Maria Luigia Gioffre

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Purgatory of Spring - La Seminatrice, The Seeder, (from reharsal), Tenuta dello Scompiglio, SPE, ‘On Death and Dying’ Art for Environment Residency in collaboration with University of Arts London, Tenuta dello Scompiglio, Vorno, 2018. Photo Courtesy of the Artist 

Purgatory of Spring - Eden, 2018

Purgatory of Spring -Preghiera, Fattoria Vittadini, Fabbrica del Vapore, Milano Musei Civici, 2019. Photo Courtesy of the artist 

Purgatory of Spring 

The work explores the aesthetics of a post-apocalyptic and dystopic landscape in which the late-capitalist collapse of mankind and the scenario of prehistory coincide each other for their figurative aspects. It consists of three chapters. Each of them is a durational performance that sets fictional elements through a concrete action:

La seminatrice, Eden and Preghiera.

Purgatory of Spring I, La Seminatrice (2018):
Conceived at Tenuta dello Scompiglio during the art residency ‘Death and Dying’ in collaboration with University of Arts London as Winner Project of AER Art For Environment Residency chaired by Lucy Orta, the performance stages a scenario of non-fertility where the performer is a dry soil.

She sows dried out branches into topsoil, then she uprootes them, and then she repeats the action all along the space and in all vases.

Purgatory of Spring II, Eden (2018):
A young man and a woman pick up dried branches from a tree and attempt to rebuild the garden of Eden in a decadent post-industrial building.

Realised with the kind support of Fondazione Armonie D’Arte

Purgatory of Spring III, Preghiera (2019):
Winner project for The Workroom Fattoria Vittadini residency 2019 at Fabbrica Del Vapore, Fondazione Milano Musei Civici, Milan, IT with the participation of ScarlattineProgetti, Viafarini, Ramaya Ariella Vidach|DidStudio, Studio Azzurro and ATIR.

The last human on earth inhabits the a state of imbalance while she is holding and attempting to play an horn. When the horn sounds, fertility becomes possible on Earth. The condition of imbalance, given by the feet standing a tiny surfance which is umbalanced itself, makes the performer uncomfortable to be able to play the horn and the fertile sound. The performance consists of this constant and unreacheable desire.


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