Enrico floriddia portfolio
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enrico floriddia portfolio
You too are part of the game, you too bring stones stolen from the ruins to the building’s walls. Mario Luzi
My work sits in displacement. It negotiates with images as much as words. It takes them seriously, it doubts them, sometimes it mocks them. Yet, images resist to the artist’s will, words are bent or misunderstood, they get used – as we get used to them. I am interested in cultural heritage and its building process. My work is the site where I confront my point of view on such process to challenge the main narratives that drive it. Digging through decolonisation, cultural policies and archæological research, I observe the mechanisms that power uses to build national myths. My work causes a traffic of fabricated images, of documents, texts and found pictures that overlaps on these myths and – sometimes – they erode it.
The past is a very foreign country. Paul William Roberts
mémento
This book is a reenactment of a In 2016 I published fifty-five copies,
Mémento de nomenclature géographique the number of years that separated
published by the Republic of France us from the original edition.
in 1961, a tool to aid public servants
to assess the territory of France, its Each year I issue one more copy.
colonies and the rest of the world.
in collaboration with the CDLA Centre
for artist books
It was published at a turning point
in the history of the country, just handmade bookwork
pre-cut pages
after the independence of most envelope with adressee
of its African colonies and just self-published
84 pages 19x27cm
before Algeria’s sovereignty.
2016 edition 55 ex.
Fifty-five years later my only 2017 edition 1 ex.
2018 edition 1 ex.
intervention is to invite the readers 2019 edition 1 ex.
to tear a sheet apart and send this
persons involved/paid: 14/4
newly independent page to the
Centre for artists’ books where 2016-∞
they are gathered and shown.
browse the book
Mémento exhibited along with a torn apart page and the pre‑printed envelope in the collective exhibition Republished: questioning On the pedestal: the archival box conceived with the CDLA Centre for Artists boundaries at Das weisse haus, Vienna, March 2019. Books which contains the newly indipendent pages.
immigrated pieces
The nine protagonists of this book Immigrated pieces tells these stories in
are objects hosted in Wrocław, a dialogue between myself and the
Poland. They share one thing: young city of Wrocław surrounded
around Second World War they were by her centuries-old memories.
moved. Or stolen, forged, broken,
appropriated, exploited, uprooted. created as artist in residence at
Wrocław European Capital of Culture
Their stories tell the History paperback bookwork
of the Silesian people as well, 310 pages 11x18cm
1st edition: 70 ex.
their peregrinations, their
difficulties, their shared past. persons involved/paid: 9/8
2016
I visited every place where
these stories happened, in
Poland or in Ukraine or Italy.
I photographed, I collected
documents and testimonies: layers
overlap, History gets complicated,
versions contradict each other.
browse the book
Time itself is a fugitive citizen, trembling with fear and stumbling on the sidewalk, only to be pissed and spat upon by a merciless history. Sinan Antoon
archæological horizon
An archaeological horizon is readings, documents and information
a common set of artefacts that on these byzantine relations.
identifies a culture and is found
disseminated over a number of sites, In the first chapter of this enterprise,
but restricted to a single stratum. Western tropes on archaeology, coins
and travel accounts about the desert
These works focus on bonds meet Saddam Husayn’s interest for
between to-day Iraq and western Nebuchadnezzar II king of Babylon,
countries. What does the West classical music and marble. These
hold from this land? What has encounters form a peculiar tension
Iraq acquired from the West? sometimes able to rephrase the
stereotypical vision of Mesopotamia:
My research began after I found a land where History is supposed to
some documents’ ruins at the begin, still an uncivilised territory
former Iraqi Embassy at the GDR at the eye of the westerner.
in Berlin. They contained a certain
kind of images I have never seen The research process applied
before: the all-time losers were here is a queered archaeological
celebrating their conquest. Since digging that while respecting the
then, I cannot stop accumulating historical context and materialconditions of the findings, places
them in a biased narrative aiming
to overthrow the existing one.
I will only consider this research
ended when I will be able to bring
an orchestra from Berlin back
to Babylon and play the opera
Nabucco in its Greek theatre.
Archæological horizon. Chapter I: an
army of expert diggers
solo exhibition at Galerie Louise
Michel, Poitiers, September 2017
browse the catalogue
Urbs sacra
collective exhibition at Mains
d’œuvres, Paris, September 2017
collected documents, maps, stamps
and coins, hd video, marble, synthetic
stones, marble coins, photographs,
audio recordings, poster, open library
persons involved/paid: 21/9
2014-ongoing
Archæological horizon. Chapter I: an army of expert diggers,
exhibition view, Galerie Louise Michel, Poitiers, September 2017Cradle of civilisation, pp. 20-21, uv print, 110x175 cm, 2017.
