Submission
Giovanna Belossi

Too High in The Sky

The practice of Giovanna Belossi (*1991) seeks points of cohesion between our different beliefs and forms of language. The superposition of details and mediums allows us to question the vision of the image in a multilinear way. Born in Ticino, Giovanna Belossi first studied fashion design. This apprenticeship has since been anchored in her artistic practice. She then obtains a Bachelor’s degree in Visual Arts at ECAL in 2018, then a Master’s degree in 2021 at the Work.Master at HEAD in Geneva. Between printmaking, textile prints, ceramics, and installation, Giovanna Belossi’s proposals always oscillate between fragility and inalterability, and are the setting for a phantasmagorical and changing world. Too High in The Sky explores the path between two worlds. Giovanna, passing through different trajectories and possible modalities, interweaves a fine network that delicately links these spaces. Folgorato, the lightning that invades the space of All Stars, articulates this symbol that metaphorically evokes the association of contrasting and uncontrollable feelings, such as a deep terror mixed with hypnotic wonder and curiosity, in the manner of a visual emotional oxymoron. The watery eye lurking in the corner evokes a melancholic distance. These crystallized drops represent somewhere the materiality of an interiority coming out, an emotion taking shape. The watery eye lurking in the corner evokes a melancholic distance. These crystallized drops represent somewhere the materiality of an interiority coming out, an emotion taking shape. The image of the eye is taken from a photograph of the American artist-songwriter Daniel Johnston, a figure who is important to the artist. This eye becomes an apparition on the wall, literally sublimated in its «vision of sadness». Forms of sublimation are very implicitly present in the exhibition space. There is a slightly ghostly motif on the front door windows, showing the distortion of a soft and fluctuating reality, which nevertheless, is caught up in an almost disillusioning way by the abstract paintings. Too High in the Sky, invites us somewhere, between two states, evoking the lost object before the perlaboration of the grief transforms the disappearance into absence. The pieces presented suggest forms of passage and wandering that also evoke the crossing between a physical, rational reality and a more intangible and evanescent reality. In the exhibition space the artist makes everything ambiguous, defying time and forms, invoking and convoking apparitions. Giovanna Belossi has recently participated in group exhibitions at Lemme, Sion, Musée cantonal des Beaux-Arts (MCBA), Lausanne, Ecart at Art Basel, Basel, Centre Pompidou KANAL, Brussels, Limbo, Geneva, Lokal-int, Bienne and Duplex/Walden, Geneva. Her work will be presented at Artgenève 2022 at HEAD’s booth, curated by Fabrice Stroun. Vanessa Cimorelli (CH) is a curator and visual artist who works mainly with text and installation. She has collaborated with One gee in fog in Geneva and will graduate from the master CCC of HEAD in 2022. She is invited to participate in this exhibition through text and proposes a poetic form to Giovanna Belossi’s work.


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Giovanna Belossi, Too High in The Sky, exhibition view
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Giovanna Belossi, Folgorato, 2022, ceramics, brass fastener, variable dimensions, realized with the support of CERCCO - HEAD, Geneva
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Giovanna Belossi, Folgorato, 2022, ceramics, brass fastener, variable dimensions
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Giovanna Belossi, Folgorato, 2022, (detail) ceramics, brass fastener, variable dimensions
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Giovanna Belossi, Sans titre («On ne peut regretter que ce qu'on se rappelle»), 2019, inkjet on velvet
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Giovanna Belossi, Folgorato, 2022, ceramics, brass fastener, variable dimensions
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Giovanna Belossi, Too High in The Sky, exhibition view
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Giovanna Belossi, Good by to them, he had to go, 2022, transfer, wire, metal, glass
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Giovanna Belossi, Good by to them, he had to go, 2022, transfer, wire, metal, glass
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Giovanna Belossi, Good by to them, he had to go, 2022, transfer, wire, metal, glass
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Giovanna Belossi, Too High in The Sky, exhibition view
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Giovanna Belossi, Porte-fenêtre (entrée en matière), 2022, removable water-based painting

Rocaille

When a new space offers itself to me, I find it hard not to touch it with my fingertips. Every track of my skin is lightly scratched; it is voluptuous the rock when it wants. The footprints I leave are a step back, fossils for the unseen hour. I will wait patiently, like a good old forgotten book, until it is time to open it again. Perhaps I trust my memories, where each moment is a lie that I will tell myself later. When my hands become story seekers, they take whatever haunts them as companions. Together we dance on reliefs that will make sense in the mystery of thought. I remember the great lady with clay feet who used to tell me that she took a stranger’s hand in the street to prove to herself that she still existed. Thats how she came out of the kingdom and slipped small stones under my bed. Counting the stones: 1,2,3…44,45,46…I am dreaming.

Advance, accept, accelerate, bring, catch, swallow. I am blurry and wet, cold as a soft stone. Usually, the window lets the light through, but it invites the mist this time. The frame becomes a threshold between what could never be and what has long since ceased to exist. The rain casts on the latter with each glimpse, and the echo of a question returns relentlessly. I will never understand death, but I will strive to collapse its meaning; I will use words while time wears
away the stone so that melancholy, my lady with clay feet, keeps the lost elements in her pocket. And every evening, she will return to put them under the bed.

Now that she has infected my allegories, all shades of grey she mentions are suddenly those of the shadow – in numbers – and answer me. We must meet again, this time in a cave. I walk strangely, for this pace of steps so nimble that my body tries to copy. In the distance, she strolls backwards and yet forwards. Suddenly I realize that her walk is self-annihilation and that I am heading straight for it; it is the collision. The result is a mosaic of broken answers in which I cut out my intentions like a silk veil with which I adorn myself. When we meet – it so smooth, I the rock – everything becomes present, for creatures never disclose the state but the instant of their creation.

Vanessa Cimorelli