work
In buone mani / In good hands
| category | Performance |
| subject | Human figure |
| tags | #fiducia #trust #hope #spine , #rose #thorns #adamerini #poetry |
| hours | 4 |
| minutes | 0 |
| seconds | 0 |
| year | 2019 |
In good hands it has been created three times in three site-specific versions
In good hands
In good hands, act 2: The promise (2020)
In Good Hands: Act 3 Feeling Comfortable (2023)
In good hands it is an action-intention which, as in almost all of Loredana Galante's performative works, provides a conceptual and aesthetic framework of reference. In this case the setting is composed of two chairs placed one in front of the other, thorny branches verticalized by the holding of the clay, around and behind on a green velvet of liturgical origin. In the background, the spatial composition ends with a wall with the writing "They were thorns that entered the soul and became flowers": a verse by Ada Merini, created on the wall in hours of work, entirely from rose thorns, placed one at a time.
Taking charge of the feeling does not allow for extensions, the thin skin allows it to permeate in real time and we experience pangs, lacerations, the passage of something sharp that proceeds with jerks sometimes works silently leaving a landscape of devastation, other times it imposes a pain that it seems like you can't survive. This phrase shows us a passage, a process of transformation, it shows us the gifts reserved for the doors that open.
Loredana Galante is waiting in one of the two chairs, wearing a light blue dress with small flowers and flounces down to the feet edged with lilac satin. A painted ceramic cup contains a cream made with roses, by his sister. He waits for each of us to take care of it, gives us a hand massage, a repair ritual, hydrates the time of the meeting with dedication and spontaneity
In good hands
In good hands
In good hands, act 2: The promise (2020)
In Good Hands: Act 3 Feeling Comfortable (2023)
In good hands it is an action-intention which, as in almost all of Loredana Galante's performative works, provides a conceptual and aesthetic framework of reference. In this case the setting is composed of two chairs placed one in front of the other, thorny branches verticalized by the holding of the clay, around and behind on a green velvet of liturgical origin. In the background, the spatial composition ends with a wall with the writing "They were thorns that entered the soul and became flowers": a verse by Ada Merini, created on the wall in hours of work, entirely from rose thorns, placed one at a time.
Taking charge of the feeling does not allow for extensions, the thin skin allows it to permeate in real time and we experience pangs, lacerations, the passage of something sharp that proceeds with jerks sometimes works silently leaving a landscape of devastation, other times it imposes a pain that it seems like you can't survive. This phrase shows us a passage, a process of transformation, it shows us the gifts reserved for the doors that open.
Loredana Galante is waiting in one of the two chairs, wearing a light blue dress with small flowers and flounces down to the feet edged with lilac satin. A painted ceramic cup contains a cream made with roses, by his sister. He waits for each of us to take care of it, gives us a hand massage, a repair ritual, hydrates the time of the meeting with dedication and spontaneity
In good hands
