Giovanni Palmieri

Commission work with a fashion designer from The Hague. Working on latin cultural identity, in this case portraying the Chonga Lifestyle, a type of women from latin America who wears big hoops, lots of make up, eats hot Cheetos and has a personality of a diva.

These illustrations are a visual outcome of a research I went through during my residency period at BucharestAIR in 2020. I went to Romania to look for mythological stories, but all I could find was traditional stories of Romanian culture. I dive into a visual archive where parts of their cultural identity was told, such as the story of the Haikus (the robin hood of balkan countries), the representation of the Romani community, the dance of the goat, etc.. I did not succeed in finding mythological stories because most of the people I have met do not know such stories and are focused on being the first and second generation after a comunist era, so they focus on expressing their freedom and getting their piece of democracy. What I ended up doing was collaging Paraguayan myths with Romanian traditions/history, as during my time spent in Romania I felt as an outsider yet very close to the country’s chaotic rhythm, thus I decided to blend both elements making a one singular new composition of different cultures intertwined.

These illustrations are a visual outcome of a research I went through during my residency period at BucharestAIR in 2020. I went to Romania to look for mythological stories, but all I could find was traditional stories of Romanian culture. I dive into a visual archive where parts of their cultural identity was told, such as the story of the Haikus (the robin hood of balkan countries), the representation of the Romani community, the dance of the goat, etc.. I did not succeed in finding mythological stories because most of the people I have met do not know such stories and are focused on being the first and second generation after a comunist era, so they focus on expressing their freedom and getting their piece of democracy. What I ended up doing was collaging Paraguayan myths with Romanian traditions/history, as during my time spent in Romania I felt as an outsider yet very close to the country’s chaotic rhythm, thus I decided to blend both elements making a one singular new composition of different cultures intertwined.

These illustrations are a visual outcome of a research I went through during my residency period at BucharestAIR in 2020. I went to Romania to look for mythological stories, but all I could find was traditional stories of Romanian culture. I dive into a visual archive where parts of their cultural identity was told, such as the story of the Haikus (the robin hood of balkan countries), the representation of the Romani community, the dance of the goat, etc.. I did not succeed in finding mythological stories because most of the people I have met do not know such stories and are focused on being the first and second generation after a comunist era, so they focus on expressing their freedom and getting their piece of democracy. What I ended up doing was collaging Paraguayan myths with Romanian traditions/history, as during my time spent in Romania I felt as an outsider yet very close to the country’s chaotic rhythm, thus I decided to blend both elements making a one singular new composition of different cultures intertwined.

Three pictures of my friens in Romania, folding their beach towels as we head back to the hotel in Neptun. Neptun is a summer resort on the Romanian seacoast, on the Black Sea.

Collection of photographs made during my residency period at BucharestAir. This is a short summary of the people I met, the experiences I lived and the places I got to discovered while being there. These series of photographs range from portraits to still life.

Collection of photographs made during my residency period at BucharestAir. This is a short summary of the people I met, the experiences I lived and the places I got to discovered while being there. These series of photographs range from portraits to still life.

Collection of photographs made during my residency period at BucharestAir. This is a short summary of the people I met, the experiences I lived and the places I got to discovered while being there. These series of photographs range from portraits to still life.

Collection of photographs made during my residency period at BucharestAir. This is a short summary of the people I met, the experiences I lived and the places I got to discovered while being there. These series of photographs range from portraits to still life.

Collection of photographs made during my residency period at BucharestAir. This is a short summary of the people I met, the experiences I lived and the places I got to discovered while being there. These series of photographs range from portraits to still life.

Collection of photographs made during my residency period at BucharestAir. This is a short summary of the people I met, the experiences I lived and the places I got to discovered while being there. These series of photographs range from portraits to still life.

Collection of photographs made during my residency period at BucharestAir. This is a short summary of the people I met, the experiences I lived and the places I got to discovered while being there. These series of photographs range from portraits to still life.

Collection of photographs made during my residency period at BucharestAir. This is a short summary of the people I met, the experiences I lived and the places I got to discovered while being there. These series of photographs range from portraits to still life.

Collection of photographs made during my residency period at BucharestAir. This is a short summary of the people I met, the experiences I lived and the places I got to discovered while being there. These series of photographs range from portraits to still life.

This project is a research on how plastic containers from the food industry can become relics in the near future. I focused on casting out the plastic shapes and making them into a sculpture, and then photographed them in a fictional space trying to simulate a future idea on how these relics can be incorporated in our surroundings.

