Angela Marzullo

7/28/2019 Angela Marzullo

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angelamar-zullo born 08.11.1971 in Zurich

rue Liotard 71 /1203 Genve

076 517 05 82 /022 344 71 76

[email protected]

www.angelamarzullo.ch


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festivals

2011 Arcipelago, 19 Festival Inter-

nazionale di Cortometraggi e

Nuove Immagini, Rome

2010 Eternal Tour, Khalil Sakakini

Center, Ramallah

2010 Mapping Festival, Geneva

2009 ImpaKt, Sorbonne Paris 1, Paris2008 Internationale Kurzlmtage,

Winterthur

2008 Les Etats gnraux du lm

documentaire, Lussas

2008 Eternal Tour, Institue Suisse,

Rome

2007 Point Impact, Performance

Festival, Geneva

2007 Biennale de limage en

mouvement, concoursinternational, Geneva

2007 Passion de lengagement et des

lms de Carole Roussopolos,

Cinmatheque Paris

2005 Nondeleted 2, Kunsthaus Glarus

2004 Version 2004, Centre pour

limage contemporaine, Geneva

solo shows

2011 Congrs de Libellules, White

Cube, Biennale dart des

Libellules, Geneva

2009 Blutgeil, Rodeo 12, Geneva

2007 Makita Strikes Back, Salle

Crosnier,Classe des Beaux-Arts,

Palais de lAthne, Geneva

group shows

2011 Satin Blanc, lov, CAN, Neuchtel

2011 Minigolf du dveloppement dura -

ble, Parc des Bastions, Geneva

2010 (re-) : un-historical documents,

Chapman University, Los Angeles

2010 Imagining Equality : Womens Art

and Activism, The GuggenheimGallery, Los Angeles

2010 Dont open that door, Istituto

Svizzero, Rome

2010 Accademia delle Accademie, The

road to contemporary art, Rome

2010 Gelato, s. t. foto galleria, Rome

2010 Spazi Aperti, Accademia di

Romania, Rome

2010 The dark side of the pink, Galerie

Forde, Geneva2010 The Swiss Cube 2, Istituto

Svizzero, Rome

2010 Laccumulation primitive,

Les Halles, Porrentruy

2010 Performances au fminin,

La Comdie, Geneva

2009 I am by Birth a Genevese,

Vegas Galerie, London

2008 Dark Design, Maison dAilleurs,

Yverdon

2008 Art Chne, Biennale dart en ville,

Geneva

2008 Leffet papillon, Centre ddition

contemporaine, Geneva

2008 Art cannot be unthought,

La Rada, Centro darte contem-

poranea, Locarno

2008 Touriste, Fondation dentreprise Ri-

card, Paris

2007 Home Cinma 1.7, Trac, Lausanne

2006 Open Houses, Muse Rath, Geneva

2006 Orchard, New York

artist residency

2009-10 Institut Suisse, Rome2007 Utopiana, Erevan, Armenia

prizes / awards

2009 Grant for geneva artists,

Dpartement des affaires

culturelles, Geneva

2009 Grant for lm production,

Dpartement des affaires

culturelles, Geneva

2008 Grant for the collectif artlaboratory duplex, Geneva

2007-10 Grant for an artists studio,

lUsine, Fonds dart

contemporain, Geneva

competitions with exhibitions

2011 Aeschlimann + Corti Stipendi-

um, Kunstmuseum Thun

2009 Concours fdral dart,

Messe Basel

2005 Bourse Lissignol, Centre dart

contemporain, Geneva

publication

2011 HIC 4, speciale Italia, dition

dasein, Paris

2010 Accademia delle Accademie, The

road to the contemporary art,

Sahra Wasserman, Rome

2010 Artistes Genve du XVe au

XXIe sicle, Karine Tissot,

Editions Notari, Geneva

2010 Flux News n. 51, Sur les traces de

Carole Roussopoulos,

Julia Hountou, Rome2010 Turbulences vido n. 66, Sur les

traces de Carole Roussopoulos,

Julia Hountou, Rome

2008 Cahiers du cinema n. 630, Image

activiste, Nicole Brenez, Paris

2007 Salle Crosnier, poster, Geneva

2007 Les lles et les crotes, Tissu,

Geneva

2006 RADIO, dition dasein, Paris

2005-06Start, journal junior dartcontemporain, Geneva

education and training courses

2004 Postgraduated studies,

Haute cole darts appliqus,

E. Fontanilles, Geneva

2001-03 Postgraduated studies,

Haute cole darts appliqus,

J.-L. Boissier, Geneva

1999 Diploma dissertation,

Ecole suprieure des beaux-arts

esba, Geneva

1998 Diploma, Anselm Stalder, esba,

Geneva

1994-98 Studies, Mixed Media,

Sylvie Defraoui,

Stanley Brouwn, esba, Geneva


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concettina

Concettina is a video based on Pier Paolo

Pasolinis Lutheran Letters, and on its ped-

agogical treatise Gennariello in particu-

lar. Through the adaptation of some of

its excerpts, the work tells of the uncer-

tainty surrounding the life of two teen-

agers. The video was entirely shot in theparking 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.