Babylon Revival (marble coins, 2017), Chronology (texts, 2016) Babylon Revival (marble coins, 2017), Crates, Pergamon Museum and Crates, Musée du Louvre (lightbox with postcard, 2017) (lightbox with postcard, 2017)
Coins, National Mint of Iraq, 1979 (fine art print, 2017)
with an excerpt from Gertrude Bell, Amurath to Amurath (1911) and
palm theme coins issued the year of Saddam’s access to powerCrates, Iraq Museum (2017), lightbox containing a postcard of a museum that holds archaeological findings from Iraq, the image is only visible Babylon Revival (marble coins, 2017), and Crates, Musée du through the filter of the museum’s inscription and branding Louvre (lightbox with postcard, 2017)
Façade (marble and synthetic stones, 2017), Berlin, Iraq (video 2016) Façade (2017), detail, broken marble and synthetic stones can be
stepped over by visitors
Urbs sacra exhibition view, Mains d’oeuvres, Urbs sacra exhibition view, Mains d’oeuvres,
Paris, September 2017 Paris, September 2017At this distance, I can see that if your criteria render results that do not match up with your intentions, then you re‑examine your criteria. Clive Phillpot
bi-
bi- is a tentative artist residency. residency. No predetermined
aim is needed, things happen.
bi- is not a project, it is a collection
of discussions, gestures, thoughts and The open call was spread on the
deeds. Every formulated idea has net. We received more applications
a closure and at the same time is a than expected, highlighting a need
forecast and a hope for the future. and the relevance of this approach.
We had to make a selection on
bi- is collective, as it harbours our own: sometimes based on
many individuals. It is a temporary artistic proximity, sometimes on
group whose number is neither more chancy criteria. At the end,
fixed, limited nor relevant. we realised that the best candidate
We hope it is expanding. was any-one willing to join
A first open call has been the strangers with fuzzy expectations.
opportunity to design our ideal of bi- gathered 15 people from
an artist residency. We established various backgrounds. Some did
that a group of artists meeting in work, others didn’t, but everyone
a given place for a given period discussed matters that were
of time suffice to make an artist important to them, everyonetaught something to someone, we all discovered things together. Most importantly, almost every participant offered a new place to gather for a future residency. The residency should then go on, hosted in various locations where we could welcome new people. nomad artist residencies founded with Jérôme de Vienne Térénez 18th-27th May 2018 Milo 8th-15th June 2018 Palermo 16th-18th June 2018 Milo 19th-24th June 2018 persons involved/paid: 16/0 bi-residenci.es
bi-
appeared, at some point,
in the andéa (French art school association) summer congress in Rennes, in a
round-table about the future of art schools;
for a water battle organized during Manifesta12 opening week-end;
on the internet where the open calls remain online;
and in many conversations.
These people
Romaric Hardy, Ewa Sadowska, Stefan Klein (remote participation), Huyi Ines Rmi,
Camille Varenne, Enrico Floriddia, Julien van Anholt, Paloma Sanchez Palencia
(telepathic involvement), Enrique Roura Perez, Maël des Ménards, Dorian Batycka,
Jérôme de Vienne, ( هاين ساميHani Sami), Martyna Pawlak, Iannis Japiot, Matthew
Rosen, Louise Mercadier,
were in
Térénez from the 18th to the 27th of May 2018;
Milo from the 8th to the 15th of June 2018;
Palermo from the 16th to the 18th of June 2018;
Milo from the 19th to the 24th of June 2018
, they can do
photography, design, set construction, swimming, painting, journalism, camping,
poetry, cooking, music, publishing, architecture, film-making, playwriting,
animation, legal advise, acting, academic research, sculpture and ceramics, fishing,
hitchhiking, directing
, they speak
polish, english, french, italian, dioula, spanish, norwegian, korean or arabic
and they offered to host the residency in
Brioude, Cairo, Térénez, Mexico df, Opole, Bobo-Dioulasso, Ανάφη (Anafi), Milo,
Trondheim and Cherbourg.Knowledge brings no more closures than openings. Trinh T. Minh-Ha
bildungsroman
Eduard Glaser lived all his life as and Vienna, his journey by foot to
a stranger. Born in to-day Czech Paris, his troubled time in Tunis
Republic from a Jewish family, and Alexandria before he reached
he spent his life wandering. his craved destination, Yemen. The
Glaser was an astronomer, an so-called Arabia Felix (lat. “Happy
epigraphist, an archaeologist Arabia”) has been the place where
and an expert of Judeo-Arabic Eduard Glaser finally stopped
culture in southern Arabia. his quest. Just to start digging.