Bearing in mind the fulfillment of a life, the actors of capital undertake lifelong journeys of constant displacement. The result of this process is the alteration of the idea “home” as a transitory instance of time and space, more likely connected to an encounter between past and present, inner and outer worlds, the essential instance of being. If “Truth” as the ultimate antidote to the law and power of capital is to be found in being rather than having, it is necessary to inspect and redefine individuality and subjectivity in the hic et nunc, here and now. With this project I blur the encounter of my identity constructs linked to time and space (Where and when I am from, where and when I am, where and when they think I am from, where and when they think I am), diving into the research of being as the sum of scattered frames or instances of oneself. Combining portraiture and Paraguayan Mythology, on one hand I direct the attention to the individuation of the subject, on the other I open a relation with the creation of collective identity and formation of a norm (myth).

Bearing in mind the fulfillment of a life, the actors of capital undertake lifelong journeys of constant displacement. The result of this process is the alteration of the idea “home” as a transitory instance of time and space, more likely connected to an encounter between past and present, inner and outer worlds, the essential instance of being. If “Truth” as the ultimate antidote to the law and power of capital is to be found in being rather than having, it is necessary to inspect and redefine individuality and subjectivity in the hic et nunc, here and now. With this project I blur the encounter of my identity constructs linked to time and space (Where and when I am from, where and when I am, where and when they think I am from, where and when they think I am), diving into the research of being as the sum of scattered frames or instances of oneself. Combining portraiture and Paraguayan Mythology, on one hand I direct the attention to the individuation of the subject, on the other I open a relation with the creation of collective identity and formation of a norm (myth).

Bearing in mind the fulfillment of a life, the actors of capital undertake lifelong journeys of constant displacement. The result of this process is the alteration of the idea “home” as a transitory instance of time and space, more likely connected to an encounter between past and present, inner and outer worlds, the essential instance of being. If “Truth” as the ultimate antidote to the law and power of capital is to be found in being rather than having, it is necessary to inspect and redefine individuality and subjectivity in the hic et nunc, here and now. With this project I blur the encounter of my identity constructs linked to time and space (Where and when I am from, where and when I am, where and when they think I am from, where and when they think I am), diving into the research of being as the sum of scattered frames or instances of oneself. Combining portraiture and Paraguayan Mythology, on one hand I direct the attention to the individuation of the subject, on the other I open a relation with the creation of collective identity and formation of a norm (myth).

Bearing in mind the fulfillment of a life, the actors of capital undertake lifelong journeys of constant displacement. The result of this process is the alteration of the idea “home” as a transitory instance of time and space, more likely connected to an encounter between past and present, inner and outer worlds, the essential instance of being. If “Truth” as the ultimate antidote to the law and power of capital is to be found in being rather than having, it is necessary to inspect and redefine individuality and subjectivity in the hic et nunc, here and now. With this project I blur the encounter of my identity constructs linked to time and space (Where and when I am from, where and when I am, where and when they think I am from, where and when they think I am), diving into the research of being as the sum of scattered frames or instances of oneself. Combining portraiture and Paraguayan Mythology, on one hand I direct the attention to the individuation of the subject, on the other I open a relation with the creation of collective identity and formation of a norm (myth).

Bearing in mind the fulfillment of a life, the actors of capital undertake lifelong journeys of constant displacement. The result of this process is the alteration of the idea “home” as a transitory instance of time and space, more likely connected to an encounter between past and present, inner and outer worlds, the essential instance of being. If “Truth” as the ultimate antidote to the law and power of capital is to be found in being rather than having, it is necessary to inspect and redefine individuality and subjectivity in the hic et nunc, here and now. With this project I blur the encounter of my identity constructs linked to time and space (Where and when I am from, where and when I am, where and when they think I am from, where and when they think I am), diving into the research of being as the sum of scattered frames or instances of oneself. Combining portraiture and Paraguayan Mythology, on one hand I direct the attention to the individuation of the subject, on the other I open a relation with the creation of collective identity and formation of a norm (myth).

Bearing in mind the fulfillment of a life, the actors of capital undertake lifelong journeys of constant displacement. The result of this process is the alteration of the idea “home” as a transitory instance of time and space, more likely connected to an encounter between past and present, inner and outer worlds, the essential instance of being. If “Truth” as the ultimate antidote to the law and power of capital is to be found in being rather than having, it is necessary to inspect and redefine individuality and subjectivity in the hic et nunc, here and now. With this project I blur the encounter of my identity constructs linked to time and space (Where and when I am from, where and when I am, where and when they think I am from, where and when they think I am), diving into the research of being as the sum of scattered frames or instances of oneself. Combining portraiture and Paraguayan Mythology, on one hand I direct the attention to the individuation of the subject, on the other I open a relation with the creation of collective identity and formation of a norm (myth).

