Ludovica Gioscia’s installations and sculptures explore the rich layering of cultural debris within our cities and speak of a journey of scripted spaces through history including the way in which the digital revolution shapes our way of being.
Her work draws heavily from the Baroque in Rome, where she grew up, the significance of alchemy in studio practice, and her large archive of wallpapers containing motifs that stem from her mother’s DIY science lab, psychedelic explosions, telepathic brains, vintage jewellery auction catalogues, Paninaro patterns, Pasolini actors, Baroque interiors, ancient Roman ruins and the Rosetta Stone.
Since 2006, Gioscia has been creating large-scale site-specific wall-based installations, under the series title ‘Giant Decollage’, in which layered hand screen printed and commercial wallpaper are installed and then ripped back to reveal the strata underneath. The ‘Debris’ series, grew out of these, created by layering detritus accumulated whilst de-installing the installations.
Adopting a new modus operandi in 2016, which she titled the ‘Infinite Present’, Gioscia’s practice has significantly evolved, reflecting the new temporalities that have emerged with the digital revolution, in particular the scrambling of the linear. This has led to a studio practice that is constantly being reconsidered and renegotiated in which the past, present and future infinitely coexist. Ludovica describes her studio as having become a magical location in which artworks from the future and from other dimensions appear, and past creations are de-assembled and reconsidered.
Gioscia sees artworks as being alive, hence constantly evolving. Infused with a sort of animism, the creations stem from a deep enjoyment of working with materials. Fragments from previous installations and tools used to produce artworks, such as screen printing ink, gloves, brushes, sheets of protective plastic, make their way into her assemblages together with found objects, ‘Debris’, and other fabricated works in ceramic, wood, resin, Papier-mâché, and fabric.
Ludovica Gioscia (born 1977, Rome) lives and works in London. She graduated with an MFA Fine Art Media from the Slade School of Art in 2004 and has been exhibiting internationally since.
Solo shows include: Nuclear Reaction Cosmic Interaction, Ex Elettrofonica, Rome, IT (2018); Infinite Present, Baert Gallery, Los Angeles, US (2017); Shapeshifters, MaxMara, London, curated by Marina Dacci (2017); Neurotic Seduction Astral Production, John Jones Project Space, London, curated by Cassandra Needham (2014); Mineral Rush Flamingo Crush, Galleria Mangiabarche, Calasetta, IT (2013); Vermilion Glow Bleeds Rust, Riccardo Crespi, Milan, IT (2013); Forecasting Ouroboros, MACRO, Rome, IT (2012); Wild Boys, VITRINE, London, UK (2010); Papered Portraits, The Warhol Foundation, Pittsburgh, US, curated by Eric Shiner; and Mikado, Siobhan Davies Studios, London, UK (2009).
In 2015 Gioscia presented a specially commissioned and semi-permanent site-specific installation at Maraya Art Park in Sharjah and another site-specific installation at OFF Biennale Cairo. Previously Gioscia has shown in group shows at Wimbledon Space, London, UK (2018); FuturDome, Milan, IT (2017); Marcelle Joseph Projects, UK (2013, 2014, 2017) ; Palazzo Fiano, Rome, IT (2016); Allegra LaViola (2013) and Salon 94 (2012), NY, US; Edinburgh College of Art, UK (2012); The Flag Art Foundation (2011); Analix Forever, Geneva, CH (2010); The Miro’ Foundation, Barcelona, ES (2010); The Warhol Foundation, Pittsburgh, UK (2010); VITRINE, London, UK (2010); Jerwood Space, London, UK (2007); South London Gallery, London, UK (2007); MNAC, Bucharest, RO (2007); and Comfort Moderne, Poitiers, FR (2002).
Her work has been published in The New York Times, The Los Angeles Times, Fluor, Exibart, Exit Express, Flash Art International, Kunstforum, Etapes International, Elephant, The End and AN. In 2012 Edizioni Olivares published Ludovica’s first monographic catalogue. Gioscia has collaborated on a Falabella limited edition for Stella McCartney (2012), collaborated with Sergio Zambon for Galitzine (2013), was part of Absolut Blank’s campaign (2011) and has worked on several commissions, including one for the House of Peroni (2013) and more recently for the Drake in Toronto (2018).
Forthcoming exhibitions include La Vita Materiale, curated by Marina Dacci, at Palazzo da Mosto, Fondazione Palazzo Magnani (November 2018), a solo show at Museo della Figurina, Modena, IT (March 2019), and the artist’s second solo show at Baert Gallery in Los Angeles (June 2019).
VITRINE will present Gioscia’s first solo exhibition in Switzerland in Autumn 2019.
