LUDOVICA CARBOTTA

Transcript

LUDOVICA CARBOTTA

LUDOVICA CARBOTTA
portfolio / selected works 2015-2007
My practice focuses on the physical exploration of the
urban space and on how individuals establish
connections with the environment they inhabit.
Hovering on the boundaries between reality and
fiction, recent works combine installations, texts and
performances reflecting around the notion of site,
identity
and
participation.
Specifically
I
am
exploring what I call fictional site specificity, a form of
site-oriented practice that considers imaginary places or
embodies real places with fictional contexts, recovering the
role of imagination as a value to construct our knowledge.
With imagination we can actually create a place to
belong, but this will be inevitably affected by the
reality of the language that constitutes it as an object. In
the last years, starting from an analysis of the concept of
ekphrasis, I have been reflecting on the meaning of
the notions of translation and representation and on its
practical potential. The literary tradition of ekphrasis is
a verbal description of a work of Visual art: a painting, a
sculpture or a work of architecture. One could define it
as a transition: the physical and concrete material-shape
returns to be imaginative material, thanks to a process of
transposition
into
words.
In
my
work
I
proceed
the
other
way
around,
interpreting
written descriptions to create physical forms.
The original is unfaithful to the translation
Influenced by the literary genre of ekphrasis, in the last two
years I have focused my research on the importance of reproduction and
representation in the History of Art and on their practical application\potential.
Therefore, since every translation is transformative, I use the
ekphrasis to experience a place or an object as a novelty\epiphany.
The original is unfaithful to the translation is an installation composed by
architectural elements that reproduce the rooms in which I have lived in the last
years as I remember them. The project analyses domestic space in relation to time
and imagination.
The rooms are all diverse and independent within each other. They have different
size; they are assembled using dissimilar materials; they contain different objects
– both imaginary and real. In some of the spaces, the audience can step in – tough
none of them reach a 1:1 scale – and can be installed separately through space.
Reflecting on the meaning of owning, belonging and time I decided to activate the
installation with three different audio recording: a phone number with a voicemail
recorded by an estate agent who is promoting to customers a class mansion, a cctv
camera monitor with audio interception recording a dialogue of two squatters
that are considering to enter the house and an audio guided tour performed by
a guide of an historical house museum. Finally the audio connects the physical
space of the rooms with the passage of time: he reveals three different imaginative
scenarios concerning with the past use of the architecture (the art historian), the
present utilize of it (the constant actual life condition of the squatter) and a future
possible picture (the estate agent that prospects an upcoming life inside that space).
The original is unfaithful to the translation, 2015
mixed media, variable dimensions
Thanks to Formech, Frances Sands, Saul Williams, Pau Garcia, Francesca Colussi
view of the installation at the Degree Show MFA Goldsmiths 2015
... a phone number with a voicemail recorded by an estate agent who is
promoting to customers a class mansion...
AUDIO: https://soundcloud.com/ludovica-5/voltaic-arc-doubt/s-FNcOT
...a cctv camera monitor with audio interception recording a dialogue of two
squatters that are considering to enter the house...
AUDIO: https://soundcloud.com/ludovica-5/squatters/s-5eOi4
VIDEO and AUDIO: https://vimeo.com/135814701
(password: squatters)
... an audio guided tour performed by a guide of
an historical house museum...
AUDIO: https://soundcloud.com/ludovica-5/divo-laccata-turbo/s-nQ7Fi
detail, view of the installation at the
Degree Show MFA Goldsmiths 2015
detail, view of the installation at the Degree Show MFA Goldsmiths 2015
Plenum
The work Plenum is an architectural model, made out of concrete, that
show a future archaeology. It is based on the same plan of the
Synagogue of Ancient Ostia, where the work was displayed. A guided
tour was performed along the sculpture; the guide delivered a text that
provided explanations and hypotheses of the different functions of the
architectural structure. It could be a shelter or a gathering place for
people that lived or will live there. During the process of the work, firstly,
I consulted different texts, mainly reports from archaeological
excavations, and I worked on the material that is missing and that is the
main object of historical hypothesis.
The process of the work, apparently could be a reproduction or a
reconstruction of what was missing but, actually this process didn’t
follow any philological reasons, but constitutes an over-interpretation of
the sources.
Looking at the archaeological descriptions I thought specifically to the
literary tradition of ekphrasis. I wonder if these can be considered as
reproductions or translations of the building itself, since it is a
transition from one language to another. I think the most interesting
aspect of ekphrasis is in its manifestation as a method of visual and
linguistic appropriation of a work or an environment. It could be defined
as a phase transition: the physical material of the concrete form returns
to be imaginative material. Proceeding in this cycle of phase transitions:
I realized a 3D form starting from written materials, then when the
sculpture was finished, then I described it with a text, in order to suggest
and build a fictional narration around this object.
Plenum, 2015
concrete,
80cmX60cmX40cm
Link english guided tour (voice Emily Jade Barr):
https://soundcloud.com/ludovica-5/plenum-audio/s-mckvT
Link Italian guided tour (voice Rachele Palma):
https://soundcloud.com/ludovica-5/guidedtourita/s-Fsgbg
view at the exhibition Arte in Memoria 8,
Sinagoga di Ostia Antica, Roma
view at the exhibition Arte in Memoria 8, guided tour
details, view at the exhibition Arte in Memoria 8,
Script for the performance of guided tour Plenum
Anyone familiar with the ruins of Ancient Ostia, in Rome, knows the dramatic evidence, now that the plaster crumbled reported bare wall designs, they denounce the
fluctuations of a city perhaps disordered in its development, but always ready to renew with exuberant vitality.
Plenum, found by chance in 3161 while exploring aerial of the Wannasee drone, is an eloquent testimony of the need, by some inhabitants of nearby Rome, to find a place
to build, live and in a sense possess.
Located near the ancient coastline, along the way Severiana, the first construction of this building is the second half of the first century BC, had to be modified and some
magnification during the next two centuries, only to arrive at a more extensive renovation between the late III century and early IV century. The most important
reconstruction and change, of which we can see a scale model made of concrete, are from the second half of the XXII century.
We know for sure that, since the eighteenth century and until the end of the twenty-first century, when there were Institutions, architecture dating back to the Empire were
preserved and cared by the Soprintendenza. In the coming years, just after the decade between 2052 and 2062, a period in which began the virtualization of Institutions
and, immediately after the European digital attack, all Institutions and state organizations started to disappear, as the same idea of the state. The rapid obsolescence of
control structures had completely altered the global scenario. Finally the number of humans on the planet had increased improbably till there wasn’t survival guaranty for
all of them.
In those last years, the liveability of the city of Rome was unsustainable because of overcrowding due to the constant migration flows. For these reasons, some groups of
people decided to leave the city.
