 1979) is a New York based artist who was recently awarded the Rome Prize Fellowship in Visual Arts for 2012-2013 from the American Academy in Rome and a NYFA Fellowship in Interdisciplinary Art in 2012. She has exhibited work internationally at such notable spaces as Artists Space, Jack Shainman Gallery and the Bronx Museum of Arts. She was a selected participant of NYFA’s Boot-Camp Program in 2011 and awarded the Bronx Museum's Artist in the Marketplace(AIM) residency in 2010. During the summer of 2013 she will be one of two participates in the Marma Residency Program in Berlin.
 
Colin Snapp (Lopez Island, Washington state, 1982) lives and works in Los Angeles, California. He received a BFA in film making from the San Francisco Art Institute. Recent exhibitions include “Harold Ancart, Rallou Panagiotou and Colin Snapp”, Ibid Project, London; “Continental Drift”, The Journal Gallery, New York; “Discovering Slowness” at Tabacka Cultural Center, Kosice, Slovakia; “Proyectos Ultravioleta” at Foto>30, Guatemala City, Guatemala; “Times Square AEO LED Billboard Project,” New York, NY; Sculpture Center, New York, NY; Jericho Ditch, Isle of Wight, VA; “Colin Snapp / Daniel Turner” at Martos Gallery, New York, NY and a screening at The Whitney Museum of American Art, New York, NY.
 
The exhibition will be on view until Saturday, July 20th 2013. Galleria 1/9 unosunove opening hours: Tuesday – Friday, 11am-7pm; Saturday 3-7pm and by appointment For further information please contact the gallery: T. +39 06 9761 3696
gallery@unosunove.com www.unosunove.com

For his first time in Rome, Andrea Lanzafame (Catania 1978) present his new production “Monochrome” in a solo show

Teorema di Gauss is a project that focuses on the influence between established artists's works and the work of young advocates from an emerging scene.
 
CO2 gallery space welcomes Dinamica orizzontale (2005) by Eliseo Mattiacci, Senza titolo (2009) by Claudio Parmiggiani and Stella Rossini (2006) by Gilberto Zorio. These three pieces created by iconic figures of the same generation, are the catalysts for a developing creative process.
 
From opening day, the gallery will be converted into a workshop opened to the public. Within, Giulio Delvè (1984), Marco Morici (1985) and Giovanni Oberti (1982), will be creating three new works. Their process, will be vivified by a prolific exchange from the works already displayed in the gallery.
 
The title is a tribute to Carl Friedrich Gauss, the first scientist who theorized the intensity of energy flow leaving a surface and entering another. The experiment of two bodies interacting in the same gravitational or electric field led to his theory. The process, far from an academic exercise, is intended to arouse a reflection of the influence that the artists have on each other, even in a distant time while sharing the same place.
 
A hand written diary, divided in three critical essays, will testify the flux between the original works exhibited and the ones recently created. This document is evidence of the evolution of these works: with an introduction curated by Gianni Garrera, narrative of the creative process curated by Attilia Fattori Franchini, and conclusions curated by Ludovico Pratesi.
 
In collaboration with Galleria Franca Mancini, Pesaro (IT)

e x t r a s p a z i o has the pleasure of presenting LDPE, the first solo show in Italy by German photographer Julian Faulhaber (born Würzburg 1975, lives and works in Berlin).
 
