Giulia Cenci (b. 1988, Cortona, Italy,lives and work in Amsterdam)graduated at the Academy of Fine Art in Bologna (BA) and at the St.Joost Academy of DenBosch (MA) andattendedthe residency program of De Ateliersin Amsterdam. 

In her process of observation Giulia Cenci selects irrelevant details of industrial objects or parts of our environment, capable of expressing transitory qualities, promises, and failures of materials. Most of her works investigate the possible steps a thing is destined to assume, forming sculptures and installations that present elements of duplicity: belonging to forms and designs known and repeated in our present day along with the evident manual workmanship that scourged them, modeled them, stripped them to the bone or petrified them. Both these characteristics struggle to emerge inside the resulting single sculptures, which become incomplete, imperfect elements soiled from any point of view. These volumes are the consequences of an exasperation of sculptural actions (manual and mechanical) and of the gestures that are a constant in our imaginary: they are technique and technology, repetition, resemblance, nature, and the idea of reproduction... they are made of clay, soil, yet stricken by a liquid synthetic magma that coversand make them similar on the surface, a skin that carries inside it obsolete fillers.

Selected solo and group shows include:(solo) ground-ground, SpazioA, Pistoia (IT); a través, Carreras Mugica (Hall), Bilbao (ES); Deep State, Offspring, De Ateliers, curated by Lara Almarcegui and Martijn Hendriks, Amsterdam (NL); Mai, Tile projectspace, Milan (IT); (group) Hybrids, curated by Chris Driessen & David Jablonowski, Lustwarande, Platform for Contemporary Sculpture, park De Oude Warande, Tilburg (NL); That’s it!, curated by Lorenzo Balbi, MAMbo, Bologna (IT); Deposito d’Arte Italiana Presente, curated by Ilaria Bonacossa and Vittoria Martini, Artissima 2017, Turin (IT); Bearable Lightness of Being, GRIMM, Amsterdam (NL); Concretizing the Uninhabitable, Club Gamec Prize, curated by Domenico De Chirico, Magus, Bergamo (IT); Sessile, curated by Josh Minkus, Clifford Gallery, Colgate University, Hamilton, NY (USA); Disappointement Island, curated by Galeria Stereo, Griffin Art Space, Warsaw (PL); The Lasting. L’intervallo e la durata, curated by Saretto Cincinelli, National Gallery of Modern Art, Rome (IT); Le leggi dell’ospitalità, curated by Antonio Grulli, P420 Gallery, Bologna (IT).


Starting from a selectionof mechanical elements and details of car interiors such as armrests, the model proposed for the BFSP results ina flap of matter, stuck ontoa linear and sharp metal barwhich crossesan (ideal) space.

The sculpture is the result of an assemblage of different materials and objects, inwhichthe variety of surfaces and the contrasts betweenformless matters (such asclay and foam) and repeatedcasts and modules (such asthe ergonomic details of car interiors) definean impure and soiled sculpture, in which the sources and the resources that constitute the work are treated unconditioned by their nature and value.

In this portion of matter and forms it is possible to recognize details ofknownsurfaces and things: fragments of fake animal skin that come off its own interiors as thin layers, the artificial foam ligaments of the armrests, agglomerate to resume and repeat each other; fragments of modeled clay or shiny parts of high detailed rubber components.

This diversity of surfaces and materials will be reconfirmed in the final sculpture: the project proposes to leave some of the rubber details of the sculpture out of the castingprocess, so that, as withthe metal bars, the final sculpture will contain plastic and rubber elements.


Copyright ©2019 Fonderia Artistica Battaglia
All Rights Reserved

serra logo piedipagina.jpg