LISTE

Elena Damiani was born in Lima, Peru in 1979. She studied Architecture at the Universidad Peruana de Ciencias Aplicadas and subsequently transferred to the Escuela Superior de Bellas Artes Corriente Alterna where she graduated in Fine Arts in 2005. In 2010 she received her Masters in Fine Arts at Goldsmiths College, University of London.
Elena Damiani employs the disciplines of geology, geography, cartography, archaeology and astronomy to reinterpret such categorisations and our understanding of the physical world around us. Her fictional and constructed landscapes propose alternative readings of geological time, history and humankind’s classifications of evidence. Scientific source material, considered rational and immutable is presented as a cultural construct, subject to interpretation and infused with alternative value systems, redirecting for more poetic and suggestive readings. Damiani’s construction of fictions both emulates and disrupts our methodology of constructing meaning and knowledge via empirical observations. Her work reveals a search to gain understanding of how structures that obey a greater magnitude than the brief passage of man on Earth are composed and work. This search formulates a series of explorations which seek to reinterpret various natural stages and natural processes while confronting us with the idea we have of the world in which we live. Her most recent work explores fractures in time and geological events as symbols of constant change. The artist refers to geological features as indicators of a time before history. To Damiani, geology reveals the memory of the land.
Her work has been exhibited at the Centro de Creación Contemporánea de Andalucía C3A (2022), Dhaka Art Summit (2020), DePaul Art Museum (2020), MOCO Montpellier Contemporain (2020), Museu Coleção Berardo, Lisboa (2019), la Galleria Nazionale d’Arte Moderna, Roma (2019); Skissernas Museum (Lund, 2017); Chrysler Museum of Art, (Virginia; 2017), Gwangju Biennale (2016), Bienal de Cuenca (2016), IV Poly/Graphic Triennial San Juan (2015), Vienna Biennale (2015), Venice Biennale (2015), Museo Amparo (Puebla, 2016); MUAC Museo Universitario Arte Contemporaneo (Mexico City, 2015); Garage Museum of Contemporary Art (Moscow, 2015), MOCAD Museum of Contemporary Art Detroit (Detroit, 2015); Americas Society (New York, 2014), BIM Bienal de la Imagen y Movimiento (Buenos Aires, 2014), Mercosul Biennial (Porto Alegre, 2013), Museo Tamayo (Mexico City, 2013), MAC Museo de Arte Contemporaneo (Lima, 2013), Government Art Collection (London, 2012), Museo de Bellas Artes de Valencia (2009), MAMBA Museo de Arte Moderno de Buenos Aires (2007), IVAM Instituto Valenciano de Arte Moderno (Valencia, 2007), Kunstmuseum (Bonn, 2006).
She was awarded the Grants & Commissions Program Cisneros Fontanals Art Foundation CIFO (2016), the Commission for a permanent site-specific installation at the Americas Society’s David Rockefeller Atrium in New York (2014), the Special Mention to Video Creation at the International Festival of Digital Arts and Cultures of Gran Canaria (2006), 2nd Prize at the French-Peruvian Contest for Visual Arts Pasaporte para un Artista (2006), the Gold and Silver at the Escuela Superior de Bellas Artes Corriente Alterna (2005), the Production Prize in the 2nd Peruvian Contest Video and Electronic Arts (2004).
Work by the artist is included in international collections, including the MoMA The Museum of Modern Art, MALI Museo de Arte de Lima, GNAM Galleria Nazionale d’Arte Moderna, Thyssen-Bornemisza Art Contemporary Collection, Art Jameel Collection, Colección Patricia Phelps de Cisneros, Museo Tamayo, Kadist Art Foundation, Cisneros Fontanals Art Foundation, Kamel Lazaar Foundation, Schoepflin Foundation, PAMM Perez Art Museum Miami and FOLA Fototeca Latinoamericana. She currently lives and works in Lima.

LA TERRA NOSTRA E’ UN MOSTRO DI MARE

Language, geography, historiography are themes that Lagomarsino revisits in his artistc practice, using materials that often evoke memories or a relationship to something, only to ask us to reflect on the conditions enabling these connections.
Lagomarsino’s work points toward the gaps and cracks in our explanation models highlighting language’s precarious foundation. With precise and poetic displacements, the constructs frictions, fractures of blind spots from where to tell other stories. Keenly aware of the conceptual implications of a range of materials and medium, Lagomarsino moves seamlessy between collage, drawing, installation, performance, and video.

Recent solo exhibitions:
The Square Between the Walls, Lunds Konsthall (2021), The Faculty of Seeing, Moderna Museet, Stockholm (2019), We are each other’s air, Francesca Minini, Milan (2019), EntreMundos, Dallas Museum of Art, Dallas (2018), La Neblina, Galeria Avenida da India, Lisbon (2018).

Selected group exhibitions:
Ninguém teria acreditado, Pina Estação, Sao Paulo 2021, Deep Sounding-Hystory as Multiple Narratives, daadgalerie Berlin (2019), BRAZIL. Knife in the Flesh, PAC, Milan (2018), A Universal History of Infamy, LACMA, Los Angeles, (2017), La Terra Inquieta, Fondazione Trussardi, Milano (2017), Really Useful Knowledge, Museo Nacional Centro de Arte Reina Sofia, Madrid (2014) and Under the Same Sun, Guggenheim Museum, New York (2014).
He also partecipated in the Guangzhou Triennial and the Gwangju Biennial (both 2008); the Venice Biennale (2011 and 2015); the Istanbul Biennial (2011); the São Paulo Art Biennial (2012); Prospect New Orleans (2017); the Gothenburg Biennial (2015 and 2021) and the Ural Biennial (2021). In 2019 he was awarded the Friends of Modern Museet Sculpture Prize and was DAAD artist in residence in Berlin.