LDPE (low density polyethylene) is the name of a thermoplastic polymer derived from petroleum, synthesised in the 1930s and still in use for an infinity of products, from plastic bags to work surfaces and hardware for computers.
Many of Faulhaber’s interior and exterior shots are actually built with this material, ‘modern’ by definition, but in each case LDPE is perfectly adapted to the artist’s ironic metaphors of utopian resistance to corrosion, to deterioration, to mortality; necessarily a world without living beings who annoyingly besmirch, scratch and damage.
The extremist and critical formalism of these rarefied and immaculate environments (Faulhaber has had long experience in advertising), clean and perfect to the point of appearing unreal and digitalised, coloured, geometrical and biomorphic, simultaneously figurative and abstract, discourage any illusion of being able to intercept any human traces. But the rigidified objectivity and the lucid artificiality of the images (emphasised by the mounting of the prints behind acrylic glass) create powerful tension between their apparent refractoriness to speculations about a specific cultural behind-the-scenes and the urge to hypothesise a social, historical and ontological meaning.
Faulhaber documents environments, respecting them for what they are. He chooses a point of view, shoots with long exposure times, exploits local light and does not intervene in postproduction.
The artist does not aim to explain reality or to coarsely declare against the direction reality is taking, leaving this problem to the beholder. This is why his works transmit both the sense of utopia and dystopia latent in present day reality, at the same time showing the vices and virtues of consumerist culture: the choice of seeing one of the two sides of the coin is down to the observer.
 
The series LDPE is a collection of places under construction: basketball fields, service stations, offices, building sites, shopping malls, TV studios, broad avenues and facades. Faulhaber’s environments have yet to be inaugurated and the photographer immortalises them in that brief time limbo between their completion and the start of utilisation; that moment of perfection before the arrival of humanity, the collapse of faith in the eternal beauty of LDPE, the smell of bleach and other beliefs such as the fact that Dash, from year to year, always washes whiter.
 
Julian Faulhaber was born 1975 in Würzburg. He lives and works in Berlin. 2008 was an important year for Julian Faulhaber; he was invited to participate in the New York Photo Festival, he held his first solo show in New York at the Hasted Hunt Gallery, participated in the Metropolitan Museum of Arts exhibition Reality Check that displayed his work alongside work by Gregory Crewdson, David Levinthal and Stephen Shore and was nominated for the KLM Paul Huf Award 2009. Faulhaber's images have been published in The New York Times Magazine, Damn Magazine, Departure Magazine, Stern and Geo.
 
Among his recent solo exhibitions: Catalogue (2013, L.A.Galerie, Frankfurt | Braennen, Berlin); Studio(2012, Freelens Galerie, Hamburg); Parcels (2011 Gallery IV, Hasted Kraeutler Gallery, NY); Konstruktionen - LDPE III (2010, L.A. Galerie, Frankfurt), LOWDENSITYPOLYETHYLENE II (2010, Hasted Hunt Kraeutler Gallery, NY | 2009 Goethe-Gallery, Goethe-Institut Hongkong); DOBHAKA (2009, Projektraum Mark Röbbecke, Dortmund | 2008, Hasted Hunt Gallery, New York | L.A.Gallery - Lothar Albrecht, Frankfurt |Kunstverein Recklinghausen).
 
Among his recent group exhibitions: Neuland (2013, Kunsthalle, Emden); Before Aftermath (2012, Die Ausstellungsstrasse, Wien); Informal City (2012, L.A. Galerie, Frankfurt am Main); Great Photographs – Scape (2012, Hasted Kraeutler Gallery, NY); Between the Knowing (2012, Torrance Art Museum, California); Next Generation - Junge Künstler aus der Sammlung (2012, Deka Bank, Frankfurt am Main); The life and death of buildings (2011, Princeton University Art Museum, Princeton); Mapping the Art II (2011, Art Affairs, Amsterdam); Herein (2011, DZ Bank Kunstsammlung, Frankfurt am Main); Marianne Brand Wettbewerb 2010 (2010, Sächsische Industriemuseum Chemnitz); Abstract Morphology (2010, L.A. Galerie, Frankfurt am Main); space shuttle 2.0 (2009, Fotogalerie Wien), Prune - abstracting reality (2009, FOAM Fotografiemuseum, Amsterdam); AT HOME-works on paper (2009, L.A. Galerie, Frankfurt am Main); Reality Check (2009, The Metropolitan Museum of Art, New York).
 
Among the most important awards received by Julian Faulhaber, we remind: “Santa Fe Prize for Photography” (2009, honorable mention), “Paul Huf Award 2009“ (2009, honorable mention), ”Körber-Award 2007” (prizewinner), “Reinhart-Wolf-Preis 2006” (prizewinner), “BFF-Förderpreis 2006” (prizewinner), “Epson art photo award 2005” (“Winner Best Class”, “Best selected Works“), “Der zweite Blick” (2005, honorable mention),“Bilderkriege” (2003, honorable mention).
 