Among them, a large group of individuals, which is thought to be made up mostly of young people, and we mean the first youth, they travelled on foot from Rome to Ostia.
At that time the average age was 78 years, and only later began to use the method of cellular reconditioning for a second youth. The group of migrants, we assume they
were in the age range of 30 to 40 years, most likely accompanied by children.
Some sources found would suggest that this group constituted a moderate phalanx of the Antirestoration movement, but unfortunately, because of the disappearance of the
Registry office, it is difficult to verify this with certainty.
On the way from Rome to Ostia, all members of the group have collected various useful items for the reconstruction. Probably it was the materials with which they were
built shopping malls in the early 2000s, including certainly a large amount of plastic materials, along with plasterboard and aluminium.
It is not clear if this place was used exclusively for residential purposes, or only as a gathering place for several families. We know for sure that the group that built this
shelter had recovered the ancient technique of wood fired oven used to bake bread, altering the original structure with a long chimney, you can see in the model.
Their giving the oven, that already exists, a long chimney.
The structure that you see, on the southeast, was most likely a water tank.
Its irregular shape was given by plastic material with which it was built, probably the same one used for the roof cover of their malls. This technique was called tense
structure. The peculiarity, in fact, was the elasticity of this material: the tank could expand dramatically gathering large quantities of water and then flatten out completely
on solid walls in the absence of liquids. The tank collected water through the air humidity, so it had absorption qualities incoming but waterproof outgoing.
One of the most ancient elements that we find in the original form of the building is the Holy Ark in the centre of the plan: in this place where probably they preserved the
Scripture, and later from the start of XXII century, we assume 3D corrupt files were housed. The latter were collecting data and images of the monuments and architecture
of the great cities: it was where important documents were saved (in part) by the European digital attack.
Though there is a preliminary presentation of data on the discovery of the monument, unfortunately there are still missing studies that reinforce the various aspects
associated with the presence of other community residents in the archaeological site.
However, in conclusion, the community Plenum should not be framed as an isolated entity and indeed has to be put in relation, not only with the varied surrounding
environment, but also to other communities such as the Rome & European cities due to their closeness.
Got the void / Fix kit
The quarries are a gold mine for some, for others the ultimate expression of the devastation on nature made by
human kind; for others the sublime challenge between
human imagination and the supernatural. In my opinion
it is a large sculpture in the open air. Walk physically
across this landscape becomes an opportunity to
explore the relationship between solid and void into
matter through the process of cast and imprint. Looking
at the Monte Serrone, apparently entire when viewed
from the centre of Carrara, but dug on the other sides, I
worked at a scale model of the negative missing part, the
one excavated from the extraction, creating two
sculptures theoretically matching walls facing southeast
and northeast. In the photographic project Fix Kit I
worked on the imaginary reconstruction of the surface
of the mountains. I choose some little stones that I could
hold in my hands so I matched these along the skyline
of the mountains, in order to fix the natural profile of the
landscape.
Got the void, 2014
sculpture, white marble
80x60x60 cm
80x60x60 cm
Fix kit, 2014
view at the exhibition
Panta Rei, tutto si trasforma, Museo Civico del Marmo, Carrara, Italy
Database Residency program Photo courtesy Akio Takemoto
photo series
30x45 cm each
detail, view at the exhibition
Database Residency program
Fix kit, 30 cm x 45 cm
inkjet print on cotton paper, colors
edition of 3+1
edition of 3+1
edition of 3+1
I swear I saw this
This work was made on the occasion of the exhibition DIVERSI MURI. UN OMAGGIO A
N.O.F.4 - Oreste Fernando Nannetti, curated by Egija Inzule and Cesare Pietroiusti, at the
Swiss Institute of Rome and in the public space of Trastevere, Rome.
Looking at a gate of a garage in Rome, I wrote a text that became the script for a guided
tour.
The story was inspired by the elements that I could see from outside and from a text of art
critique describing an work by the artist Mike Nelson.
My writing describes what is inside the courtyard of the garage, but none of the viewers
can actually visit the inside.
This project was conceived during a workshop at the Swiss Institute, in Rome, and it is part
of my research about the meaning of ekphrasis.
Describe a place that is actually not visible became for me, the possibility of describing an
artwork in form of a short story, without this being present.
I swear I saw this
guided tour eng/ita
Link english guided tour (voice Nikolas Zanetti):
https://soundcloud.com/ludovica-5/ludovica-carbotta-i-swear-i-saw-this_guided-tourmp3/s-tIOiG
view of the guided tour,
Viale delle Mura Portuensi, Roma
Photo courtesy : Istituto Svizzero di Roma by OKNO Studio
Link italian guided tour (voice Francesco Maria Romani):
https://soundcloud.com/ludovica-5/giuro-di-averlo-visto-visita/s-zHVjU
location of the guided tour,
view of the guided tour,
Script for the performance of guided tour I swear I saw this
Good afternoon, my name is …… I’m a guide for the Magnetic Baptistery.
Today I would like to talk you about the history of the Baptistery. This place belongs, since the
day before yesterday, to a gang of bakers. The bakers gathered together in order to maintain
this place; they travelled a lot to find this situation; in fact, they were looking for place, with a
triangular plan, a place they could inhabit. They wanted it in order to make their experiments
on symmetry; they were in search of the perfect symmetry that, if repeated, would give form
to a equilateral triangle. That’s why they settled in this place.
As you can see, the courtyard has a triangular shape, so it’s perfect for them.
Oreste, one of the bakers, I guess he is the oldest one, once explained me how excited
they were when they finally found this place; however they encountered some difficulties, to
which they were not prepared: the volume of this triangle, in fact, expands and shrinks every
moment. This movement has left remains all over this area so now it’s very difficult to
recognize the original dimension of the triangle. In principle, the expansion of this triangle
could be measured by taking a standard ruler and measuring the distance between two distant
points, waiting a certain time, and then measuring the distance again to calculate the
movement; in practice, it doesn’t work so easily. Standard rulers are not easy to find on an
infinite time scale. A measurable expansion that would be visible is too great to be observable
even by multiple generations of humans. So the expansion of the triangle can be only
measured indirectly. The expansion of the triangle is caused by phenomena magnetism,
which, on the other hand, represent the main source of energy for all the activities that take
place in the Baptistery.
The structure inside the courtyard reveals a sort of hollow within, it is completely mirrored
and it is also filled with sand. Not only does this Baptistery try to contain mirror but it is also
mirroring itself. It’s built perfectly, symmetrically. Each detail has an exact opposite so the
entrance to the Baptistery accords itself symmetrically with the exit and it is as if you driven
a line through the piece would be an exact mirror image (1). In a sense you see the back of
a structure, the falsity of what you’re walking into, almost like you’ve come to the back of a
show when you shouldn’t have done. This however is a double bluff of sorts as it relaxes you
for the main feature, which is your passage through the curved corridor back to the same
space where everything is reversed. It looks kind of the same but you know it’s not, so there’s
an uncanniness, an unease about it (2).
