SELECTED WORKS – ARCHIVE
¡Hay un maestro dentro de ti! (2019)
Acrylic on canvas (50 x 43 cm) and c-prints (27 x 31 cm).
Lunds Konsthall, Edsvik Konsthall and Museum of World Culture.
Photo credit: Lunds Konsthall and Tomas Kominis Endresen.
Text by Hans Carlsson (link).
Supplement by the artist (link).
In previous works and curatorial projects Giorgio Giusti has repeatedly addressed the possibilities of political activism, as well as its aesthetic preconditions and conventions. Giusti contributes a new work to this exhibition, based on contemporary Chilean politics and its relation to the emancipatory processes of the 1970s. He studies archives and contemplates on the culture of the bourgeoisie: fashion and lifestyle magazines from 1970–73, detached from the violent trial of strength between revolution and restoration that went on in the country, but that at the same time hinting at what was to come during Pinochet’s neoliberal modernisation.
Enquiry/2011 (2017)
Lecture-performance.
Galleri Index, Stockholm.
Text by the artist.
On the meaning of the year 2011 and a musical group enquiry into ‘decommodified’ artistic counter-institutional practices.
Prosthesis, Metaphor and The Obsolete Body (2014-2016)
Curator and editor of lecture program with contributions from Helena Tolvhed, Christina Jansson, Kajsa Ekis Ekman, Ylva Habel, Edda Manga, Johan Jönson (poetry reading) and Mara Lee (on writing). In collab. with Hedda Viå.
Text by the artist.
A project that examined representations of "the economy of the body" by making available and renegotiating medical-historical material. It emphasized the possible conflicts between technological development and today’s emerging interest in a "rediscovered corporeality". Conceptual approximations, fictions and subversive readings were at centre of the practice. The knowledge production departed from a situated and transdisciplinary perspective, where invited researchers offered the viewers the role to navigate as medical critics and beyond, through the images and literary fragments which were presented within the project.
The Ghost Castle (2013)
Plywood sheet, flourescent lamp, vinyl, cotton shirts, emptied bookshelves, garment bags, fleece blanket, book excerpt from "Den Stora Lekboken" (1955), floor lamp and hangers. Dimensions variable. In collab. with Marika Troili.
Photo credit: Marika Troili.
Text by the artists.
Within the practice of Amount ideas of a potential community are intermingled with the experience of a failed collaboration. Supported by an institutional encouragement to produce something beyond the "individual subject" this failure reveals a capitalistic sociality running on empty. The idea that collectivity itself generates a non-alienated post-political community must be abandoned ... The Ghost Castle is the positive of the end of the undead world as we know it.
Going the distance (2012)
Acrylic on canvas (160 x 80 cm).
Stockholm Music & Arts and Konstakademien, Stockholm.
"Är Giorgi Giustis hastiga tecken på ospända dukar ett måleri eller ett distanserande statement? Knappast måleri."
— Jessica Kempe, DN Kultur, (01/06/12).
Photo credit: Jean-Baptiste Béranger (1) and Nina Andersson (link) for BON Magazine.
Text by Fredrik Ehlin.
The Standpoint of the Proletariat (2011)
Acrylic on canvas (90 x 80 x 3 cm), wool trousers.
Galleri Mejan, Stockholm.
Photo credit: Petter Lehto.
Text by the artist (link).
Univocal (To Hélio Oiticica) (2009)
Hole through brick wall and acrylic on casted latex sheets. Dimensions variable.
Städelschule, Frankfurt am Main.
Photo credit: Flaka Haliti.
Somewhat Indifferent - Negotiating the Common (2008)
Video (DVCPRO HD), color, no sound, 01:44 minutes (looped triptych).
Bildmuseet, Umeå.
On the built environment and interpersonal subjectivation: Camp - Factory - Nature (Bergslagen).
Interview subjects/informants from the Congolese, Lebanese and Chilean exile, 1986-1991.
Elephant (2005)
Barricade tape and cushy plastic filling. Dimensions variable.
Örebro Läns Museum.
Besökande (2003)
Video (Mini-Dv), color, no sound, 06:45 minutes (3 hour loop).
In collaboration with British choreographer Toby Gunn.
Örebro Läns Museum.
"Besökande" is pidgin-swenglish for "visiting" or "visitor".
Keywords: Discontinuous mimicking, repetitive countering and spontaneous tracing.
Black Market Art - Getaway (2001)
MP3-Single. Produced by Stefan Fransson.
Mother Chaos - Self-titled (1999)
MP3-Demo. Produced by Stefan Fransson.