Diachronicles

{"id":16933,"grant_id":11,"user_id":22850,"grant_submission_status_id":4,"grant_result_type_id":null,"cover_block_id":190447,"story_id":21409,"place_id":null,"title":"Diachronicles","excerpt":null,"excerpt_raw":null,"body":"<p>Diachronicles is an examination of the historical space, regarded as a fictional container where an apparent collection of evidences opens up to the fantastic. In this space, the attempt to reconstruct the past falls into phantasmal gaps, where things are generated, used, buried, unearthed, transported, and relocated.\r<\/p><p>This nomadic and fragmentary nature of what has been left behind, reveals how the movement, transfiguration, and misinterpretation of objects shape historiography and ultimately, the real.\r<\/p><p>In the impossible search of academic legitimation, the viewer is invited into a world where the factual and the fake overlap. The work addresses the leading role archaeology and the museum space play in a historical narrative, using the human body to suggest scale and as a means to display objects.\r<\/p><p>Furthermore, Diachronicles digs into a parallel history, filled with poetic figures to encode, nonexistent artefacts and forgeries hidden in museums basements. This exploration, started at the Royal College of Art in 2018, is still ongoing.<\/p>","body_raw":"Diachronicles is an examination of the historical space, regarded as a fictional container where an apparent collection of evidences opens up to the fantastic. In this space, the attempt to reconstruct the past falls into phantasmal gaps, where things are generated, used, buried, unearthed, transported, and relocated.\r\n\r\nThis nomadic and fragmentary nature of what has been left behind, reveals how the movement, transfiguration, and misinterpretation of objects shape historiography and ultimately, the real.\r\n\r\nIn the impossible search of academic legitimation, the viewer is invited into a world where the factual and the fake overlap. The work addresses the leading role archaeology and the museum space play in a historical narrative, using the human body to suggest scale and as a means to display objects.\r\n\r\nFurthermore, Diachronicles digs into a parallel history, filled with poetic figures to encode, nonexistent artefacts and forgeries hidden in museums basements. This exploration, started at the Royal College of Art in 2018, is still ongoing.","is_shortlisted":1,"is_strong":0,"is_ongoing":1,"is_unpublished":0,"sent_first_email_reminder":0,"awaiting_payment":1,"has_started_payment":1,"has_started_paypal_payment":0,"is_public":0,"media_ok":0,"has_tracked":1,"amount_paid":18,"external_id":"cs_live_DgcsoLYwUqFe2y4Y5pjEMvSvKImLHN41nnblMLa3G11MSC0qfnh9cYu7","payment_id":"pi_1FJl1kEzbGXaFe0g45GsKCGM","session_id":null,"token":"5O3Ct1NviVCF3EORdOIOAimiGHeZxiWq","grant_order_id":3025,"submitted_at":"2019-09-17 18:05:38","started_at":"2018-01-01 00:00:00","ended_at":null,"created_at":"2019-09-17 17:47:28","updated_at":"2019-10-04 15:15:09","place":null,"publications":[],"categories":[],"tags":[],"blocks":[{"id":190453,"grant_submission_id":16933,"story_block_id":null,"image_id":310459,"position":-1,"created_at":"2019-09-17 18:02:48","updated_at":"2019-09-17 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artist based in London. Her practice focuses on staged photography, and revolves around history, myths, and object-hood. She is fascinated by the historical use of photography as a document of truth, specifically in its scientific and forensic uses. Her work attempts to challenge that language, by creating a new space in which fake histories take place.<\/p><p>Looking at the fragility of historiography and at the idea of failed encounters, her practice undertakes an exhaustive journey into these notions in trying to understand which objects and spaces men usually use to search something that in reality can never be found. This melancholic and frustrating state, caused by men's impossibility to know the past, is what fascinates her, and it constitute the foundation of her work. Furthermore, she is interested in semiology and how symbols define a region's identity, social dynamics and beliefs.<\/p><p>She applies a comparative methodology to her way of working and she engages with different institutions and professionals such as different archives, museums, universities, archaeologists, theorists and anything that can enrich her historical understanding of things and bring a different point of view into the work.<\/p><p>Her work is influenced by the Arab-Norman Sicilian heritage and aesthetics and Aby Warburg\u2019s studies on the history of art.<\/p><p>These have contributed to her own development and understanding of her own need to re-elaborate the historical and mythological into a contemporary language.<\/p>","long_bio_raw":"Giulia Parlato (b.1993) is an Italian artist based in London. Her practice focuses on staged photography, and revolves around history, myths, and object-hood. She is fascinated by the historical use of photography as a document of truth, specifically in its scientific and forensic uses. Her work attempts to challenge that language, by creating a new space in which fake histories take place.\n\nLooking at the fragility of historiography and at the idea of failed encounters, her practice undertakes an exhaustive journey into these notions in trying to understand which objects and spaces men usually use to search something that in reality can never be found. This melancholic and frustrating state, caused by men's impossibility to know the past, is what fascinates her, and it constitute the foundation of her work. Furthermore, she is interested in semiology and how symbols define a region's identity, social dynamics and beliefs.\n\nShe applies a comparative methodology to her way of working and she engages with different institutions and professionals such as different archives, museums, universities, archaeologists, theorists and anything that can enrich her historical understanding of things and bring a different point of view into the work.\n\nHer work is influenced by the Arab-Norman Sicilian heritage and aesthetics and Aby Warburg\u2019s studies on the history of art.\n\nThese have contributed to her own development and understanding of her own need to re-elaborate the historical and mythological into a contemporary language.","twitter_handle":null,"facebook_handle":null,"skype_handle":null,"google_plus_handle":null,"pinterest_handle":null,"instagram_handle":"giuliaparlato\/","vimeo_handle":null,"youtube_handle":null,"telephone":null,"show_explicit_content":"0","created_at":"2016-05-12 23:20:01","updated_at":"2019-09-17 18:05:50"}}}