As you can see there are several heat lamps that generate a yellow light, they are painted in
orange in order to alert visitors that it is dangerous to get too close to them. The light and the
heat that they produce is not really stable, it goes from very low charge to heavy and powerful
charges. To maintain a certain stability of such charge the ‘lamp oven’ needs to be fed with a
certain smell. In order to produce the needed smell the bakers use to bake under the light of
the lamps a lot of painting every day. Probably you are interested in the tradition of the
painting recipe. This has been the same for a very long time now, and it has belonged to the
gang of bakers forever. The Painting is, first of all, a ritual food and it serves to welcome
visitors. Depending on the degree of temperature and on the time of cooking, it could be used
as community food to be shared, or as a basic element for the initiation of young bakers.
In the Magnetic Baptistery is it almost impossible to determine the result of cooking a priori,
because of sudden changes in power that cause the lamps baking Paintings sometimes in a
solid form and sometimes in a liquid form. The latter is used for the initiation rituals but, since
it is unpredictable when it happens, it is really difficult to find this Baptistery open.
(1) Turner Prize 2007 podcast Tate Liverpool
(2) Mike Nelson Michele Robecchi Flash Art 262 October 08 LEVERAGE OF SPACE – Focus London
A motorway is a very strong wind
A motorway is a very strong wind is an on going project: a gathering of contributions by several
artists, critics, and researchers, to which I asked to intervene by providing their own description
of what they perceive as an ideal place for a community, based on experiential models, real or
imaginary.
Sometimes the descriptions collected relate to specific places, often regard its overall
architectural structure or a single element, a detail or simply its function. In some cases it is
however, a useful rule, or a linguistic system, a way of saying specific of the lexicon of a group
that can build new meanings within the daily life.
A motorway is a very strong wind translates these words into visual space, from a written form
into a physical space. The texts are the trace of an imaginary community; the sum of the
suggestions of individual personalities that become an instruction manual to take out the
configuration of an ideal, from writing to the three-dimensional. I imagined traces of an unknown
place, in an attempt to tune up these individual visions.
Contributions by: Alis/Filliol; Sally Alexander; Pau Ardid; Andrea Caretto/Raffaella Spagna;
Davide Cascio; Francesca Colussi; Hannah Conroy; Valerio Del Baglivo; Sara Enrico;
Luigi Fassi; Carlo Fossati; Francesco Garutti; Ilaria Gianni; Adelita Husni Bey; Invernomuto;
Mary Kelly; Janice Kerbel; Mark Lewis; Andrea Lissoni; Matteo Lucchetti; Sebastian Melo;
Rosario Montero; Laura Mulvey; Valerio Rocco Orlando; Serena Porrati; Theo Reeves Evison;
Caterina Riva; Marinella Senatore; Italo Zuffi.
image: Children of the Stones, IDV, 1976
* these sentences are taken from descriptions by different contributions
* la finestra che si affaccia sul cielo
the window that faces the sky
first outset
15 march 2014
view of A motorway is a very strong wind
at Careof,Milano, 2014.
Photo courtesy Alessandro Nassiri
* rinchiudersi per liberarsi
imprison themselves in order to free themselves
map, detail, A motorway is a very strong wind
* ....così fu ordinato che là non sarebbero state ricevute se
non donne belle, ben formate, e di buona natura e gli
uomini belli,
ben formati e di buona natura.
so .... it was ordered that there would not have been
received if
not beautiful women, well-formed, and good-natured and
good-looking men,
well-trained and good nature.
opening
25 march 2014
view of A motorway is a very strong wind at Careof,
Milano, 2014. Photo courtesy Alessandro Nassiri
* 7. Tables will be made of aged wood (uneven and worn with age) with bespoke
design for individual needs
I tavoli saranno realizzati in legno invecchiato (irregolare e
rovinato dall’età), disegnati su misura per le esigenze individuali
*DOS CCC
Interview with Summly and
DOS Cure Community Center founder
Intervista con il fondatore di Summly e
DOS Cure Community Center
http://www.youtube.com/watch?v=BGohIdCsdtE
* la finestra che si affaccia sul cielo
the window that faces the sky
* rinchiudersi per liberarsi
imprison themselves in order to free themselves
* forse la comunità sta
semplicemente interpretando
un brano musicale infinito
maybe the community is just
playing an infinite song
* la comunità ideale come
uno sciame
the ideal community as a
swarm
human flocking behavior
comportamento umano
dell’ammassarsi
* 5.No Internet Wednesdays.
6.Silent Thursdays.
5.No Internet Mercoledì.
6.Silenzio Giovedì.
* ....tutto è misurato, limitato e regolato per ore, fu decretato che colà non fosse
né orologio, né quadrante alcuno...
.... everything is measured, limited and regulated by hours, it was decreed that
there was neither watch nor any dial ...
* archivio per il baratto
archive of barter
* riempire tutto lo spazio, anche quello non visibile
fill all the space, even the one not visible
* archivio per il baratto
archive of barter
* ...L’imbarcazione non ha spigoli, non ha angoli. È
essenzialmente composta di curve, volute e anfratti. Non ha
motori, non ha vele in grado di sospingerla. Una sua parte
piana è ricoperta di uno spesso strato di terra...
studio / A motorway is a very strong wind
Killing floor II, blank, e/static,
Torino, May 2014
...The boat does not have sharp edges, has no corners. It is
essentially composed of curves, swirls and ravines. Has no
engine, no sails able to push it. Its flat part is covered with a
thick layer of earth...
Torino, May 2014
Torino, May 2014
Apart, we are together
(Sky Glasses for Dreamy
Travellers),
2015
photograph
33cm x 48cm
drawing on paper
70cm x 50cm
drawing on paper
35cm x 50cm
The Sky Glasses for Dreamy
Travellers offers a new sensory
experience, delimiting your
visual angle to the sky field,
through your exploration
journeys.
It is also provided with sun
lenses.
Apart, we are together represents the new chapter
of the project A motorway is a very strong wind,
and it focuses on moments for individual isolation,
in condition of communal living and working. This
fundamental compulsion, emerged several times in
the previous descriptions collected, with specific
reference to games, objects and collective rules. For
my new project I have decided to design dedicated
objects that can be easily adopted in real situations
to experience moment of isolation. Specifically I
will think about three different conditions and
situations: a working environment, a family group
and travelling. Apart, we are together presents a
series of preparatory drawings and photographs
about this on-going project.