The adventures of Mr. Square Butt is a fictional story which has been created with an intuitive approach, starting from the process of making clay sculptures without thinking of a concept beforehand. As a second step I wanted to bring these characters alive, by taking them out of their context and placing them into ordinary situations that I will go through in my daily routines. Somehow in the process I felt intimidated to go on the streets by myself carrying these sculptures and photographing them in front of a crowd. The reaction of some people will be either weird or funny, some decided to laugh and others to ignore what I was doing. This brings another layer of connotation that is the lack of self-confidence on myself, and how affected I feel by the surroundings I live in. Is it maybe because I live in an extraordinary society in which we experience freedom in such a way that it becomes scary? I mean I live in one of the best countries in the world, if it is not the first actually.

The adventures of Mr. Square Butt is a fictional story which has been created with an intuitive approach, starting from the process of making clay sculptures without thinking of a concept beforehand. As a second step I wanted to bring these characters alive, by taking them out of their context and placing them into ordinary situations that I will go through in my daily routines. Somehow in the process I felt intimidated to go on the streets by myself carrying these sculptures and photographing them in front of a crowd. The reaction of some people will be either weird or funny, some decided to laugh and others to ignore what I was doing. This brings another layer of connotation that is the lack of self-confidence on myself, and how affected I feel by the surroundings I live in. Is it maybe because I live in an extraordinary society in which we experience freedom in such a way that it becomes scary? I mean I live in one of the best countries in the world, if it is not the first actually.

The adventures of Mr. Square Butt is a fictional story which has been created with an intuitive approach, starting from the process of making clay sculptures without thinking of a concept beforehand. As a second step I wanted to bring these characters alive, by taking them out of their context and placing them into ordinary situations that I will go through in my daily routines. Somehow in the process I felt intimidated to go on the streets by myself carrying these sculptures and photographing them in front of a crowd. The reaction of some people will be either weird or funny, some decided to laugh and others to ignore what I was doing. This brings another layer of connotation that is the lack of self-confidence on myself, and how affected I feel by the surroundings I live in. Is it maybe because I live in an extraordinary society in which we experience freedom in such a way that it becomes scary? I mean I live in one of the best countries in the world, if it is not the first actually.

A character enters the frame. It embraces a fictional role that reflects upon an individual who discovers madness. It questions its surroundings, the whole of it all. It asks to itself; am I going mad? I cannot seem to find the asnwer, No one actually can. It seems that we are afraid of the truth, if there is one after all. Everyone becomes paranoid to the idea that sometimes the way we think, act can be seen with the wrong eyes. Because who knows if the person we believe is mad is actually normal and we on the other hand are the crazy ones. This project tries to depict the idea of what is to lose control of the mind. By making use of mixed mediums I tried to investigate the story from different points of view. 1- The publication contains polaroid’s and text, which creates a dialogue between the subject to be called “crazy” and the “normal” one. 2- The film is an interactive performance between subject-artist, where you get to explore the present living conditions from both parties. 3- The found footage used in the collages, questions the relation between the present self and its childhood memories. A series of consequences.

A character enters the frame. It embraces a fictional role that reflects upon an individual who discovers madness. It questions its surroundings, the whole of it all. It asks to itself; am I going mad? I cannot seem to find the asnwer, No one actually can. It seems that we are afraid of the truth, if there is one after all. Everyone becomes paranoid to the idea that sometimes the way we think, act can be seen with the wrong eyes. Because who knows if the person we believe is mad is actually normal and we on the other hand are the crazy ones. This project tries to depict the idea of what is to lose control of the mind. By making use of mixed mediums I tried to investigate the story from different points of view. 1- The publication contains polaroid’s and text, which creates a dialogue between the subject to be called “crazy” and the “normal” one. 2- The film is an interactive performance between subject-artist, where you get to explore the present living conditions from both parties. 3- The found footage used in the collages, questions the relation between the present self and its childhood memories. A series of consequences.

El Espíritu Mágico is an attempt to embrace myself, enhancing the material value of the costume I produced, that I associate to tribal aesthetics. This connects me to a more realistic approach towards the depiction of myself, as I enact the costume. In the action of performing in the forest I show how my interpretation of the costume is connected to nature and moments of serendipity. When walking in the city the image of the costume creates a sudden contrast with the moral, becoming an absurdity among ordinary events. In a way it resembles two different mentalities fitting under the aspect of appearance and identity of the self, experienced from my experience.

