Ludovica Gioscia, Vermilion Glow Bleeds Rust

Preview 25th September 2013 h. 6.30 pm
26th September – 31st October 2013

Riccardo Crespi Gallery is delighted to present Vermilion Glow Bleeds Rust, a solo show by Italian artist Ludovica Gioscia.

The title of the show is evocative of the illogical and hyperbolic names of certain products: in particular those of cosmetics. For years, the artist has been manically collecting materials connected to the phenomena she researches; for instance Paninaro paraphernalia, make-up adverts, wallpaper and magazines.

Ludovica Gioscia’s main interests are retail and social anthropology and her works are hybrids of the two within an aesthetic of mass entertainment. Strongly influenced by the baroque, Gioscia’s work explores hedonism throughout history and looks at our relationship with consumption: from our compulsive relationship with destruction, which allows the cycle of consumerism to unfold, to the media’s pornification, in which scatological visuals are on the rise.

The main body of the show is composed by a new “campscape”, Description de l'Egypte, which borrows its title from a collection of litographs compiled by artists and scientists sent by Napoleon to document ancient and modern Egypt between 1798 and 1801. The new campscape also draws inspiration from JG Ballard’s 1981 novel Hello America, in which America’s landscape is portrayed as barren and desolated. In the book, banks and shopping malls are submerged beneath a desert of rust formed by the erosion of decades of abandoned cars.

In Description de l'Egypte Ludovica Gioscia elaborates on the structure of the campscape as a superdisplay and suggests the new island-like structure as a form of contemporary archaeology. The materials used to build the island-like structure include tables that the artist has been using in her studio for years. In consequence, they have multiple layers of printing, holes and marks of labour on them into which Gioscia has inserted other objects that originate from some of her collections, such as the packaging archive.

The elements are introduced into the battered furniture in a surgical manner and resemble organs: Gioscia’s increasing impulse to relate the human body to waste is driven by her understanding that the act of consumption cannot be divorced from the act of eating, digesting and expelling.

In the upstairs space Ludovica presents a new wallpaper which she has designed and printed in her signature style, in which appropriated imagery is re-digested and re-branded. The motif is based on the abandoned structures that form the industrial archaeological landscape surrounding Calasetta in Sardegna (Fondazione MACC), where the artist will be in residency shortly after the show.