LUCIA PIZZINATOPortfolio

Lucia Pizzinato 2015. All rights reserved

ABOUT

Lucia Pizzinato (Sacile, PN,1988), graduated in Visual Arts at the IUAV University in Venice, where she followed the courses of his-tory of photography by Antonello Frongia and the Photographer Marco Zanta.In 2009 she took part in the collective exhibition Il gesto indicatore curated by Marco Zanta.In 2011 she earned a degree with a thesis about the French pho-tographer Eugene Atget titled Mirrors and reflections: The Eugne Atgets shop window, curated by Antonello Frongia. In 2013 she specializes in Photography and Visual Design at FORMA Foundation for Photography in collaboration with NABA (Nuova Accademia di Belle Arti), in Milan. During the year she took part in the publication of Nothing to see here #5 curated by the Italian artist Francesco Jodice and the collective exhibition Trompe l oeil, I very inganni della fotografia curated by Francesco Zanot and Luca Andreoni. In August 2013 she was selected for the project Artist in Residence 2013 committed by Mountain Photo Festival and under the direction of Luca Andreoni. In the fall 2013 she was an intern at Broomberg and Chanarin studio Chopped Liver Press - in London.She currently works at the 14th Architecture Biennale in Ven-ice for the Danish pavilion and she is finalist at 16th edition of Nascimben Prize and finalist at the 3rd edition of the Francesco Fabbri Prize for Contemporary Art in the section contemporary photography.

She focalizes her interest in sociology and urban space. Her research focuses on relationship among people and environ-ment, identity and the social value of urbanism. In parallel she is very interested in activities of research, editorial and curatorial projects about photography.

HERBARIUM

The project Herbarium developed during the sixth edition of Open your Mountains, an artist residency sponsored by the Mountain Photo Festival of Aosta. The concept concerns the National Park of Gran Paradiso and in particular the regulatory process that occur between the balance of nature and the human action affecting this territory.The following photographic series offers a history of vegetation, a classification both scientific and biological that possesses a tipical visual idea of a collection present in a herbarium but also focuses on a different way through which the green orders social and economic relations. The vegetation became a toll for the planification and the management of the territory related to the new needs of life and environment.

Details Title: HerbariumAuthor: Lucia Pizzinato Year: 2013-201430 digital photos, Fine Art paper Hahnemhle, inkjet print

Pulsatilla alpina (L.) Delarbre s.l. (frutto) Phleum rhaeticum (Humphries) Rauschert

Gentiana punctata L. Cirsium spinosissimum (L.) Scop.

Epilobium fleischeri Hochst. (frutti) Carduus defloratus L. s.l

Leontodon hispidus L. s.l. Achillea millefolium aggr.

Artemisia absinthium L. Arnica montana L.

IN THE DARK OF THE FOREST

In his books The Morphology of Fairy Tales and Historical Roots of Fairy Tales, the Russian anthropologist Vladimir Propp identifies the steady elements and the fixed rules that constitute the magic tales; functions (actions) and spheres of action (characters).Among the seven spheres of action highlighted by Propp, the helper is the main character, which involves the magic object. Considered as the centerpiece of the narrative, the anthropologist divided the magic objects in four categories: tools, objects that evoke the spirits, objects used to light the fire, and the wand.The project In the Dark of the Forest considers Propps scheme and translates his thoughts in the contemporary time.Nowadays, magic items are those devices that allow us to decipher the information in a world made of abstract data. Compact and monolithic objects hide their internal structure to us and give us the illusion of simplifying our lives. When the logical thought is no longer able to understand the reality, it remains only to recover the ways in which the human being tries to understand things since prehistoric times: the magical thinking.

Details Title: In the dark of the forestAuthor: Lucia PizzinatoYear: 20132,10 m x 1,118 m; 25 sheets A4, paper 160gr, Archive images, laser print, notebooks

THREE MINUTES AND HALF

Gas station are the places of the speed. Spaces characterized by a coming and going of people trying to pause there in the shortest possible time, driven by the desire to consume and accelerate their daily operations. This tension is felt towards the acceleration of our lives in the modern world and is representative of these spaces.In this project, the speed is the urban land-scape, a non lieu built as a container of the processes of accelerated consumption and management of daily operations of each individual, a metaphysical space observed and documented as a condition and manner of our living.In this no place, people try to pause there in the shortest time possible, on three and a half minutes is the average time of their stop. Despite the brevity of the time spent in the building, however, is a process of transformation in which the individual becomes abstraction, it loses its connotation becoming anonymous entity.The narrative structure of the project is a sequence of images in which the point of view is the same, preferring the frontal point of view which gives the image a natural and objective vision that highlights the architectural structure that is representative of this place and the transformation process which the individual is subjected at the entrance of the space.Each photograph is accompanied by annotations complementary to the image, which shows information of the stop times of

the people.

Details Title: Three minutes and halfAuthor: Lucia Pizzinato Year: 201212 digital photos 12,7 x 19 cm, Fine Art paper Hahnemhle, inkjet print, 12 sheets 250 gr

VAJONT

Vajont is the name of the river that flows in the valley between the mountain villages of Erto and Casso, where a dam called The Vajont Dam was built. On the evening of 9 October 1963, following the fall of a landslide from the above Monte Toc into the basin, the artificial hydroelectric reservoir brought a massive flooding and destruction to the neighboring villages in the Piave valley. Eight years after this catastrophe, a town with the same name was built 50 km away from the original place, in a decentralized area, for accommodating the survivors. The disaster caused a irreversible modification in the territory: the identity of the place, usually subject to a progressive changes and transformations, was brutally erased leaving the space for a new area with an impersonal urban structure: the New Vajont. Nowadays, a grid of roads, an absence of commercial areas, and a repetitive pattern of houses characterize this area.This project is about New Vajont a significant place that is still undergoing a constant transformation.

Details Title: V ajontAuthor: Lucia PizzinatoYear: 2011-201216 digiatal photos, 20x30 cm, Fine Art stampa inkjet, paper Canson Baryta

DUMMY

The project Dummy is based on the book of Carl Gustave Jung Flying Saucers: A Modern Myth of Things Seen in the Skies. In particular the archetypes figure of heremith, which Jung talks about in the book, inspired this project.Dummy; people standing in the middle of a crowd, isolated and unaware of the present moment: They walk along the streets, absorbed into thoughts while all around them is passing. People, who appears waiting for something that will never come. Un-awares, they raise their heads toward the sky. All pictures were taken in the same place, Piazza Duomo in Milan.

Details Title: DummyAuthor: Lucia PizzinatoYear: 201318 photos, 30x40 cm, Fine Art stampa inkjet, paper Canson Baryta

TRACES

Abandoned structures reveal a continuous human presence by their absence. A constant presence through objects that people leave as a trace, as a sign of their momentary path that persist over time: In this non- lieu, people do not come into direct con-tact with each other through their physical presence but by the traces they leave, tracks that indirectly become a manifestation of their presence. In this way, the human presence is evoked in the details trapped in the spaces, in the objects that provide a private viewing on the intimate life of people. The objects do not represent but present, they are the traces of a lifes fragment, the indications of an inner journey.Made of a narrative sequence of objects, the project starts from a description of the place, not through the people and the ar-chitecture, but through the traces left by the people. The object becomes a total presence, a tangible sign of time, which is the carrier of disease and transformation of the place.

Details Title: TracesAuthor: Lucia PizzinatoYear: 2012video in loop