Professional Documents
Culture Documents
rue Liotard 71 / 1203 Genve 076 517 05 82 / 022 344 71 76 makita@angelamarzullo.ch www.angelamarzullo.ch
festivals
2011 Arcipelago, 19 Festival Internazionale di Cortometraggi e Nuove Immagini, Rome 2010 2010 2009 2008 2008 2008 2007 2007 Eternal Tour, Khalil Sakakini Center, Ramallah Mapping Festival, Geneva ImpaKt, Sorbonne Paris 1, Paris Internationale Kurzfilmtage, Winterthur Les Etats gnraux du film documentaire, Lussas Eternal Tour, Institue Suisse, Rome Point Impact, Performance Festival, Geneva Biennale de limage en mouvement, concours international, Geneva 2007 Passion de lengagement et des films de Carole Roussopolos, Cinmatheque Paris 2005 2004 Nondeleted 2, Kunsthaus Glarus Version 2004, Centre pour limage contemporaine, Geneva
group shows
2011 2011 2010 2010 Satin Blanc, lov, CAN, Neuchtel Minigolf du dveloppement durable, Parc des Bastions, Geneva (re-): un-historical documents, Chapman University, Los Angeles Imagining Equality: Womens Art and Activism, The Guggenheim Gallery, Los Angeles 2010 2010 2010 2010 2010 2010 2010 2010 2009 2008 2008 2008 2008 Dont open that door, Istituto Svizzero, Rome Accademia delle Accademie, The road to contemporary art, Rome Gelato, s. t. foto galleria, Rome Spazi Aperti, Accademia di Romania, Rome The dark side of the pink, Galerie Forde, Geneva The Swiss Cube 2, Istituto Svizzero, Rome Laccumulation primitive, Les Halles, Porrentruy Performances au fminin, La Comdie, Geneva I am by Birth a Genevese, Vegas Galerie, London Dark Design, Maison dAilleurs, Yverdon Art Chne, Biennale dart en ville, Geneva Leffet papillon, Centre ddition contemporaine, Geneva Art cannot be unthought, La Rada, Centro darte contemporanea, Locarno
2008 Touriste, Fondation dentreprise Ricard, Paris 2007 Home Cinma 1.7, Trafic, Lausanne 2006 Open Houses, Muse Rath, Geneva 2006 Orchard, New York 2010 2010
road to the contemporary art, Sahra Wasserman, Rome Artistes Genve du XVe au XXIe sicle, Karine Tissot, Editions Notari, Geneva Flux News n. 51, Sur les traces de Carole Roussopoulos, 2010 Julia Hountou, Rome Turbulences vido n. 66, Sur les traces de Carole Roussopoulos, Julia Hountou, Rome 2008 2007 2007 2006 Cahiers du cinema n. 630, Image activiste, Nicole Brenez, Paris Salle Crosnier, poster, Geneva Les filles et les crotes, Tissu, Geneva RADIO, dition dasein, Paris contemporain, Geneva
artist residency
2009-10 Institut Suisse, Rome 2007 Utopiana, Erevan, Armenia
prizes / awards
2009 2009 2008 Grant for geneva artists, Dpartement des affaires culturelles, Geneva Grant for film production, Dpartement des affaires culturelles, Geneva Grant for the collectif art laboratory duplex, Geneva lUsine, Fonds dart contemporain, Geneva
solo shows
2011 Congrs de Libellules, White Cube, Biennale dart des Libellules, Geneva 2009 2007 Blutgeil, Rodeo 12, Geneva Makita Strikes Back, Salle Crosnier,Classe des Beaux-Arts, Palais de lAthne, Geneva
publication
2011 2010 HIC 4, speciale Italia, dition dasein, Paris Accademia delle Accademie, The
Concettina
Concettina is a video based on Pier Paolo Pasolinis Lutheran Letters, and on its pedagogical treatise Gennariello in particular. Through the adaptation of some of its excerpts, the work tells of the uncertainty surrounding the life of two teenagers. The video was entirely shot in the parking lot of the Villa Borghese in Rome, which hosted a historical Contemporary Art exhibition in 1973 (Contemporanea 73), and is also a tribute to Luigi Morettis architecture.
Gelato
The protocol for this series of images consists in preparing a different icecream each time, in order to overpaint the photographic self-portraits.
ice-cream in different tastes, digital photography, inkjet printing, pearled photographic paper, 92 cm x 122.5 cm, rome, 2010
Bodybuilding
Bodybuilding presents a romantic-pornographic performance, rhythmed by the sound of a remixed traditional pizzica which drives Makita, the performer, into a trance. Bodybuilding is a perineum muscle training through the use of a dancing spider device. Pizzica is traditional Salento dance, of the tarantella family.
edition 15 copies, centre dart contemporain, porrentruy, 2010 video, 2, geneva 2010
Taranta
Taranta centres around the myth of the Tarantula bite which is particularly vivid in Southern Italys Puglie region. A pagan resurgence which has survived until the second part of the 20th century, this myth claims that the spiders bite provokes a mental illness that can be relieved, and even cured, through music and dance.