Apart, we are together, 2015
Series of drawings and photographs
Mixed media installation
(Cloak for Sensorial
Estragement) ,
2015
sewing pattern on paper
210cm x 20cm x 80cm
drawing on paper
50cm x 70cm
drawing on paper
50cm x 35cm
The Cloak for Sensorial Estrangement has been designed for
travellers visiting big metropolis
packed with people. It can be
wear and can be installed in
any public space measuring
100x70x70 cm.
(Muffle Phone),
2015
prototype, mixed media
30cm x 15cm x 15cm
prototype, mixed media
25cm x 13cm x 13cm
drawing on paper
50cm x 35cm
drawing on paper
70cm x 100cm
Muffle phone allows engaging
one-to-one conversation in
family contexts with loud noise.
In fact when in use, the Muffle
Phone erases any background
sounds.
Step 1 . Approaches the phone to your mouth
Step 2 . Direct the phone
towards your interlocutor
Step 3 . Speak
(Upright Departure),
2015
photograph
33cm x 48cm
drawing on paper
70cm x 50cm
drawing on paper
35cm x 50cm
Upright Departure is a domestic
version of the tree house.
Recommended for various age
groups.
It has explicitly designed for
narrow living space with high
ceiling.
Step 1 . Attach the rope to
a hook on the
ceiling
Step 2 . Climb on the
rope until you reach the platform
Step 3 . Once you reach
the ceiling secure the rope
Upright Departure supports only
one person at time for a load up
to 120 kg.
view at the exhibition Art Situacions , Villa Croce, Genova, 2015
detail, view at the exhibition Art Situacions , Villa Croce, Genova, 2015
detail, view at the exhibition Art Situacions , Villa Croce, Genova, 2015
(Urlatoio),
2015
photograph
33cm x 48cm
photograph
33cm x 48cm
drawing on paper
50cm x 70cm
drawing on paper
50cm x 35cm
In office contexts the Urlatoio
provides a comfortable and
insulated environment for vocal
outbursts.
Step 1 . Take your shoes off
Step 2 . Climb the stairs and get in
Step 3 . Close the upper door
There is no time limitation in the
use, but prolonged sessions are
not recommended.
take out-1 (turm des feuers)
take out-2 (grancaotico)
take out-3 (one men houses)
“For about a month, waiting to leave for London,
Ludovica shared my apartment in Via Settala, Milano.
In the room next to mine has developed the project of
a new series of drawings and sculptures. He will try to
depict architecture that has never seen, neither in
person nor in photography, relying solely on written
descriptions. It’s his way of revisiting the tradition of
ekphrasis: the art of evoking with words work absent.
To inaugurate the series, she asked me to suggest three
descriptions. I chose for her words related to
architecture destroyed in an imaginary, remained in a
stage model. She has created three big drawings.
She will show these for one night before leaving the
house.”
Simone Menegoi
The three descriptions were quite different in manner
and subject. For the first Simone gave me one of his
texts that described the project of Johannes Itten: The
Fire Tower. For the second has instead chosen a text
by Borges and Casares: “Chronicles of Bustos Domecq”
where they invent the figure of a critic that reviews
imaginary works of art and architecture. The Grand
Chaotic Rome was the structure that I tried to imagine
the drawing. The third description, instead was made
orally: the object of the description was a sculpture by
Thomas Schutte, part of the series of One men houses.
exhibition view, Milano
take out-1 (turm des feuers); take out-2 (grancaotico);
take out-3 (one men houses), 2013
drawing on paper, 150cmx150cm each
take out-1 (turm des feuers)
150cmx150cm
matita su carta
take out-1 (grancaotico)
150cmx150cm
matita su carta
take out-1 (one men houses)
150cmx150cm
matita su carta
Without walls
details, view at the exhibition Vitrine 270°, GAM, Torino
Without Walls, the project by Ludovica Carbotta for
Vitrine 270°, is inspired by GAM in Turin and its vast
collection of works dated from 1700 to the most
contemporary research. Through this work the artist
rethinks the visionary “imaginary museum” submitted
in 1947 by André Malraux, made possible through
photographs of works of art.
In Without Walls though, through a distortion that
characterizes her approach to reality, Carbotta uses
drawings to reproduce a series of works significant for
her formation.
The artist occupies the walls of the Vitrine space with
the drawing of a reproduction of Conical Intersect,
created by Gordon Matta-Clark in 1975 in the centre of
Paris (close to the spot where the Pompidou Museum
was later built). The reference to a central work in the
re-elaboration of the relations between art and urban
space and between artist and institution, gives the artist
the ideal location for her imaginary museum.
On the various floors and in the rooms of the apartments
eviscerated by the conical vacuum created by MattaClark, Carbotta places drawings of the works in her
ideal collection. On different paper supports, roughly
sketched by the fast stroke of the artist, the drawn works
are grouped in significant themes, examining in depth
and from different viewpoints the relations between
human body, architecture, and the ideologies that they
convey. Abundantly reproduced in the books consulted
by the artist during her formation, the works chosen by
Carbotta are mainly by male artists. The artist though,
through drawing, personalizes this gallery of
masterpieces, re-elaborating them with a personal
criterion.
(text by Stefano Collicelli Cagol)
Without walls, 2013
drawing and watercolour on wood and paper
360cmx800 cm
details, view at the exhibition Vitrine 270°, GAM, Torino
view at the exhibition Vitrine 270°, GAM, Torino
arco rovesciato
Arco rovesciato by Ludovica Carbotta stresses the
presence of conflict as a fundamental element in any
democracy. At the same time, she underlines its limits,
as when it results in the damaging of cultural heritage.
In the work made especially for Alle radici della
democrazia, the artist investigates the aesthetic
potential in the ruinous act of throwing colour bombs at
buildings and monuments. In Arco rovesciato, Carbotta
redirects her considerations (and rebellion) against the
persistence of power by building an arch that includes
two different time periods on its facades. On one side
the Roman period (traditionally created to honour the
military victories of an emperor), and on the other side
the Arc de la Défense in Paris, celebratory monument of
one of the directional districts in Paris.
Carbotta has already investigated the forms generated
by acts of protest by demonstrators in cities in the past,
for example taking inspiration from the barricades
improvised with elements found lying around. Arco
rovesciato confirms this interest for the artist, stressing
the action of staining the urban architectures
considered symbols of power with colour bombs.
While the arch is meant to allow an imaginary
community to recognize itself, the traces left by the
colour bombs represent, according to the artist, the
affirmation of single personalities, tied by the common
ideals expressed through protest.
In the construction of the work Carbotta asked to
several artists to join her in the act of throwing colour
bombs.