dv video, 10, roma, 2010


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Gelato

The protocol for this series of imag-

es consists in preparing a different ice-

cream 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


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bodybuildinG

Bodybuilding presents a romantic-por-

nographic performance, rhythmed by

the sound of a remixed traditional piz-

zica which drives Makita, the performer,

into a trance. Bodybuilding is a perine-

um muscle training through the use of a

dancing spider device. Pizzica is tradition-al Salento dance, of the tarantella family.

edition 15 copies, centre dart

contemporain, porrentruy, 2010

video, 2, geneva 2010


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taranta

Taranta centres around the myth of the

Tarantula bite which is particularly vivid

in Southern Italys Puglie region. A pa-

gan resurgence which has survived un-

til the second part of the 20th century,

this myth claims that the spiders bite

provokes a mental illness that can be re-lieved, and even cured, through music

and dance.

video tape, 15, hd, taranto, 2009

Les devenirs animaux ne sont pas des

rves ni des fantasmes. Ils sont par-faitement rels. Mais de quelle ralit

sagit-il ? Car si devenir animal, ne con-

siste pas faire lanimal ou limiter, il

est vident aussi que lhomme ne devi-

ent pas rellement autre chose. Le deve-

nir 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 suppo-

ss xes dans lesquels passerait celui qui

devient.

deleuze et guattari, Mille plateaux

The tarentulated becomes spider. She

becomes the spider within her. Her

thoughts become pure rhythm and

from her almost mechanical move-

ments come out liberating gures, shot

through with desperate shadows. She

stands now ghting the spider, imagin-

ing herself squashing it, killing it with herdancing foot. Step by step, she searches

for balance, getting closer to vertigo fol-

lowing a musical curve that gets more

and more vibrant, until total loss of the

senses.

salvatore quasimodo, Notes on La Taran-

ta de Gianfranco Mingozzi, Italie 1962


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new york 2007

A parody of John Carpenters New York

1997, this video questions a contemporary

feminism that seems to have no other al-

ternatives than media-unfriendly activism

and dead-end extremism. More and more

often criticized for its moralistic positivist

and puritanical tendencies the feministmovement fails to reclaim its past pug-

nacity. In a context in which extremism

only provokes media attention, is there

only one option left : martyrdom ?

video tape, 3, dv, geneva , 2008


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the witch

In the video we see a witch, ying

around on her broom. Through a game

of mirrors, the Witch is reected on the

walls and ground. This multiplication of

reections is increased in the installation

which recaptures the structure of the

decor. The purpose being that the pro-jection surface then dissolve into the in-

stallation, and that everything becomes

reection. Even the spectator looses his

glance in this animated labyrinth

video installation, geneva 2008


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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.

plaster, urine.

height : 13,5 cm. variable

installation, number and

dimensions

editon 150 copies , centre ddition

contemporaine, geneva, 2008


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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 sculp-ture by belgian artist Ren Julien.

installation, bronze sculptur, ge-

neva, 2008


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makita pulls the strinGs

The performer presents herself with her

penis hidden between her legs. Then she

takes it out

The performer moves her arms along her

body, making the penis move up and

down. The performer dips her penis into

the paint and starts the action-painting.When the painting is nished, the per-

former opens the bottle of champagne.

She sprays it over the work and drinks

the end.

a white canvas (50 cm x 70 cm)

xed to the wall ; ve pots of

paint (red, green, yellow, blue,

white). the pots lay on a whitepedestal in front of the wall.

a hook xed 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


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short pedaGoGical treatise

This is a staging of Pier Paolo Pasolinis

Lutheran Letters, Short Pedagogical Trea-

tise, My Suggestions regarding School and

Television.

The video was shot in Lecces country-

side, where the author wrote the text

in 1971.

video tapes, 6 , dv, taranto, 2008


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stella, proletarian theatre

for children

As a starting point, this video takes one

of Goethes plays, in which the protago-

nists share the same name as the actors

playing in the video : Lucie and Stella.

In the rst part of the lm, we see Stel-

la and Lucie skating and skateboardingaround the Vieusseux estate in Gene-

va. They progress through this scenery

where the architectural aspects are un-

derlined during their whole ride.

Off screen, we hear Lucie reading a part

of Walter Benjamins theoretical text

about proletarian theatre for children.

Having arrived in a small public square,

the two girls nd a book : Goethes Stel-

la. They take it, and because of the simi-larity with their real names, they decide

to play the nal dramatic scene where

Lucie replies to Stella, the caracters of

the play.