The tarentulated becomes spider. She becomes the spider within her. Her thoughts become pure rhythm and from her almost mechanical movements come out liberating figures, shot through with desperate shadows. She stands now fighting the spider, imagining herself squashing it, killing it with her dancing foot. Step by step, she searches for balance, getting closer to vertigo following a musical curve that gets more and more vibrant, until total loss of the senses. salvatore quasimodo, Notes on La Taranta de Gianfranco Mingozzi, Italie 1962
Les devenirs animaux ne sont pas des rves ni des fantasmes. Ils sont parfaitement rels. Mais de quelle ralit sagit-il? Car si devenir animal, ne consiste pas faire lanimal ou limiter, il est vident aussi que lhomme ne devient pas rellement autre chose. Le devenir ne produit pas rellement animal, pas plus que lanimal ne devient rellement autres chose. Le devenir ne produit pas autres choses que lui-mme. Cest une fausse alternative qui nous fait dire: ou bien lon imite ou bien on est. Ce qui est rel, cest le devenir lui-mme, le bloc de devenir, et non pas des termes supposs fixes dans lesquels passerait celui qui devient. deleuze et guattari, Mille plateaux
The Witch
In the video we see a witch, flying around on her broom. Through a game of mirrors, the Witch is reflected on the walls and ground. This multiplication of reflections is increased in the installation which recaptures the structure of the decor. The purpose being that the projection surface then dissolve into the installation, and that everything becomes reflection. Even the spectator looses his glance in this animated labyrinth
Congress
The statuette (bottom) from 1920 belongs to the ethnographic museums collection in Geneva. A mold was created from the original. Copies were made with plaster mixed with the artists urine.
device plaster, urine. height: 13,5 cm. variable installation, number and dimensions editon 150 copies , centre ddition contemporaine, geneva, 2008
mi scappa la pipi 01
The Popess introduces a gender theme. The act of urinating in a public space is for me a symbol of that theme as for the same action, the two different positions give it out. In this small lost corner of the way, home to the most feminist of tarot cards, I present The Pee-er a sculpture by belgian artist Ren Julien.
device a white canvas (50cm x 70cm) fixed to the wall; five pots of paint (red, green, yellow, blue, white). the pots lay on a white pedestal in front of the wall. a hook fixed to the ceiling, with a string connecting the performers left hand to her penis-panty. a bottle of champagne. live-performance in the villa du parc, annemasse, 2006
Rha
This video shows a repeated dolly shot around La Fontana del Nettuno on the Neptune square in Bologna. The soundtrack mixes voices (a girl, a mother and a sister ) who line up a litany of inter-generational reproaches.
I hate it when you cut my nails too short I hate it when im sick and I hear you talking with the nextdoor neighbour I hate it when you lecture my cousin because he drives a 4x4 around town I hate your hair when its short I hate it when you always fall asleep in my sisters bed I hate it when you insult the drivers while were cycling I hate it when you untangle my hair I hate it when I have to call you ten times and you dont even come I hate it when you rush to the teacher when I get a 1 in my conjugation test I hate it when you start speaking swiss-german I hate your french mistakes I hate it when you kick my butt I hate it when you lock me in my room I hate it when you talk and laugh with an another man than dad I hate finding condoms in the medecine cupboard I hate it when you make me wear tight turtlenecks
I hate it when you kiss me in the morning and you stink I hate it when you promise to do the sewing and then you give up I hate it when you dont get up in the morning I hate it when you say its because of us if your career doesnt progress I hate it when you say we dont have enough money after you just bought expensive clothes I hate it when you feed me with food that is too warm I hate it when you scream against people you dont even know I hate it when you make passing remarks in front of everyone I hate it when you make me finish my plate I hate it when you get angry with Michael I hate it when you scold my sister and I hate it when you tell me not to stress myself and then I arrive late at school I hate it when you say I dont brush my hair enough I hate it when you smell my pants to see if I have pissed in
them I hate it when you make me shower under cold water I hate it when you say your belly is ruined because of us I hate it when you get angry with my grandmother and then were not able to go to the sea in Italy I hate it when you forget to sign my homework and then I get a punishment I hate it when you call my former teacher Stphanie Bonbon I hate it when you eat with Michael and then we have to eat school dinners I hate it when you come to fetch me at school and its already late outside I hate it when you refuse to talk to me I hate it when you divide my pocket-money in two I hate it when you yell at me I hate it when you hit me I hate it when you dont get me dinner at night I hate it when you put the television in the cellar I hate it when you dont let me sleep in your bed I hate it when you buy something to my
sister and nothing for me I hate it when you pull at my hood to tell me where to go I hate it when you tell the cat to go away I hate it when you throw the dead canary into the bin I hate it when you put all of my soft toys in a trash bag in the cellar because I have head lice I hate it when you drink beer and we dont even have apple juice
H&M Family Project label to the childrens contemporary art journal Start
1 Start n 1, Geneva, 2006 2 Start n 5, Geneva, 2006 3 Start n 4, Geneva, 2006 4 Start n 2, Geneva, 2006 5 Start n 3, Geneva, 2006 2
Performing
This cycle of video works called Performing revisits several video-performance works (*1 *6) from the seventies. The protocols of these pieces are reenacted in a childs room, by two sisters, aged 10 and 6. Appropriation, by young girls, of these significant performances underlines the childish source of the actions. Childhood games sometimes seem to serve as raw material to stage adult deviancies. The video Performing therefore goes back to the source.