(text by Stefano Collicelli Cagol)
arco rovesciato, making process
arco rovesciato, 2013
styrofoam, cement, paint, 300cmx300cmx150 cm
Vitrine Alle radici della democrazia, GAM, Torino
Vitrine Alle radici della democrazia, GAM, Torino
arco rovesciato, making process
cast bloc
cast bloc is playing a barricade. Talking about
reproduction I refer to sculptural technique of
impression. The work, which appears as a site-specific
work, is made of silicone rubber and is half attached
to the floor of the exhibition space. The gum contains
exactly reversed the floor area and subsequently as a
constructive element is used to create a physical barrier
in space. The ability to use and shape a fixed element
such as a cement floor, folding it, reversing its direction:
from horizontal to vertical, binds to the monumental
aspect of barricades built by Parisian citizen during the
FrenchRevolution, as described by Walter Benjamin in
the Arcades Project. The intent was to transfer the same
principle of construction of barricades, using a
technique of sculpture, emphasizing its artificiality but
still creating a direct effect of collocation space.
details, view at the
exhibition MA Fine Art 2012
Central Saint
Martins INTERIM SHOW,
V22 The Biscuit Factory,
London
cast bloc, 2012
sculpture, silicone rubber, wood
variable dimensions
View at the exhibition MA Fine Art 2012 Central Saint Martins INTERIM SHOW, V22 The Biscuit Factory, London
non definire la superficie
non definire la superficie, video frame
The video is the result of a performance in which the
artist takes a walk through the city, trying never to
cast herown shadow, and therefore not to leave any
trace of her presence, making herself invisible. In the
video there is no shadow, and the artist’s body, too, is
invisible. We are only given her point of view, her look
on the world.
The subjective shot hinders the immediate
comprehension of a situation: the spectator’s point of
view comes to coincide with the character’s, but gives
no access to the character’s motivations, which remain
obscure.
(text by Irene Calderoni)
non definire la superficie, 2011
video, b/w, sound
60’
VIDEO: https://vimeo.com/57616542
non definire la superficie, video frame
Invisibile modulor
The piece Invisibile modulor is prompting reflection on
the relationship between my physicality and the built
environment. The initial gesture of walking barefoot on
the city’s rough surface reassesses the dimensional
sense of my individuality with respect to the whole.
The experience terminates with the act of materializing
this invisible gesture.
The body becomes a mechanism thanks to which
contact between movement and the traces it leaves
become visible.
Invisibile modulor, 2009
poplin cotton on frame
180 x 130 cm
view at the exhibition 00, Torino
spazio rubato
To get concrete and motion less the temporary space
occupied by people, giving to the architectural space
constituted by movements of people a sculptural
meaning.
The aim of the project is to create from a temporary
habit, such as occupying public space taking sun or
reading and so on, some different landmarks that also
could be useful for people to sit or to
orient in a public space.
spazio rubato, 01-02, 2011
Iveagh Gardens, Dublin
Dublin Contemporary 2011
series of public sculptures,
concrete
variable dimensions
View at the exhibition Dublin Contemporary 2011, Iveagh Gardens, Dublin
Scala Reale
details, view at the exhibition Terre vulnerabili,
Hangar Bicocca, Milano
This piece is the result of an action, wich determines its final
form. The action involves the construction of a structure that is
able to support the weight of my body balancing on it.
My intention is to proceed upwards, depriving myself of the
possibility of turning backwards, of re-tracing my steps. The
form grows upwards as I move upwards. I construct step by step
the base that allows me to ascend and, as I proceed, I re-use the
material utilized previously. The work, regardless of the fact
that is strictly linked to an action, is not a performance piece
rather, it is the testament to, the trace of this movement. The
experiential aspect is fundamental even if the lived moment is
in some way concealed. The final form is a consequence of my
movement and my thought, which opens itself up to unexpected
results, since it is subject to the intervention of random factors
emerging within the process itself.
Sometimes, coincidence-the element not searched for in
advance- contributes to maintaining a part of the work more
obscure, hidden. This aspect is a costant of my work: the
experience that determines the form is never completely
revealed to the eyes of the viewer, but constitutes an intimate,
personal part.The influence over the final form of the work is
generated above all by my movement, by my experience. When
I talk about randomness, I’m referring to certain significant
aspects linked to the fruition of the work that emerge when all
is said and done. It is not about encompassing any event that
is external to me; rather, the aim is to discover a relationship
between my original attitude and the attitude that I develop
during the course of the creation of the work. That which is not
seen, which remains hidden, constitutes a fundamental residual
space that configures itself both as a space for experimentation
and as an element of control and distance from the created
work.
The work begins with a simple, almost primordial, gesture: the
act of hoisting a pile as a principle of building; trying to take
possession of a place, of a context.
Scala Reale, 2011
sculpture, wood, variable dimensions
View at the exhibition
Terre vulnerabili, Hangar Bicocca,
Milano
photo courtesy Andrea Rossetti
Scala Reale, making process, Hangar Bicocca,
Milano
costruttore di mondi molto simili al nostro
The project costruttore di mondi molto simili al nostro includes a series of works focused on
the relationship between the visual and the highly imaginative inside the urban
experience. I consider as “urban experience” the attitude, both mental and physical, driving
me to describe the perimeter I live into, to approach it with consciousness…almost warily
and to explore its surroundings, its smells, its air, light or shadow accesses, the ability of the
green of bending and penetrating , the regularity and the fracture. I see the city as a
container, or better, every moment as only one of the possible containers. I’m referring to
the endless cities coming one after the other in the space of a day, of the following and so
on… Organism in an everlasting state of metamorphosis, my look too approaches it
already mixed…changing. My working method aims at perpetuating this movement through
the drawing line, the controlled chaos of built and assembled materials coming back to an
imaginary of “building in becoming”. In the work called dust to stardust perspective joins
the fragments, the existing and imagined forms of cities and, meanwhile, it breaks them
up hinting possible directions only on an indefinite extension of paper. They are sceneries
eroded by wind in slow transformation. The fragments become three-dimensional solids in
the work entitled wrapped in thought. In this case the function determines the form: a crate
becomes a contraption able to fix the direction of the wind coming through the city streets
in an image. The building reveals a quick, jerkily perception but uses, to reach its purpose, a
slow and diluted in time method: the fresco’s preparation technique. In the box some dust,
collected on the monuments and buildings of the city, is stored; this turns into the sinopite
that, through the wind strength, passes through a feather duster stretched behind a “day”
(plank of fresh plaster) so that dust outlines the silhouette of the landscape the box is directed
towards.
costruttore di mondi molto simili al nostro
wrapped in thought, 2009
sculpture, wood, plastic, plaster, iron, steel, paper, dust, fiber
50 cmx 40 cmx50 cm, height 200 cm
dust to stardust, 2009
drawing on paper
150cm x 300cm
senza titolo, 2009
wood, plaster, dust
25cm x 40cm
details, view at the exhibition Greater Torino,
Sandretto Re Rebaudengo Foundation, Torino
wrapped in thought, view at the exhibition Greater Torino,
Sandretto Re Rebaudengo collection
details, view at the exhibition Greater Torino,
wrapped in thought, view at the exhibition Placentia Arte, Piacenza
Tempo imperfetto
This piece is a reconstruction of the Cappella della S.S.