Assuming the building method of produced by Kulturkontakt Austria
the spolia, Bildungsroman proposes in collaboration with philomena+ art
& architecture platform, Kunsthalle
a biography made of found Exnergasse with the support of
documents, supposed dreams, liminal the ÖAW Austrian Acacademy of
Sciences
texts and pop music videos that
unfold along a rather tortuous line. bookwork
sculptural objects
Sometimes it becomes a hagiography series of lecture-performances
of a sun worshipper. Bildungsroman
persons involved/paid: 15/12
traces the first part of Glaser’s life
throughout his studies in Prague 2018-ongoing
bildungsroman, bookwork, browse the draftEt in arcadia ego (Third version), glass, photographic print, BSD panel, clamps, isolating foam, 2018.
Sheeba meets Salomon ‘Abd-Shems booklet, laser prints, isolating foam, wood, plywood, 2018. armchair, laser print, 2018.
Is there a difference? (screenshot) booklet, BSD panel, glass, blanket, laser print, 2018.
How to become oriented Masters of the eclipse, Queen of Saba a.k.a. βασίλισσα του νότου lecture performance, Kunsthalle Exnergasse, Vienna, February 2019. lecture performances, philomena+, Vienna, February 2019.
in nome della scandalosa
forza rivoluzionaria del
passato
“In the name of the scandalous Also Eduard Glaser was fascinated by
revolutionary strength of the past” Yemen. His gaze is utterly different
is the last sentence of the short from Pasolini’s one: he is deeply
film-plea Le mura di Sana’a (The aware of being a stranger and yet he
walls of Sana’a) by Pier Paolo does anything to blend in. He was a
Pasolini. It is a passionate, poetic vanishing and paradoxical person.
film strongly imbued in orientalism
and exoticism. It is enraging to I never realised how much to-
notice that even such a bright mind day Yemen, Ethiopia and Eritrea
wasn’t able to dodge almost racist had a common remote past and
points of view and a patronising culture. As much as any other
approach to the Yemeni people. sea – be it of the North, Black,
Middle, White or Red – it is a
Still, this sentence has a certain connection rather than a barrier.
strength and beauty, it comes
vehemently from the past and When a month ago I found
I cannot ignore it, I want to myself in Massawa, on the shores
recycle and reuse it, shift it. in front of al-Hodeida, I saw the
bridge: Massawa, beautiful and
proud of her scars from the 90s,was watching al-Hodeida being sentence that looks quite wrong.
now constantly raped. I saw A sentence that looks quite right.
PPP between me and Eduard.
in situ installation made of books
Shortly after, I landed at the Italian from the Italian colonial period
‘exiled’ from the IIC library, ÖAW
Cultural Institute in Vienna. While documents from the Glaser collec-
browsing among the “exiled” tion and personal items
books I found traces of another Italienisches Kulturinstitut Wien,
– damned – bridge between Italy March 2019
and the Horn of Africa. Books
are strange. People working with
them are often considered up in
the air, not practical. Yet books
weight. Books cut. Books are fragile.
Books squash. Books liberate.
Bildungsroman is a reflection on
how the European education biased
Eduard Glaser’s mind: what we do
consider strong fundamentals –
of which we never doubt – have
been built in a certain historical
period, with specific blind spots
and plenty of prejudices. Here the
celebrated encyclopedias published
in the 30s of last century literally
constitute the basis on which my
works – minimal interventions and
banal objects – rest. It is like the
famous missing leg of the sofa.
