{"id":1821,"date":"2022-05-04T10:56:14","date_gmt":"2022-05-04T08:56:14","guid":{"rendered":"https:\/\/sisume.com\/?post_type=portfolio&p=1821"},"modified":"2024-10-10T13:40:24","modified_gmt":"2024-10-10T11:40:24","slug":"mutant-ruins-and-flows","status":"publish","type":"portfolio","link":"https:\/\/sisume.com\/index.php\/portfolio\/mutant-ruins-and-flows\/","title":{"rendered":"Mutant Ruins and Flows"},"content":{"rendered":"
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Mutant Ruins and Flows <\/i><\/span><\/span><\/h3>\n\t\t\t<\/div>\n\n\t[vc_column_text]\n
Published in<\/span>\u00a0 Archivalia<\/strong><\/em>
\n<\/span><\/h5>\n
Editors In-ruins with Roberta Garieri<\/strong><\/span><\/h5>\n
Contributors
\nMathilde Ayoub
\nStella Bottai
\nFederica Bueti
\nClelia Coussonnet
\nRoberta Garieri
\nMaria Luigia Gioffr\u00e9
\nNicola Guastamacchia
\nOttavia Mosca
\nNicola Nitido
\nVito Teti
\nGiulio Verago<\/span><\/strong><\/h5>\n[\/vc_column_text][vc_column_text]\n

My essay Mutant Ruins and Flows <\/i>aimed at linking archaeology and water, and consider them through the entwined notions of erosion and porosity, and that of transmission. Although they seem contradictory, the fluid, impermanent, open and moving qualities of water echo strongly that of archaeology for me. I approach them as spaces of potentialities that embrace changes of state (including even total alteration) as well as speculation. Through four artists\u2019 works around the Mediterranean, I contemplated the idea of remains and flows as mutant entities.<\/p>\n[\/vc_column_text]\t

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In my text, I focused on the multifaceted installation Bleu auquel nous appartenons <\/i>(2020-21) by Camille Pradon; on Paky Vlassopoulou\u2019s installation To Love the Hibiscus, You Must First Love the Monsoon <\/i>(2022); on Stefanie Loveday\u2019s photo series and sound installation To Sink and To Cave <\/i>(2020), as well as several works by Hera B\u00fcy\u00fckta\u015fc\u0131yan.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/6″][\/vc_column][vc_column width=”2\/3″ el_class=”text-center” offset=”vc_hidden-xs”]\t

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Mutant Ruins and Flows<\/i><\/span><\/span><\/h3>\n\t\t\t<\/div>\n\n\t[vc_column_text]\n
Published in<\/span>\u00a0Archivalia<\/strong><\/em>
\n<\/span><\/h5>\n
Editors In-ruins with Roberta Garieri<\/strong><\/span><\/h5>\n[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text]\n
Contributors
\nMathilde Ayoub
\nStella Bottai
\nFederica Bueti
\nClelia Coussonnet
\nRoberta Garieri<\/span><\/strong><\/h5>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text]\n
Maria Luigia Gioffr\u00e9
\nNicola Guastamacchia
\nOttavia Mosca
\nNicola Nitido
\nVito Teti
\nGiulio Verago<\/span><\/strong><\/h5>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_column_text]\n

My essay Mutant Ruins and Flows <\/i>aimed at linking archaeology and water, and consider them through the entwined notions of erosion and porosity, and that of transmission. Although they seem contradictory, the fluid, impermanent, open and moving qualities of water echo strongly that of archaeology for me. I approach them as spaces of potentialities that embrace changes of state (including even total alteration) as well as speculation. Through four artists\u2019 works around the Mediterranean, I contemplated the idea of remains and flows as mutant entities.<\/p>\n

In my text, I focused on the multifaceted installation Bleu auquel nous appartenons <\/i>(2020-21) by Camille Pradon; on Paky Vlassopoulou\u2019s installation To Love the Hibiscus, You Must First Love the Monsoon <\/i>(2022); on Stefanie Loveday\u2019s photo series and sound installation To Sink and To Cave <\/i>(2020), as well as several works by Hera B\u00fcy\u00fckta\u015fc\u0131yan.<\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/6″][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1578631584625{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm”]\t