7, video loop, dvd, geneva, 2006


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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 lita-

ny of inter-generational reproaches.

6, dvd, geneva, 2006


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h&m family project

label to the childrens

contemporary art journal

start

1 Start n 1, Geneva, 2006


3 Start n 4, Geneva, 20064 Start n 2, Geneva, 2006


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performinG

This cycle of video works called Perform-

ing 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

signicant 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.

video loop, 15, dv geneva, 2005


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performinG *1

Claim excerpts, Vito Acconci, 1971

Vito Acconci presents a three-hour per-

formance where the artist protects the

access to 93 Grand Street, blindfolded,

armed with an iron bar.

Aggressiveness from this ctional con-

frontation with hypothetical invaders

underlines the psychological relation-

ship between artist and visitor. By de-

fending his territory, Vito Acconci enters

into a hypnotic relationship with lan-

guage and places himself in a state of

possessive trance.

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 applianc-

es, she mimes their use in a caricatured

way.

performinG * 3

S.C.U.M, Carole Rousopoulos, 1976

This video stages a woman dictating

Valerie Solanass S.C.U.M text to anoth-

er woman, somewhere in front of thecamera we see a television showing war

images.

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 sen-

tences in its title : Art must be beauti-

ful, artist must be beautiful .

performinG * 5

Performer/Audience/Mirror, Dan Graham, 1975

Grahams performance is a phenomeno-

logical study of the relationship between

a performer and his audience, based on

concepts of objectivity and subjectivi-

ty. In the rst phase, Graham stands in

front of the audience and describes him-

self objectively. In a second phase, he

describes the audience in front of him,

commenting as he goes on the chang-

es 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 * 6

Relation in time, Abramovitch et Ulay, 1977

Abramovitch and Ulay are sitting back-

to-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.


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*3

*1

*2


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*4

*5

*6


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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 mani-

festation: the never-ending ballet of the

busses bringing tourists and the demon-

stration of communities asking the UN

for attention.

photography glued on aluminium

150 cm x 100 cm. video, 3 min, loop,

dvd, geneva, 2004


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camra

vido projecteurs

projection mobile

the chainsaw

The chainsaw is a video performance

transposed into an interactive video

piece. The preconception of the instal-

lation is to t into a white cube adapt-

ing oneself to the given facts (light, di-

mensions, 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 con-

ceived as a scene, an animated and mo-

bile scene.

The video image projected on the wall

shows a wall being broken through by

a chainsaw. The perception of the real

space coincides with the video projection.

The walls status is confronted to the pro-

jection of this identical wall where the

chainsaw action is taking place. The vid-

eo begins with the sound of the chain-

saw being started behind the wall. Then

the blade cuts straight lines through the

wall, drawing an abstract shape, slow-

ly 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- com-ing 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

Jouable, Art, Jeu et interactivite , 2004).

The interactive disposition follows the vis-

itor with a surveillance camera that proj-

ects the video in front of him. If the visitor

moves, the image follows him instantly.

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 sh eye lens, xed to the ceiling.

In the corners of the wall of projection,

two speakers.

interactive video installation,

geneva, 2004


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makitas Guided tour

Makitas guided tour is an interactive cd-

rom which takes us through the discov-

ery of a museal kind of universe. These

rooms to visit are in fact an assemblage

of different photographies of spaces dis-

posed one beside another, forming a

loop. This display of varied objects exists

only on CD-Rom.

Active zones allow us to zoom in on cer-

tain parts of the visit, making some pho-

tographs of higher pixel density, bigger.

The zoom sizes are pre-established, as

well as their length ; and accompanied

by a peculiar soundtrack. These active

zones seem to be randomly disposed.

We can only see closer the things that

Makita will let us see. That way the visi-

tor is always on two different point of

views; either a bit too far, or a bit too

close. The freedom of movement is very

calculated, controlled.

The frustration emanating from this cal-

culated freedom of observation is repre-

sentative of the apparent liberty offered

by the new medias. The limits of this vir-

tual universe are similar to this ill-assort-

ed exhibition, in which the objects sym-bolism is beyond our power of analysis.

interactive cd-rom, macintosh g4

computer, video projector,

chair recovered with a patchwork

zurich, 2003


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Against a wall, a photograph shows a

woman peeing in a eld.

In a le containing several photographs,

we see the same woman peeing, with-

out any kind of embarrassment, all

around town. Available to the audience,

leaets announce a performance which

will take place during the exhibition.

color photography glued on

pavatex and left in the original

plastic packaging 70 cm x 100 cm

leaets black and white a6

edition mi scappa la pipi 11 x a4

black and white, geneva, 1997


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Documents

Angela Marzullo