Sindone, designed by Guarino Guarini in Turin at the
end of 17th century. It is based on a photograph. I used
waste materials to build the reconstruction.
I was particularly interested in recreating the inside
of the dome. I left the outside to chance. I tried to get
physically close to the inner summit of the church by
getting down to physical, constructive work.
I reconstructed the sacred hollow interior space of the
church using physical gestures.
The state of emptiness invested in the piece is a legacy
of my experience.
details, view at the exhibition 21x21, Sandretto Re Rebaudengo Foundation, Torino
During the process of construction, my hands and my
body began to experience fully the hollow inner part
of the dome, which can otherwise not be reached. The
physical work actually enabled me to try out and
experience this the architectural nucleus of the
construction. Becoming engrossed in a tactile
experience of the place means becoming the space.
Filling the inside, working meticulously solely on the
inner part of the dome and leaving the outer skin means
reaching the limits of that space or that interior, but at
the same time projecting oneself outwards through
building and through the materials themselves. The
idea of working from a photograph is a material attempt
to adopt a process that involves not only subjectivity
but also the mechanical potential of the eye itself, as
in photography. The first photographic interpretation
melts, is translated and reinterpreted during the process
of construction.
Tempo imperfetto, 2010
sculpture , wood
110cm x 250cm x 250cm
view at the exhibition 21x21, Sandretto Re Rebaudengo Foundation, Torino
Edmond de Rothschild collection
ProgettoDiogene, bivaccourbano, 2007,
Lungo Dora Savona, Torino
Progetto Diogene
Besides from my individual practice I shared a
collective project: between 2007 and 2012, I was part
of ProgettoDiogene, based in an old tram carriage in
the middle of a roundabout of the public space of
Torino.
Through a program of international residencies, and an
experiment on self-education, we investigated the
philosophical concept of urban bivouac as existential
practice.
Progetto Diogene, 2007-2012
www.progettodiogene.eu
ProgettoDiogene, bivaccourbano, 2008,
Piazza Gran Madre, Torino
ProgettoDiogene, from 2009,
Corso Verona x Corso Regio Parco, Torino
Ludovica Carbotta
born in Torino in 1982, lives and works in London
91 Alderney St SW1V 4HF London, UK
[email protected]
www.ludovicacarbotta.com
uk mobile: +447459216801 ita mobile:+393381731873
Education
2014-2015
MFA Fine Art, Goldsmiths University, London, UK
2011-2012
MA Fine Art (first year) Central Saint Martins London, UK, Scholarship Ariane de Rothschild Prize, Milan, Italy, 2011
2008
Advanced Course in Visual Arts – Yona Friedman Visiting Professor, Fondazione Antonio Ratti, Como, Italy
2005
BA in Painting, Academy of Fine Arts, Torino, Italy
Residencies / Workshop
2016
Gasworks International Fellowship, Triangle Network, Kiosko, Santa Cruz de la Sierra, Bolivia (upcoming)
2014
Database Carrara Residency program, curated by Federica Forti, Carrara, Italy
Hommage to Nannetti, workshop run by Cesare Pietroiusti organized by Istituto Svizzero, Rome, Italy
Academy of Asociality, Utopian Communities. Refusal, Participation and Anarchistic Practice run by Francis Cape, steirischer herbst, Graz, Austria
But does it float? summer school curated by Margarida Mendes, The Barber Shop, Lisboa, Portugal
FDV Residency Program, curated by Careof, Milan, Italy
2013
The Harder You Look curated by Nicoletta Lambertucci and Pieternel Vermoortel, David Roberts Art Foundation, London organised by Collecting Matters (DRAF, Kadist Art
Foundation, Nomas Foundation) and CAHF (S.M.A.K, Mu.ZEE,M HKA&Middelheimmuseum), London, UK
2011-2012
Residency Central Saint Martins University, London - Ariane de Rothschild Prize 2011 (winner), UK
2008
Advanced Course in Visual Arts – Yona Friedman Visiting Professor, Fondazione Antonio Ratti, Como, Italy
Workshop with Milovan Farronato Fondazione Spinola Banna per l’ Arte, Poirino, Italy
Workshop with A Constructed World Greenwashing Fondazione Sandretto Rebaudengo, Torino, Italy
Workshop with Tobias Rehberger Fondazione Spinola Banna per l’ Arte, Poirino, Italy
2007
Workshop Artelier, collaboration between artists and mental health patients, Il Bandolo, Torino, Italy
Workshop with Stalker. Osservatorio Nomade. ProposteXXII, Torino, Italy
2005
Workshop with Alberto Garutti, Fondazione Spinola Banna per l’ Arte, Poirino, Italy
Solo Exhibitions
2016
On, curated by Martina Angelotti, Public project, Bologna (upcoming)
2014
A motorway is a very strong wind, curated by Martina Angelotti, Care Of, Milano, Italy
2013
Ludovica non abita più qui, studio presentation in collaboration with Simone Menegoi, Via Settala, Milano
Vitrine 270°. Ludovica Carbotta, curated by Stefano Collicelli Cagol, GAM Galleria Civica d'Arte Moderna e Contemporanea, Torino, Italy
2011
Greater Torino. Ludovica Carbotta – Manuele Cerutti, curated by I. Calderoni, G. Bertolino, MT. Roberto, Fondazione Sandretto Re Rebaudengo, Torino, Italy
2010
Contenuto ridotto, curated by Julia Trolp, NeroCuboProject, Rovereto, Trento, Italy
Il viaggio è andato a meraviglia. Ludovica Carbotta,Chan Arte, Genova, Italy
campo volo. Il viaggio è andato a meraviglia, curated by Carlo Fossati, blank, Torino, Italy
2009
Costruttore di mondi molto simili al nostro, Placentia Arte, Piacenza, Italy
2007
Different Sea?, curated by Claudio Cravero, SuPalatu, Villanova Monteleone Sassari, Italy
Group Exhibitions
2015