Performing *1
Claim excerpts, Vito Acconci, 1971 Vito Acconci presents a three-hour performance where the artist protects the access to 93 Grand Street, blindfolded, armed with an iron bar. Aggressiveness from this fictional confrontation with hypothetical invaders underlines the psychological relationship between artist and visitor. By defending his territory, Vito Acconci enters into a hypnotic relationship with language and places himself in a state of possessive trance.
Performing * 4
Art must be beautiful, Marina Abramovic, 1976 This video shows the artist violently combing her hair with a brush in each hand while proclaiming the two sentences in its title: Art must be beautiful, artist must be beautiful.
Performing * 5
Performer/Audience/Mirror, Dan Graham, 1975 Grahams performance is a phenomenological study of the relationship between a performer and his audience, based on concepts of objectivity and subjectivity. In the first phase, Graham stands in front of the audience and describes himself objectively. In a second phase, he describes the audience in front of him, commenting as he goes on the changes in attitude that his speech provokes within the public. In the third phase, the performer turns around, placing himself back to the audience, facing a mirror, and describes himself, as seen in the mirror; in the fourth phase, without moving Acconci describes the audience as he sees it in the mirror.
Performing * 2
Semiotics of the kitchen, Martha Rossler, 1976 Martha Rossler shows and tells from A to Z the ingredients of a womans life. While naming several kitchen appliances, she mimes their use in a caricatured way.
Performing * 6
Relation in time, Abramovitch et Ulay, 1977 Abramovitch and Ulay are sitting backto-back, naked, hair plaited together from behind in a single braid. Soundtrack Kathy Ackers lecture, recorded at the Festival de la Btie, 1997, excerpts from the book Pussy King of the Pirates.
Performing * 3
S.C.U.M, Carole Rousopoulos, 1976 This video stages a woman dictating Valerie Solanass S.C.U.M text to another woman, somewhere in front of the camera we see a television showing war images.
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Mi scappa la pipi 02
In this video we follow a woman, dressed in a mans suit, wandering around the UN, in Geneva. She marks the territorial limits of the international organisation by several pees. During her walk, she witnesses two different kinds of manifestation: the never-ending ballet of the busses bringing tourists and the demonstration of communities asking the UN for attention.
device photography glued on aluminium 150cm x 100cm. video, 3 min, loop, dvd, geneva, 2004
The chainsaw
The chainsaw is a video performance transposed into an interactive video piece. The preconception of the installation is to fit into a white cube adaptvido projecteurs
The interactive disposition follows the visitor with a surveillance camera that projects the video in front of him. If the visitor moves, the image follows him instantly.
ing oneself to the given facts (light, dimensions, surfaces). This conception therefore opposes the traditional black box which separates the projected piece from the projecting area: the white wall. This video performance is thus conceived as a scene, an animated and mobile scene. The video image projected on the wall shows a wall being broken through by
device
Closed longitudinal space with a light trap entrance. Three suspended video projectors facing one of the big walls, opposite to the entrance. Macintosh G4 computer, mixer, hidden. PD 10 camera, with fish eye lens, fixed to the ceiling. In the corners of the wall of projection, two speakers.
camra
a chainsaw. The perception of the real space coincides with the video projection. The walls status is confronted to the projection of this identical wall where the chainsaw action is taking place. The video begins with the sound of the chainsaw being started behind the wall. Then the blade cuts straight lines through the wall, drawing an abstract shape, slowly turning into an oblong hole. Parts of the wall fall apart. We then discover the chainsaw an androgynous woman with pin-up tattoos on her arms- coming across the wall and falling forwards, still carrying the chainsaw. The sound of the machine gets louder as the hole gets bigger. The subjective moment where we feel threatened in a horror movie is thereby transposed into a real space (in
projection mobile
device interactive cd-rom, macintosh g4 computer, video projector, chair recovered with a patchwork zurich, 2003
Mi scappa la pipi 00
Against a wall, a photograph shows a woman peeing in a field. In a file containing several photographs, we see the same woman peeing, without any kind of embarrassment, all around town. Available to the audience, leaflets announce a performance which will take place during the exhibition.
color photography glued on pavatex and left in the original plastic packaging 70cm x 100 cm leaflets black and white a6 edition mi scappa la pipi 11 x a4 black and white, geneva, 1997