The selection of exhibited
documents, the underlining, build
a series of links between the
personalities I just evoked, links
that are free and prone to your own
reading. The whole is enveloped by
a refrain: a sentence that inhabits
me since a couple of months, aDo not ask the foreigner his place of birth but the place she is going (correct pedagogi- In difesa della libertà, reversible installation made of books and objects found at the Ita- cal message), the first thing you would see when entering the Italian consulate in Vienna, lienisches Kulturinsitut in Vienna, 2019 writing on chalkboard, 2019
The ‘correct pedagogical message’ was reiterated in Italian, German and English varia- Pacifismo e storia, reversible installation made of books and objects found at the tions, each translation introduced a different gender ambiguity, 2019 Italienisches Kulturinsitut in Vienna, 2019
Underlined in yellow an Italian army propaganda book explaining the technical In situ installation made of books from the Italian colonial period ‘exiled’ from the IIC advances in the use of chemical weapons (used in Ethiopia); on top ‘Sunset of a library, ÖAW documents from the Glaser collection and personal items, 2019 myth. The idea of «progress» between 1800s and 1900s’
Do not ask the foreigner his place of birth but the place she is going (correct
pedagogical message), in the mirror the Italian and European flags waving outside the
Italian consulate in Vienna, writing on chalkboard, 2019Born in Sicily in 1984. Curriculum vitæ
Studied Architecture, Modern Literature and
Art History at the Università degli Studi di
Education
Catania, Italy. In 2012 I obtained a Photography Decolonizing Architecture Tutor Masters of the eclipse
Royal Institute of Arts, École Nationale Supérieure Kunsthalle Exnergasse,
Master of Arts at the École Nationale Supérieure Stockholm, 2018-2019 Louis-Lumière, Paris Vienna, february 2019
november 2017 - december
Louis-Lumière (énsll) in Paris, France. Contemporary art
publishing
2017 How to become oriented
philomena+, Vienna, february
CIPAC and Palais de Tokyo, Teacher assistant 2019
Between 2012 and 2016, Photography Paris, november 2015 European School for Visual
Arts EESI, Poitiers Museo coloniale
Teacher Assistant at the European School for Digital publishing september 2012 - september
2016
Royal Institute of Arts,
Pyramyd, Paris, july 2014 Stockholm, january 2019
Visual Arts (éesi) in Poitiers, France. In 2017 Master of Arts - Intern Immigrated pieces
Photography Teacher at Université Paris VIII. Photography
École Nationale Supérieure
Forma Fondazione per la
fotografia, Milan
Archives nationales, Paris,
february 2017
Louis-Lumière, Paris, 2009- july 2011
2012
In 2014 I took part to the Zines of the zone Immigrated pieces
MWW Wrocław
Bachelor of Arts - Modern Languages Contemporary Museum,
nomad library tour throughout the European literature Italian Wrocław, november 2016
Università degli Studi di mother tongue
continent. Participant of the Trauma&Revival Catania, Catania, 2004-2008
Workshops organisés
English
(Bozar, Pushkin and kim?) and ENGAGE Bachelor of Arts -
Architecture
full professional fluency Laufmappe, Royal Institute
of Arts, Stockholm, may 2019
(Viafarini) programmes in 2017. In 2018, Università degli Studi di
Catania, Catania, 2003-2004
French
full professional fluency Mapy - create your own
he has been part of Decolonizing Architecture map, MWW Wrocław
Contemporary Museum,
Work experience Lectures, performances Wrocław, november 2016
at the Institute of Arts in Stockholm. Jury member ba
Bildungsroman
École Supérieure d’Art et PEAC - édition en temps
ÖAW Austrian Academy of
de Design de Valenciennes, réel, une collaboration
Founder of bi- residencies Valenciennes
Science, Vienna, june 2019
Rurart, la Fanzinothèque et
june 2019 EESI, Poitiers, janvier 2016
with Jérôme de Vienne. In nome della scandalosa
forza rivoluzionaria del
Vieux, EESI, Poitiers,
Teacher / Lecturer
passato
Photography and novembre 2014
I am an artist, a researcher, a photographer, Contemporary Art MA,
Istituto Italiano di Cultura,
Vienna, march 2019
Université Paris VIII, Paris CTRL+C, EESI, Poitiers,
a scholar, a publisher, an archaeologist. But october 2017-june 2018
Queen of Saba
novembre 2013
philomena+, Vienna, february
above all this, I am a permanent stranger. 2019Solo exhibitions Publications
In nome della scandalosa Les colosses aux mains Tout doit disparaître Bildungsroman La ruine de guerre dans la ENGAGE
forza rivoluzionaria del d’argile Cinémathèque Française, artist book, upcoming photographie documentaire Viafarini, Milan, october
passato Ateliers EESI, Poitiers, Paris, january 2013 academic thesis, ENS Louis- 2017
Italienisches Kulturinstitut november 2017 Lumière, Paris, june 2012
What does it mean “to
Wien, Vienna, march 2019 Carta bianca decolonize”? EuropeMag
Urbs sacra collective exhibition ‘17’ Documenta14 side event,
Royal Institute of Arts, Collective projects
Archaeological horizon Mains d’Œuvres, Paris, Espace Confluences, Paris, Stockholm, may 2019 Athens, 2017
Chapter I: an army of september 2017 december 2011
bi-
expert diggers History is a teacher we tentative artist residency Zines of the Zone
Galerie Louise Michel, Table&Review ignore while scrolling Touring library of self-
Residencies founded with Jérôme de
Poitiers, september 2017 kim?, Riga, july 2017 instagram published books, tour 2014
Vienne
Achterhaus, Hamburg, april- TRACES Journal,
From horizon to nadir Immigrated pieces june 2020 Milan, Berlin, december 2017 chapter I Térénéz, may 2018
Médiathèque F. Mitterand, Fotografia Europea Festival, Collections
Poitiers, december 2016 Reggio Emilia, may 2017 chapter II Milo, june 2018
philomena+ Archaeological horizon
Manifesta12, Palermo, june Salon für Kunstbuch, Vienna,
Vienna, Austria, february Chapter I: an army of
Votre idéal 2018 Austria.