Art Situacions, curated by Ilaria Gianni, Maria De Corral, Vicente Todolì and Lorena Martínez de Corral, Villa Croce Genova, Macro, Rome, Matadero Madrid, Santa Monica
Barcelona
Ce l’ho, mi manca, Museo Mandralisca, Cefalù, Sicily, Italy
Degree Show, MFA Goldsmiths University, London, UK
Patientes Politicos, Espai Colona, Barcelona, Spain / Galeria Metropolitana, Santiago, Chile
Cura, Camec, La Spezia, Italy
Grand Domestic Revolution curated by Martina Angelotti e Silvia Simoncelli, in collaboration with Casco - Office for Art, Design and Theory, Utrecht - Yolande van der Heide, Careof,
Milan, Italy
Arte in Memoria 8, curated by Adachiara Zevi, Sinagoga di Ostia Antica, Ostia, Roma, Italy
2014
Panta rei, tutto si trasforma curated by Federica Forti, Museo Civico del marmot, Carrara, Italy
DIVERSI MURI. UN OMAGGIO A N.O.F.4 - Oreste Fernando Nannetti, curated by Egija Inzule and Cesare Pietroiusti, Istituto Svizzero di Roma, Roma, Italy
What’s cooking, curated by Anne Koskiluoma & Tanja Trampe, Museum Bärengasse / Gasthaus zum Bären, Zurich, Switzerland
No music was playing, curated by Daniele Balit, Instants Chavirés, Montreuil, Paris, France
Killing Floor, studio / A motorway is a very strong wind, curated by Carlo Fossati, blank - e/static, Torino, Italy
Non potendomi arrampicare sulle nuvole, presi per le colline, curated by Eva Fabbris, Galleria Civica Valdagno, Vicenza, Italy
2013
Vitrine Alle radici della democrazia, curated by Stefano Collicelli Cagol, GAM Galleria Civica d'Arte Moderna e Contemporanea, Torino, Italy
Osmosis, a project by Luiss Master of Art, Stazione Tiburtina, Roma, Italy
Artists' Film Club: Walking Sideways curated by Elsa Coustou, Lucia Garavaglia and Alana Kushnir, ICA, London, UK
2012
Young London, curated by Tara Cranswick, V22 The Biscuit Factory, London, UK
Sotto la strada, la spiaggia, curated by Benoit Antille, Michele Fiedler, Andrey Parshikov, Fondazione Sandretto Re Rebaudengo, Torino, Italy
MA Fine Art 2012 Central Saint Martins INTERIM SHOW, V22 The Biscuit Factory, London, UK
Take The Leap. Peep-Hole Annual Benefit, Peep Hole, Milan, Italy
Neve chimica, curated by Lorenzo Balbi, organized by Fondazione Sandretto Re Rebaudengo Casa Olimpia, Sestriere, Italy
Microsculpture Biennial, curated by Karl Heinz, Kunstverein Bully, Kleinkems, Freibourg, Germany
Silverstein annual, invited by Alberto Salvadori, Bruce Silverstein Gallery , New York, USA
2011
Aghilysti, Gum Studio, Artissima Lido, Torino, Italy
Dublin Contemporary 2011, Terrible Beauty - Art, Crisis, Change & The Office of Non-Compliance curated by Jota Castro, Christian Viveros Fauné, Dublin, Ireland
Premio Ariane de Rothschild 2011, Palazzo Reale, Milano, Italy
Terre vulnerabili, curated by Chiara Bertola, Andrea Lissoni, Hangar Bicocca, Milano, Italy
Emerging talents 2011,Centro di Cultura Contemporanea Strozzina (CCCS), Palazzo Strozzi, Firenze, Italy
2010
Argonauti,curated by Andrea Bruciati, ArtVerona, Verona, Italy
Fort/Da, curated by Alis/Filliol, Cars, Omegna, Italy
Il migliore dei mondi possibili, Conduits, Milano, Italy
Un archivio storico: quattro interpretazioni, curated by Francesca Pagliuca, Unicredit Studio, Milano, Italy
21x21:21 artisti X il 21° secolo, curated by Francesco Bonami, Fondazione Sandretto Re Rebaudengo, Torino, Italy
Titolo grosso, Cripta 747, Torino, Italy
2009
Opening. Il Balletto dell’ Esperia incontre l’arte contemporanea curated by Lisa Parola, Cavallerizza Reale / Manica Corta, Torino, Italy
00 processo espositivo, Ludovica Carbotta – Alis/Filliol, Via Artisti, Torino, Italy
Usine de reve, curated by Cecilia Casorati, Sabrina Vedovotto, 26 cc, Roma, Italy
2008
Public Improvisations, curated by Luca Cerizza, Anna Daneri, Fabbrica del Vapore, Milano, Italy
Corso Aperto, curated by Luca Cerizza, Anna Daneri, Cesare Pietroiusti, Fondazione Ratti, Como, Italy
No Location Relocation, curated by Milovan Farronato, A.T. Kearney, Milano, Italy
Superfici Sconnesse, curated by Lisa Parola, Palazzo Barolo, Torino, Italy
Germinazioni - A new breed, curated by Norma Mangione, Chiara Canali, Alberto Zanchetta, Palazzo della Penna, Perugia, Italy
2007
Leap into the Void. Proposte XXII curated by a.titolo, Accademia Albertina Torino, Italy
2006
Watercollection.net, curated by Cittadellarte, LovDurden, Torino, Italy
Grants
2012
Finalist Talent Prize, Talarico Editore, Roma, Italy
2011
1° Prize Ariane de Rothschild Prize, Rothschild Foundation, Milano, Italy
Finalist Talenti Emergenti, Strozzina Museum, Florence, Italy
Collective/Curatorial Projects
2009
00 processo espositivo, exhibitions program, different venues, Torino, Italy
2007-2012
founders of Progetto Diogene, since 2007. Progetto Diogene, a program of international residencies, workshops and projects experimental education and self-education, run by artists
in the public space of Turin Italy. www.progettodiogene.eu
2011 Solid Void, editors: Gian Antonio Gilli and Roberto Cuoghi, Torino, Italy; curated by Progetto Diogene
2011 Guide Straordinarie by Progetto Diogene, Museo di Arte Contemporanea del Castello di Rivoli, Italy; curated by Marcella Beccaria
2011 Saverio Adamo Tonoli “Selbstbildnis”, blank, Torino, Italy; curated by Progetto Diogene
2010 Solid Void, visiting professors: Gian Antonio Gilli and Giovanni Morbin, Torino, Italy; curated by Progetto Diogene
2010 Giovanni Morbin “Lid”, blank, Torino, Italy; curated by Progetto Diogene
Talks
2011
DIOGENE VS DIOGENE, Galleria Franco Soffiantino, Torino, Italy
Reading Room #10 PROGETTO DIOGENE, Nomas Foundation, Roma, Italy.
Sentimento Nuevo invited by Antonio Grulli and Davide Ferri, Mambo, Bologna, Italy.