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\u2018How do liquid elements shape and dig hard ones? How do they affect the integrity of matter? Is what is carved out lost or does it get embedded into water, living on differently? It is said that water records time, stories and memories, that it absorbs anything that leaks into it. As such, can it be a vessel for transmission? A way to retrieve sidelined, sunk, forgotten narratives? How does porosity play between aqueous and solid substances?\u2019<\/span><\/p><\/blockquote>\n[\/vc_column_text]\t

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\u2018How do liquid elements shape and dig hard ones? How do they affect the integrity of matter? Is what is carved out lost or does it get embedded into water, living on differently? It is said that water records time, stories and memories, that it absorbs anything that leaks into it. As such, can it be a vessel for transmission? A way to retrieve sidelined, sunk, forgotten narratives? How does porosity play between aqueous and solid substances?\u2019<\/span><\/p><\/blockquote>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″ css=”.vc_custom_1577961169487{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-xs”]\t

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\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”50px”][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1578631624722{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm”][vc_column_text]About<\/strong><\/span> \u2018Archivalia<\/i> is an extended reflection that comes up beside the residency and research programme carried out by In-ruins on entanglements between archaeology and the ways how it is reframed within contemporary art practices. As an ongoing archive, the volume collects texts and visual contributions to re-explore and rediscover the critical potential embodied in the ruin.\u2019[\/vc_column_text][vc_column_text]\n

\u2018Remains and water appear to both have a strong gestational force that can prompt mutation, bringing to my mind Luce Irigaray in Marine Lover of Friedrich Nietzsche<\/em> (1980) when she writes \u201chow many faces are still to be born in the bottom of the sea?\u201d\u2019<\/span><\/p>\n

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\u2014 Quotes by Clelia Coussonnet, Mutant Ruins and Flows<\/em>, 2022<\/span><\/p><\/blockquote>\n[\/vc_column_text]\t

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Info<\/h3>\n

Published by In-ruins, Arte contemporanea e archeologia
\nDesign by Lilia Di Bella
\n2022, Italian
\n17 x 24 cm, 174 pages, softcover
\nISBN 978-8-894729-70-2[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1728050633774{padding-top: 4vh !important;}”][vc_column width=”1\/3″ offset=”vc_hidden-xs”][vc_column_text]About<\/strong><\/span> \u2018Archivalia<\/i> is an extended reflection that comes up beside the residency and research programme carried out by In-ruins on entanglements between archaeology and the ways how it is reframed within contemporary art practices. As an ongoing archive, the volume collects texts and visual contributions to re-explore and rediscover the critical potential embodied in the ruin.\u2019[\/vc_column_text][vc_empty_space height=”40px”][vc_column_text]\n

Info<\/h3>\n

Published by In-ruins, Arte contemporanea e archeologia
\nDesign by Lilia Di Bella
\n2022, Italian
\n17 x 24 cm, 174 pages, softcover
\nISBN 978-8-894729-70-2[\/vc_column_text][\/vc_column][vc_column width=”1\/3″ offset=”vc_hidden-xs”]\t

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\u2018Remains and water appear to both have a strong gestational force that can prompt mutation, bringing to my mind Luce Irigaray in Marine Lover of Friedrich Nietzsche<\/em> (1980) when she writes \u201chow many faces are still to be born in the bottom of the sea?\u201d\u2019<\/span><\/p>\n

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\u2014 Quotes by Clelia Coussonnet, Mutant Ruins and Flows<\/em>, 2022<\/span><\/p><\/blockquote>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/6″][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1578631714468{padding-top: 12vh !important;padding-bottom: 8vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm”][vc_column_text]\n

Related projects \u2014<\/span> Editorial & Waters
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La Rose de J\u00e9richo \u2013 Aur\u00e9lia Zahedi<\/h6>\n\t\t\t\t\t\t