El Espíritu Mágico is an attempt to embrace myself, enhancing the material value of the costume I produced, that I associate to tribal aesthetics. This connects me to a more realistic approach towards the depiction of myself, as I enact the costume. In the action of performing in the forest I show how my interpretation of the costume is connected to nature and moments of serendipity. When walking in the city the image of the costume creates a sudden contrast with the moral, becoming an absurdity among ordinary events. In a way it resembles two different mentalities fitting under the aspect of appearance and identity of the self, experienced from my experience.

In 2015 I set myself on a photographic journey. I wanted to learn the artistic process from a photographer I admire. Jan Hoek (1984) was the one, because of his complex yet simple ways to convey a story through photography. “In his work he is always attracted to the beauty of outsiders worldwide and always keen to collaborate intensively with people that normally are overlooked and create together a new image. In the universe of Hoek the ‘normal’ people are the strangers and the outsiders are the funky rulers of this planet.” https://janhoek.net/about-jan-hoek/ For a period of three months I decided to create different social games, making staged situations where I would force people to do things for the camera. Making them submissive towards my will. The project is divided in different chapters where I explore relations of power between the subject-photographer and viceversa. 1- Under the same roof. An exploration of connected identities unified in a single living space. 2- A party on the couch. Highlights on the dynamics that overcome into a social event for fun. 3- An orgy in my Mouth. A kissing game of roles and power. 4- My christmas holidays. Further understandings of the dynamics between the photographer and the subject, in moments where the authority of art forces you to do something. 5- My days with Jan Hoek. The inversion of roles, Photographer Jan Hoek as my subject.

In 2015 I set myself on a photographic journey. I wanted to learn the artistic process from a photographer I admire. Jan Hoek (1984) was the one, because of his complex yet simple ways to convey a story through photography. “In his work he is always attracted to the beauty of outsiders worldwide and always keen to collaborate intensively with people that normally are overlooked and create together a new image. In the universe of Hoek the ‘normal’ people are the strangers and the outsiders are the funky rulers of this planet.” https://janhoek.net/about-jan-hoek/ For a period of three months I decided to create different social games, making staged situations where I would force people to do things for the camera. Making them submissive towards my will. The project is divided in different chapters where I explore relations of power between the subject-photographer and viceversa. 1- Under the same roof. An exploration of connected identities unified in a single living space. 2- A party on the couch. Highlights on the dynamics that overcome into a social event for fun. 3- An orgy in my Mouth. A kissing game of roles and power. 4- My christmas holidays. Further understandings of the dynamics between the photographer and the subject, in moments where the authority of art forces you to do something. 5- My days with Jan Hoek. The inversion of roles, Photographer Jan Hoek as my subject.

In 2015 I set myself on a photographic journey. I wanted to learn the artistic process from a photographer I admire. Jan Hoek (1984) was the one, because of his complex yet simple ways to convey a story through photography. “In his work he is always attracted to the beauty of outsiders worldwide and always keen to collaborate intensively with people that normally are overlooked and create together a new image. In the universe of Hoek the ‘normal’ people are the strangers and the outsiders are the funky rulers of this planet.” https://janhoek.net/about-jan-hoek/ For a period of three months I decided to create different social games, making staged situations where I would force people to do things for the camera. Making them submissive towards my will. The project is divided in different chapters where I explore relations of power between the subject-photographer and viceversa. 1- Under the same roof. An exploration of connected identities unified in a single living space. 2- A party on the couch. Highlights on the dynamics that overcome into a social event for fun. 3- An orgy in my Mouth. A kissing game of roles and power. 4- My christmas holidays. Further understandings of the dynamics between the photographer and the subject, in moments where the authority of art forces you to do something. 5- My days with Jan Hoek. The inversion of roles, Photographer Jan Hoek as my subject.

In 2015 I set myself on a photographic journey. I wanted to learn the artistic process from a photographer I admire. Jan Hoek (1984) was the one, because of his complex yet simple ways to convey a story through photography. “In his work he is always attracted to the beauty of outsiders worldwide and always keen to collaborate intensively with people that normally are overlooked and create together a new image. In the universe of Hoek the ‘normal’ people are the strangers and the outsiders are the funky rulers of this planet.” https://janhoek.net/about-jan-hoek/ For a period of three months I decided to create different social games, making staged situations where I would force people to do things for the camera. Making them submissive towards my will. The project is divided in different chapters where I explore relations of power between the subject-photographer and viceversa. 1- Under the same roof. An exploration of connected identities unified in a single living space. 2- A party on the couch. Highlights on the dynamics that overcome into a social event for fun. 3- An orgy in my Mouth. A kissing game of roles and power. 4- My christmas holidays. Further understandings of the dynamics between the photographer and the subject, in moments where the authority of art forces you to do something. 5- My days with Jan Hoek. The inversion of roles, Photographer Jan Hoek as my subject.