Faulhaber’s work is included in the permanent collections of such esteemed institutions as the Metropolitan Museum of Art, the Harvard Art Museum, and the Princeton Art Museum.

Federica Schiavo Gallery is pleased to announce a group exhibition organized by Chicago gallerist, Shane Campbell. The show will feature work by Matti Braun, Julia Fish, Michelle Grabner, Richard Hawkins, Margarete Jakschik, Jon Pestoni, Valerie Snobeck and Yui Yaegashi.
The exhibition begins with Rome in the work of Fish and Hawkins. Three gouache and flashe works on paper by Fish present the profiles of the various types of steps in the American Academy in Rome. As a visiting artist at the Academy in 2007, Julia Fish’s direct experience of the stairways and steps in the McKim, Mead, and White building, “became a primary reference and focus, and initiated questions about the next approach that might be taken in translating, and thus representing, transitional architectural space,” writes Fish. Her works are generated from observation and measurement of the steps thus intimately connecting them to their site in Rome. Richard Hawkins’ collages are from a group of work including small-scale ceramic sculptures of hermaphrodites initiated by his experience of seeing the small hermaphrodite sculpture in the Hall of the Doves in the Capitoline as well as the Sleeping Hermaphrodite at the Villa Borghese. These collages eventually led to his Urbis Paganus project that focused on Classical sculpture whose backside was as important as the front. All four of the collages feature an abstract overlay that refers to Hans Arp’s Dada collages and for Hawkins are refusals of representation. Hawkins’ abstract collages acknowledge and refute the role of “chance” in Arp’s arranged collages, thus they straddle the metaphysical and the material world much like Matti Braun’s silk paintings. Braun’s ongoing group of dyed silk paintings are located both in the physical world of “artsy” hand-dyed silk women’s clothing and the metaphysical realm of Finnish origin myths as the formless swirling colors suggest a world coming into being.
Grabner’s paper weavings and Yaegashi’s intimate paintings locate themselves in the world through the language of the grid and domestic abstraction. Michelle Grabner’s weavings are simple craft exercises of woven paper that resemble kitchen textiles, placemats, or other forms of domestic design. As individual works they exploit the endless permutations of pattern through color, line or pick weight, and the warp and the weft. As an installation, the works occupy the space of the floor, much like Carl Andre’s metal plains, seizing and activating the floor of the gallery as a woven paper quilt. Yui Yaegashi’s paintings are visually slow and frustrate viewing as she frequently obscures and cancels sections of each work. Formally rigorous, their small size belie a poetic abstraction, however each painting refers to Japanese textile patterns, sampled and recontextualized as unique, sensuous objects. Jon Pestoni’s work engages painting as an event within which to act. The visual compression of each painting prevents them from ever becoming pictures or non-objective abstractions and Pestoni further complicates viewing through the use of contradictory information that resists harmony to forward dissonance.
Jakschik and Snobeck contribute photographs albeit from different conceptual positions. Valerie Snobeck’s laminates are peeled plastic images from photographic prints. The work in the exhibition is a diptych that features the same images but in different stages of image transfer which reveals a continually degraded image with each subsequent transfer. The image itself is taken from Wikicommons and the gears reinforce the materiality of the work itself as plastic which is adhered directly to the wall by heat transfer, consequently fusing the image and the gallery. Margarete Jakschik’s photographs are conventional works in their printing and presentation and it is her sensitivity that underscores the poetics of the everyday.
 