Progetto Diogene with Ludovica Carbotta and Graham Hudson, Central Saint Martins, London, UK.
2010
senza linea - come lavoro (ammesso che sia un lavoro) with Luca Bertolo, Alis/Filliol, Ludovica Carbotta, Festival Faenza, Faenza, Italy.
2009
Diogenebivaccourbano_ICEBERG GAP-Giovani per l’Arte PubblicaSpazio gAP, Bologna, Italy
Workshops conducted
2011
Arte e sfera pubblica – meeting/workshop curated by Pietro Gaglianò and Progetto Diogene, Teatro Studio, Scandicci, Firenze, Italy
Le correzioni, workshop with Ludovica Carbotta and Manuele Cerutti, Sandretto Re Rebaudengo Foundation, Torino, Italy
* Artist book/ # Catalogues/ ^ Publications
2014
# Young London Catalogue 2011-2014, Grey Tiger Books, London
^ Post n° 4 – Convenzioni, Mimesis Edizioni, Milano
^ T e r r a z z a . A r t i s t i , s t o r i e , l u o g h i i n I t a l i a n e g l i a n n i z e r o , La Quadriennale di Roma, Marsilio Editore
2013
# Vitrine 2013 – Galleria d’arte moderna, Torino
2012
^ New Italian Art. L’arte contemporanea delle ultime generazioni, Ludovico Pratesi –Castelvecchi, Roma
# Sotto la strada, la spiaggia - Fondazione Sandretto Re Rebaudengo, Torino
# Neve chimica - Fondazione Sandretto Re Rebaudengo, Sestriere
2011
# Dublin Contemporary – guide book – Ireland’s international art exhibition, Dublin
# * Greater Torino, 2011, Ludovica Carbotta Manuele Cerutti - Fondazione Sandretto Re Rebaudengo, Torino
# ^ Terre vulnerabili, a growing exhibition - Hangar Bicocca, ed. Corraini, Milano
# Premio Ariane De Rothschild 2011 - Palazzo Reale, Milano
# Biennale giovani Monza 2011 – Villa Reale Monza, ed.Allemandi, Monza
# Emerging Talents 2011 – Strozzina, ed. Silvana Editoriale, Firenze
2010
# 21x21.21 artisti per il 21° secolo + Alberto Garutti - Fondazione Sandretto Re Rebaudengo,Torino
# The historical archive: four interpretations - Carte Blanche#1 – Unicredit Studio, Milano
* Il viaggio è andato a meraviglia - Chan Arte, Genova
2009
# * Usine de reve, 26cc spazio per l’arte contemporanea, Roma
2008
# Public improvisation 14 Advanced course in visual arts of the Fondazione Ratti, Fabbrica del Vapore / Careof, ed. Mousse Magazine, Milano
# Superfici sconnesse, Palazzo Barolo, Torino
# Germinazioni. A new breed, Palazzo della Penna, Perugia
2007
* # Different sea?, Soter editrice, Villanova Monteleone Su Palatu
# Proposte XXII – Leap into the void, Accademia delle Belle Arti, Torino
§ Interviews/ ! Reviews/ + Articles
2014
! Simone Rebora, “Esercizi di memoria a Valdagno”, http://www.artribune.com/2014/05/esercizi-di-memoria-a-valdagno/
§ ATP Diary, incollaborazione con Rita Valente, Intervista con Ludovica Carbotta, A motorway is a very strong wind, http://atpdiary.com/exhibit/ludovica-carbotta-careof/
! Barbara Casavecchia, Milan Round Up, http://art-agenda.com/reviews/milan-round-up/
2013
! Tra ironia e tragedia. Giovani artiste a Ferrara, Paola Naldi, http://bologna.repubblica.it/cronaca/2013/10/03/news/tra_ironia_e_tragedia_giovani_artiste_a_ferrara-67832204/
§ 4×4. Quattro domande per quattro artiste, Serena Vanzaghi, http://www.artribune.com/2013/09/4x4-quattro-domande-per-quattro-artiste/
! Le opere di Ludovica Carbotta in mostra alla Galleria d'arte moderna di Torino,
http://www.lanuovaprovincia.it/stories/mostre_e_patrimonio/21289_le_opere_di_ludovica_carbotta_in_mostra_alla_galleria_darte_moderna_di_torino/
2012
! Vincenzo Latronico, Sotto la strada la pioggia, http://www.domusweb.it/it/arte/2012/06/11/sotto-la-strada-la-spiaggia.html
§ Intervista Ludovica Carbotta a cura di Gloria De Risi, http://ilblogdellakunsthallepiubelladelmondo.wordpress.com/2012/05/31/dalloggi-al-domani-intervista-2-ludovica-carbotta/
2011
! Design Week, Squid’s In, 7 September 2011, Shows work from a selection of artists, and discusses theme. http://www.designweek.co.uk/home/blog/squid's-in/3029886.article
! Antorra, Dublin Contemporary at the Iveagh Gardens, 10 October 2011, images and text on the works available to see in the Iveagh Gardens. http://mine.antorra.com/dublincontemporary-at-the-iveagh-gardens/img_4252/
! Carl Dixon, “Citywide vision of art of the moment”, Irish Examiner, agosto, pp. 14
! Gabi Scardi, Nasce “Dublin Contemporary”, Il Sole 24 Ore Domenica, settembre, pp. 18
2010
+ Beniamino Foschini, “Torino tra istituzione e autogestione”.Flash Art n° 288, edizione italiana, novembre, pp. 38-40
§ Valerio Borgonuovo, “Ludovica Carbotta, L’esperienza celata” Flash Art n°286, edizione italiana, agosto-settembre, pp.89
th
th
+ Irene Calderoni, “21x21”, Flash Art n. 282, aprile, pp.66-68
! Olga Gambari, “21 artisti per il 21° secolo”, La Rebubblica, Anno 35 Numero 71, 25 marzo, pp. 17
! Jenny Dogliani,“La Confindustria confida negli artisti”,Il Giornale dell’Arte,n. 296, marzo, pp. 29
§ Laura Preite, “Occhi d’artista sulla città”, Futura, Anno 6 n. 2, marzo, pp.1
! Gaia Manzini, “ Ventun giovani artisti italiani oltre le colonne d’Ercole”, l’Unità, 1 aprile, pp. 43
! Claudio Cravero, “21x21/ Alberto Garutti”, Exibart, 12 aprile 2010, http://www.exibart.com/notizia.asp?IDNotizia=31175&IDCategoria=56
2009
! Francesco Sala, “Ludovica Carbotta. Placentia Arte, Piacenza”, Exibart, 30 aprile, http://www.exibart.com/notizia.asp?IDNotizia=26987&IDCategoria=68

LUDOVICA CARBOTTA

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