03
May
10

Review: ‘To hold and be held’ by Kiko Gianocca at Gallery Funaki, Melbourne

Exhibition dates: 20th April – 15th May 2010

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Many thankx to Katie and Gallery Funaki for allowing me to take the photographs in the gallery and post them online. Please click on the photographs for a larger version of the image. All photographs Marcus Bunyan except ‘The waterfall’.

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“I own a stone that a friend passed to me, and a shackle that Michael gave me.

I found a curious object in Lisbon at the fleamarket, I paid one euro for it and I still don’t know what it is.

Yesterday I had a look again at the picture you shot. I am not sure if I grasp the memories that sometimes come to mind.

I start to think they hold me instead of me holding them.”

Kiko Gianocca, April 2010

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Kiko Gianocca
‘Untitled (touch wood)’ multiples
wood, silver
2009

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Kiko Gianocca
‘Horse’, ‘Anchor’, ‘Four leaf clover’ and ‘Swan’ (left to right)
18k gold, glass
2009

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Kiko Gianocca
‘Horse’
18k gold, glass
2009

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Kiko Gianocca
‘Anchor’
18k gold, glass
2009

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Kiko Gianocca
‘Swan’
18k gold, glass
2009

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A beautiful exhibition of objects by Swiss/Italian artist Kiko Gianocca at Gallery Funaki, Melbourne, one full of delicate resonances and remembrances.

Obelisk pendants in blackened and silvered wood, Neolithic standing stones, totemic, silent;
The hole through the object akin to ‘seeing’ through time.
Exposed wood on base (touch wood) as grounding.

The standing stone installation an altar piece, a dark reliquary (see images below)

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Glass vessels with internal funnels filled with the gold detritus of disassembled objects, found pendants:
Horse, Anchor, Four leaf clover, Swan, Hammer & sickle (see images above)

The distance between the bail – the finding that attaches the pendant to the necklace – and the remainder/reminder of the vessel itself. What a distance!

As Sally Mann would articulate, ‘What remains’1 …

Lives previous to this incarnation; jewels embedded in dust.
The captured potency of displaced objects.
Personal and yet anonymous at one and the same time.

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Brooches of gloss and matt black resin plates. A plastic black, almost Rembrandt-esque.

On the reverse images exposed like a photographic plate, found images solidified in resin.

The front: the depths of the universe, navigating the dazzling darkness
The back: memories, forgotten, then remade, worn like a secret against the beating chest. Only the wearer knows!

Here is a territorialization, “a double movement, where something accumulates meanings (re-territorialization), but does so co-extensively with a de-territorialization where the same thing is disinvested of meanings.”2

As Kiki Gianocca asks, “I am not sure if I grasp the memories that sometimes come to mind.

I start to think they hold me instead of me holding them.”

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Time is the distance between objects. No objects.

Space is the distance between events. No events.

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Installation view of exhibition with ‘Untitled (touch wood)’ burnt wood multiples in distance

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Kiko Gianocca
‘Untitled (touch wood)’ multiples
burnt wood, resin
2009

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Kiko Gianocca
‘Man & dog’
found image, resin, silver
2009

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Kiko Gianocca
‘The waterfall’
found image, resin, silver
2009

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Kiko Gianocca
‘The dog’
found image, resin, silver
2009

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Kiko Gianocca
‘The kiss’ (reverse)
found image, resin, silver
2009

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Kiko Gianocca
‘The way up’ (reverse)
found image, resin, silver
2009

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Kiko Gianocca
‘The beast’ (reverse)
found image, resin, silver
2009

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1. “Mann’s fifth book, What Remains, published in 2003, is based on the show of the same name at the Corcoran Museum in Washington, DC and is in five parts. The first section contains photographs of the remains of Eva, her greyhound, after decomposition. The second part has the photographs of dead and decomposing bodies at a federal Forensic Anthropology Facility (known as the ‘body farm’). The third part details the site on her property where an armed escaped convict was killed. The fourth part is a study of the grounds of Antietam (the site of the bloodiest single day battle in American history during the Civil War. The last part is a study of close-ups of the faces of her children. Thus, this study of mortality, decay and death ends with hope and love.”

Sally Mann. Wikipedia. [Online] Cited 02/05/2010 http://en.wikipedia.org/wiki/Sally_Mann

2. “For them (Deleuze and Guattari), assemblages are the processes by which various configurations of linked components function in an intersection with each other, a process that can be both productive and disruptive. Any such process involves a territorialization; there is a double movement where something accumulates meanings (re-territorialization), but does so co-extensively with a de-territorialization where the same thing is disinvested of meanings. The organization of a territory is characterized by such a double movement … An assemblage is an extension of this process, and can be thought of as constituted by an intensification of these processes around a particular site through a multiplicity of intersections of such territorializations.”

Wood, Aylish. “Fresh Kill: Information technologies as sites of resistance,” in Munt, Sally (ed.,). Technospaces: Inside the New Media. London: Continuum, 2001, p.166.

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Gallery Funaki
4 Crossley St.,
Melbourne 3000
03 9662 9446

Opening hours:
Tues – Friday, 11 – 5pm, Sat 11 – 4pm

Gallery Funaki website

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5 Responses to “Review: ‘To hold and be held’ by Kiko Gianocca at Gallery Funaki, Melbourne”


  1. 1 Claudia Gianocca
    June 19, 2011 at 7:48 pm

    Hello, My name is Claudia Gianocca and I would like to contact Kiko Gianocca. Thank you.

  2. May 3, 2010 at 4:28 pm

    The photos of this amazing art work are just great, give a great impression.


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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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