BIOGRAPHIES:
 
Matti Braun was born in Berlin in 1968 and lives and works in Cologne. He studied at the School of Fine Art, Braunschweig between 1989 and 1996 and at the Academy of Fine Art, Frankfurt am Main. His recent solo exhibitions include Gost Log, Arnolfini, Bristol, 2012; Ave Vala, BQ, Berlin, 2012; Sola, Galleria S.A.L.E.S., Rome, 2011; Salo, La Galerie, Noisy-le-Sec, 2010; Salo, Kunstverein Braunschweig, 2010; Pierre Pierre, Esther Schipper, Berlin, 2010; Kunstmuseum Liechtenstein, Vaduz, 2009.
Julia Fish was born in Toledo, Oregon in 1950 and lives and works in Chicago. Fish’s paintings and drawings have been included in curated exhibitions at the Museum of Contemporary Art, Chicago; the San Francisco Museum of Modern Art; the National Academy of Design, New York, NY; the Chicago Cultural Center; the David and Alfred Smart Museum, University of Chicago; the MAK Center for Art and Architecture / Schindler House, Los Angeles; and the Martin-Gropius Bau, Berlinische Galerie, Berlin, among many others. Her work has been presented in twenty solo exhibitions since 1980, and was the subject of a ten-year survey exhibition at The Renaissance Society at the University of Chicago in 1996.
Michelle Grabner was born in Oshkosh, Wisconsin in 1962 and lives and works in Oak Park, Illinois and Waupaca County Wisconsin. She is a Professor and Chair of the Painting and Drawing Department at The School of the Art Institute of Chicago. She is represented by Shane Campbell Gallery, Chicago and runs The Suburban and The Poor Farm with her husband Brad Killam. She will co-curate the 2014 Whitney Biennial at the Whitney Museum of American Art. Her work is included in the permanent collections at the Walker Art Center, Minneapolis; Museum of Contemporary Art, Chicago; MUDAM - Musée d’Art Moderne Luxemburg; Milwaukee Art Museum, Milwaukee, Wisconsin; Daimler Contemporary, Berlin; Smithsonian American Art Museum, Washington DC, and the Victoria and Albert Museum, London.
Richard Hawkins was born in Mexia, Texas in 1961 and lives and works in Los Angeles. He was the Fall 2012 Guna S. Mundheim Fellow in the Visual Arts at the American Academy in Berlin. Recent solo shows include Richard Hawkins: Third Mind, a mid-career survey at The Art Institute of Chicago that travelled to the Hammer Museum, Los Angeles, and Of Two Minds, Simultaneously at De Appel Center for Contemporary Art, Amsterdam. His work has been exhibited at institutions such as Museum of Fine Arts, Houston; CCS Bard Hessel Museum of Art, Annandale-on-Hudson, NY; Museum of Contemporary Art, Los Angeles; Astrup Fearnley Museum of Modern Art, Oslo: and Museum of Modern Art, New York.
Margarete Jakschik was born in Ruda Slaska, Poland in 1974 and lives and works in Cologne and in 2008 in Los Angeles. Shows: Christian Flamm – Margarete Jakschik, Galerie Karin Guenther, Hamburg, 2012; Either / Or, Broadway 1602, New York, 2011; It Will Take A Long Time, Galerie Gisela Capitain, Cologne, 2010; D.o.m.a.i.n.e .d.e K.e.r.g.u.é.h.e.n.n.e.c, Centre d‘art contemporain, Bignan, 2009; When Was It Ever Like It Is Now, Broadway 1602, New York, 2008; Pardon My Heart, Galerie Gisela Capitain, Cologne, 2006, with a catalogue.
Jon Pestoni was born in St. Helena, CA in 1969 and lives and works in Los Angeles. His paintings have previously been seen in exhibitions in the United States and Europe, including shows at Shane Campbell Gallery, Chicago and Lincoln Park; David Kordansky Gallery, Los Angeles; Nieuw Dakota, Amsterdam; White Flag Projects, St. Louis; and Greene Naftali Gallery, New York. He was also featured in Vitamin P2, published by Phaidon in 2011.
Valerie Snobeck was born in Wadena, Minnesota in 1980. She received her MFA from the University of Chicago in 2008, and a BFA from Saint Cloud State University, MN in 2003. She also studied at Palacky University, Olomouc, Czech Republic. She has had solo exhibitions at Le Consortium, Dijon; Galerie Catherine Bastide, Brussels; Thomas Duncan Gallery, Los Angeles; University of Delaware Art Museum; 8 rue Saint Bon, Paris; Renwick Gallery, New York; and Essex Street, New York.
Yui Yaegashi was born in Chiba, Japan in 1985. She is presently based in Saitama. A BA graduate of the Tokyo Zokei University, Department of Painting in 2009 and MFA graduate of Tokyo Zokei University, Graduate School of Art and Design in 2011. Yaegashi has participated in several group exhibitions. A selection includes FUYU NO TABI, Shane Campbell Gallery, Chicago, 2012; artist Fuminao Suenaga’s curated exhibition SSS - Expanded Paintings, MISAKO & ROSEN, Tokyo, 2010; Truth - Art in the Poor Age, hiromiyoshii, Tokyo, 2009.