2019 expert diggers
Collective exhibitions Encounters of the Young exhibition catalogue, Poitiers,
International Photography, séminaire andéa, Rennes, Italian Ministry of Culture,
and screenings Kunsthalle Exnergasse september 2017 september 2018
Niort, april 2016 In-Cul.Tu.Re. Collection,
Vienna Austria, february-
Votre idéal talk A Natural Oasis?, Rome, Italy
march 2019 A-i-R Wro 2016
25 years of The Encounters Shake hands Nottingham Contemporary,
catalogue, Wrocław European
of Young International Espace Michelet, Niort, Nottingham, february 2019 CDLA Centre for Artist
A-i-R Austria Capital of Culture Wrocław,
Photography, Niort, april march 2016 Books, Saint-Yrieix-La-
KulturKontakt Austria, july- february 2017 sar (Society for Artistic
2019 Perche, France
september 2018 Research) 10th International
Senso della visita Mémento
Republished: questioning Conference on Artistic
with Jérôme de Vienne artist book, self-published, CACP Villa Pérochon, Niort,
boundaries Trauma&Revival Research, Zurich, march 2019
Galerie Art Cella, Poitiers, Paris, december 2016 France
Das weisse haus, Vienna, Pushkin Museum, Moscow,
june 2015 Common-Inn, Het Nieuwe
february 2019 april 2017
Instituut, Rotterdam, april Franklin Furnace, New York,
kim?, Riga, july 2017 Immigrated pieces
Da qui non si vede il mare 2019 United States of America
Bunkier Sztuki, Crakow, artist book, Wrocław
Carrefour des possibles Castello de Gualteriis, Lecce, Campo Base, Turin, april 2019
october 2017 European Capital of Culture,
philomena+, Parallel Vienna, august 2014 MWW Wrocław
november 2016 Salon de Montrouge, Paris,
Vienna, september 2018 Contemporary Museum,
Wrocław European Capital april 2019
Carta bianca of Culture Carte Blanche Wrocław, Poland
At intervals The Black Box, Mobile chapter III Térénéz, july
october-november 2016 exhibition catalogue, Villa
screening at PLUFF Pepe Museum of Modern Art, 2019
Pérochon, Niort, june 2016
Litorale Urban Film Festival, Helsinki, may 2014
Biennale Urbana, Venice, The Encounters of Young chapter IV Cézens, august
september 2018 International Photography Book now 2019
Carta bianca Villa Pérochon, april 2016 artist book, self-published,
EXP12 gallery, Berlin, april Poitiers, february 2016 chapter V Milo, september
Transcultural emancipation 2014 2019
public space intervention,
FLUC, Vienna, august 2018 Da qui non si vede il mare
Carta bianca exhibition catalogue, In-Cul. Radiopersonne
Siva Galerija, Zagreb, Tu.Re., Lecce, january 2015 by Alexandre Perigot, Atelier
Gotong Royong. Things we february 2014 de Création Radiophonique,
do together France Culture Radio, Paris,
Ujazdowski Castle Centre for Shake hands
Carta bianca october 2018
Contemporary Art, Warsaw, artist book, self-published,
Nuovo Cinema Palazzo, Poitiers, june 2014
january 2018 Rome, february 2014enrico
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