Giorgia Lo Faso

Camera Piena Camera Vuota

Project Info

  • 💙 Billytown
  • đŸ–€ Giorgia Lo Faso
  • 💛 Photo by Jhoeko

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9 Possible Scenarios (2024) Series of 9 posters. Riso print on Arena Natural Smooth paper 300  g/m2, 29,7 x 42 cm
9 Possible Scenarios (2024) Series of 9 posters. Riso print on Arena Natural Smooth paper 300 g/m2, 29,7 x 42 cm
End-of-residency solo exhibition
 The Sleeper (2024). Walls torn off and mounted onto linen canvases  5 baby mattresses. 60 x 53 x 8,5 cm 60 x 120 x 10 cm
The Sleeper (2024). Walls torn off and mounted onto linen canvases 5 baby mattresses. 60 x 53 x 8,5 cm 60 x 120 x 10 cm
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases Dimensions variable
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases Dimensions variable
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases Dimensions variable
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases Dimensions variable
Locked Out In (2024-2025). Images from AI Jazeera News and Palestinians Instagram stories. UV-phosphorescent pigments painted on the gallery walls. Approximately 2 x 2,5 cm each painting
Locked Out In (2024-2025). Images from AI Jazeera News and Palestinians Instagram stories. UV-phosphorescent pigments painted on the gallery walls. Approximately 2 x 2,5 cm each painting
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases Dimensions variable
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases Dimensions variable
Locked Out In (2024-2025). Images from AI Jazeera News and Palestinians instagram stories UV-phosphorescent pigments painted on the gallery wallsApproximately 2 x 2,5 cm each painting
Locked Out In (2024-2025). Images from AI Jazeera News and Palestinians instagram stories UV-phosphorescent pigments painted on the gallery wallsApproximately 2 x 2,5 cm each painting
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases. 208 x 143 x 25 cm
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases. 208 x 143 x 25 cm
Locked Out In (2024-2025). Images from AI Jazeera News and Palestinians Instagram stories. UV-phosphorescent pigments painted on the gallery walls.Approximately 2 x 2,5 cm each painting
Locked Out In (2024-2025). Images from AI Jazeera News and Palestinians Instagram stories. UV-phosphorescent pigments painted on the gallery walls.Approximately 2 x 2,5 cm each painting
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases. 134 x 67 x 18 cm
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases. 134 x 67 x 18 cm
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases. 102 x 87 x 15 cm
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases. 102 x 87 x 15 cm
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases.  Variable dimensions cm
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases. Variable dimensions cm
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases. 64 x 42 x 22 cm
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases. 64 x 42 x 22 cm
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases. 78 x 55 x 42
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases. 78 x 55 x 42
Locked Out In (2024-2025). Images from AI Jazeera News and Palestinians Instagram stories. UV-phosphorescent pigments painted on the gallery walls. Approximately 2 x 2,5 cm each painting
Locked Out In (2024-2025). Images from AI Jazeera News and Palestinians Instagram stories. UV-phosphorescent pigments painted on the gallery walls. Approximately 2 x 2,5 cm each painting
There is ho Home, like Place (2024-2025) Walls from my former studio torn off and mounted onto linen canvases. 110 x 77 x 21 cm
There is ho Home, like Place (2024-2025) Walls from my former studio torn off and mounted onto linen canvases. 110 x 77 x 21 cm
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases.  Variable dimensions
There is ho Home, like Place (2024-2025). Walls from my former studio torn off and mounted onto linen canvases. Variable dimensions
Kandra, (2024).  Single-channel audio 00:37 sec (loop every 10 minutes). Mobile trolley speaker
Kandra, (2024). Single-channel audio 00:37 sec (loop every 10 minutes). Mobile trolley speaker
Lucciola (2024) UV-phosphorescent pigments painted on walls fragments. UV portable flashlight Approximately 8,5 x 4,6 cm
Lucciola (2024) UV-phosphorescent pigments painted on walls fragments. UV portable flashlight Approximately 8,5 x 4,6 cm
 What Should I bring to the Table? (2024). Images from CGTNWorld and Al Jazeera News during the month of July 2024. UV-phosphorescent pigments painted on the residency desk 120 x 60 cm 2 x 2,5 cm each painting
What Should I bring to the Table? (2024). Images from CGTNWorld and Al Jazeera News during the month of July 2024. UV-phosphorescent pigments painted on the residency desk 120 x 60 cm 2 x 2,5 cm each painting
A friend once told me that Camera Piena Camera Vuota (Full Room Empty Room) sounds like a jingle. For me, it resembled a moment filled with many doubts. United by a sense of resistance and resilience, memory and erasure, these works navigate the space guided by (the idea of) traces or impressions as fossils, that are capable of telling stories and preserving memories whilst also revealing feelings like fear or anguish. They try to foster a dialogue between the personal and the political, the tangible and the intangible, prompting questions about how today’s reality is perceived, consumed, and what remains in its aftermath. Much like threads in a spider's web, each single piece responds to one another. However, this ‘response’ does not necessarily imply interconnectedness. Instead, it resembles a dialogue, where individual voices follows their own path, yet they do contribute to a broader narrative. End-of- residency solo exhibition Billytown, The Hague This project is supported by Mondriaan Fonds and Stichting Gerbrandy Cultuurfonds

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