Magazzino is pleased to present a new exhibition by Domenico Mangano in the gallery. The Sicilian artist, who has been living and working in Amsterdam since 2010, will present a series of projects that are testimonies to his encounter with the culture of northern Europe, specifically the Netherlands. Whereas Mangano’s early works were characterized by a strong sense of “Sicilitudine” and consequently by a sense of local marginality, resistance or escape from social rules, in this new experience he adapts it to systems of organization and community in the Netherlands. In the Netherlands, where mostly everything is based on transparency, corporate culture and the organization of public spaces, the contrasts are not on the surface but hidden deep. Mangano has felt the need to investigate the subtle nuances and contradictions of this kind of society, where seemingly all possible reactions are under control, but also to provoke and to respond to social changes of our time, such as the current economic crisis. For this exhibition, Domenico Mangano will present a public project born from the interaction with the small village of Veenhuizen, originally a colony of rehabilitation for the homeless, built in the 19th century, and later transformed into a penal colony and now has become a nature reserve listed by Unesco. This work was created from the attraction of the writings that emerge from the facades of the old houses. The paradoxical “non-sense” with which they are implemented today the ten austere moral judgments lead the artist to reflect on the concept of belonging, as a rule social integration, the relationship between personal and collective identity, and the value of imagination and fantasy that leads to thinking about the modern reinterpretation of the writings and the creation of an environmental installation placed throughout the village. Other works in the exhibition are a series of images showing some of the churches built in the modernist Amsterdam after the war. Later in the seventies, under the influence of the political changes, the Dutch streets were filled while the churches were emptied. A collective stance, that led the Dutch to distance themselves more and more from faith. Many of these places of worship have become obsolete and crumbling, some were demolished, others converted or reused for other purposes, still others are left awaiting a solution. Mangano focused through the lens of paradox on some of these examples of modernist architecture that today, deprived of their original function appear to be a metaphor for the changes of society. Domenico Mangano has established himself on the national and international scene at the beginning of the 2000s for his photographic and video works that are placed between the surreal and the documentary. The artist’s questioning of this limit has always been his stylistic method with which to investigate the contrasts of reality and the possible relationship between chief systems and daily situations. Domenico Mangano was born in Palermo (Italy) nel 1976, lives and works in Amsterdam. From 2000s until today he has taken part in several exhibitions including: 2012, DOTEK / TOUCH, Futura, Prague, Czech Republic; WARGAME, LWZ Projekte, Vienna, Austria; HOU EN TROUW, L‘Ozio, Amsterdam, Netherlands; LANDSCAPE ON THE MOVE, De Kabinetten van De Vleeshal, Middelburg, Netherlands; 2011, SOCIAL IDENTITY, Italian Video Art Today, between Ethic and Esthetic, Crane Arts, Philadelphia USA; 2010, OTHERS, Fondazione Puglisi Cosentino, Catania; YOU-WE + ABLO video dalla collezione Sandretto Re Rebaudengo, Rotonda di Via Besana, Milano; LANGUAGES AND EXPERIMENTATIONS, Young artist in a contempory collection, Mart Rovereto; 2009, TWINKLE TWIDDLE, Complesso Monumentale Santo Spirito in Sassia, Rome; 2ND ATHENS BIENNALE 2009 , HEAVEN, Greece; PASSAGGI IN SICILIA: La Collezione di Riso e oltre, RISO Museo d’Arte Comtemporanea di Palermo; ITALICS: Italian Art Between Tradition and Revolution, 1968- 2008, Museum of Contemporary Art of Chicago and Palazzo Grassi Venice. 2008, REVOLVING BOUNDARIES: Artist-in-residence-program GALLERIA AIKE DELLARCO Shanghai, China; OVER THE BLURRING SHINE, Museo Hendrik C. Andersen, Rome; WORLDS ON VIDEO - INTERNATIONAL VIDEO ART, Centro di Cultura Contemporanea Strozzina; VIDEOCRACY, Video Exhibition, site-specific and performance projects,Tina B. Prague; 2007, ISCP: INTERNATIONAL STUDIO & CURATORIAL PROGRAM; HAPPY ENDING, Magazzino, Rome; 2006, ART UNLIMITED VIDEO SECTION, Art | 37 | Basel; 2005, XIV QUADRIENNALE, Galleria Nazionale d’Arte Moderna, Rome; 2004, ART/OMI INTERNATIONAL ARTISTS’ COLONY, New York; PAESAGGIO ITALIANO, VIDEOZONE 2: The Second International Video Art Biennial in Israel, Tel Aviv; 2003 - TORINO FILM FESTIVAL. Sezione Falsi Raccordi. Turin; BIENNALE DI PRAGA, Veletrzni Palac; FAME, LEGGI IN INGLESE READ IN ITALIAN, Premio FURLA per l’arte, IV Edizione, Venezia, Fondazione Querini Stampalia; 2002, EXIT: Nuove geografie della creatività italiana, Fondazione Sandretto Re Rebaudengo, Turin; THE (RESEARCH) ROOM, Manifesta 4, Europaische biennale Zeitgenossischer Kunst, Frankfurt/Main; 2001, LA FOLIE DE LA VILLA MEDICIS: Domenico Mangano, Villa Medici Accademia di Francia, Roma; ATELIERS D’ARTISTES, Marseille, France.

The Canadian artist- currently participating in the 2013 Venice Biennale with a performance piece curated by Louise Déry, director of the UQAM Gallery in Montreal¬¬- presents in the gallery a new series of work after her previous work with Il volto interiore (2007).
Her work, rewarded the prestigious Sobey Art Award in 2012, is centered around the concept of storage and is linked to various research environments that develop in its encounters with people and communities who are often called upon to actively participate.
De Groot’s work often take the form of actions, objects, images and documentation. A central aspect in her research is performance that explores the ways in which art is created and perceived through the staging of certain constraints - such as blindness, dressing sparsely or suppressing facial expressions. They create a condition of expropriation and loss: loss of connection, loss of control and self-image.
Since 2009, Raphaelle de Groot has been working on the project Le poids des objets (The weight of objects) that revolves around a collection of about 1,780 objects she has collected in a number of communities in Canada and other countries (the United States, Mexico, Italy) . During exhibitions, artist residencies and travel offer people who want it the opportunity to donate items now obsolete, useless, saved at the bottom of a closet. De Groot therefore offers second life to these ordinary objects giving them a place in her works. These objects, victims of neglect and rejection, paradoxically contain in themselves the attachment and emotions of their owners. Becoming caretaker of these objects, the artist tells their story and ensures the physical preservation and their symbolic realization. In fact, beyond their original physical function, these objects reach a strong symbolic dimension because they return to a second life and are given new purpose.
The objects gradually become companions; humanizing and providing escape are a focal points in the artist's research.
La réserve, the namesake of the exhibition, is the artist’s new video presented for the first time to the public.
In this work we connect different spaces that evoke forgotten places: a museum store, a warehouse, a roof. The artist depicts the movement of a character who wears a cape reversible with several pockets; the mantle is a form of transitional housing for a collection of objects that the character carries from one place to another.
 
The project is supported by the Délégation du Québec à Rome / The Québec Government Office in Rome.