Julia Solazzo

Ordered Chaos, Installation, 2021 "Dismantling in order to rebuild: art pieces created by the artist rest in the rubble of destruction. Signs of art stand to challenge the institution of what we have come to think of as art." "In the case of the art object, a most sensitive nucleus - namely, its authenticity - is interfered with whereas no natural object is vulnerable on that score. The authenticity of a thing is the essence of all that is transmissible from its beginning, ranging from its substantive duration to its testimony to the history which it has experienced” (Walter Benjamin “The Work of Art in the Age of Mechanical Reproduction"", pg.221)."

Tea Party, Installation, 2021 "An imagined space of intimate viewing: through forced positioning of frame and scale, the viewer is called to consider their own physical position while engaging with material both viewed and experienced." “The artist is the origin of the work. The work is the origin of the artist. Neither is without the other. Nevertheless, neither is the sole support of the other. In themselves and in their interrelations artist and work are each of them by virtue of a this thing which is prior to both, namely that which also gives artist and work the art of their names - art…” (Martin Heidegger: “The Origin of the Work of Art”)."

Hot Pressed, Eighteen 8”x10” Silver Gelatin Fiber Prints mounted on two 32” x40” Museum Mounting Board, 2021 "A body of silver gelatin fiber prints exist as collected moments of a performance in darkness. Each print holds within itself the memory of a negative and the specific formation of an enacted photogram. With the photogram extending to the edge, a frame is formed in a frameless form. Through solarization of edge, the outer tones of the photogram compress while the central overlay of photogram and photograph remain unchanged. Stripped of reproducible potentiality, each acts not as a photo but a single performance captured in development." "The presence of the original is the prerequisite to the concept of authenticity” (Walter Benjamin “The Work of Art in the Age of Mechanical Reproduction,” pg. 220)."

PROCESSING… hands-and-elbows, 100”x 48”, Mixed Media on Plywood Panel, 2021 "From a performance, an assembly of marked remnants came to inhabit the surface of a grounded plywood sheet. The wooden sheet, covered and painted, remained and collected the left over pieces from the destruction of the constructed room from which it came." 'The unconscious is like a black hole, you can’t detect a black hole except for by what it does to its surroundings - the light form its surrounding stars bends inwards.' Like a black hole, the unseen mental state is measured by the ripples that follow."

Finding Final, 8.5” x 11”, Printed Zine, 2021 “From a photographic negative, for example, one can make any number of prints; to ask for the ‘authentic’ print makes no sense. But the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritual, it begins to be based on another practice - politics” (Walter Benjamin “The Work of Art in the Age of Mechanical Reproduction,” pg.224).

CORPUS_SEESAW, Installation detail, 2021 “Artistic production begins with ceremonial objects destined to serve in a cult” (Walter Benjamin “The Work of Art in the Age of Mechanical Reproduction”).

CORPUS_SEESAW, Installation detail, 2021 “We understand something is displaced because we understand its place.” - Kathrin Burmester

CORPUS_SEESAW, Installation detail, 2021 “But falling does not only mean falling apart, it can also mean a new certainty falling into place. Grappling with crumbling futures that propel us backwards onto an antagonizing present, we may realize that the place we are falling toward is no longer grounded, nor is it stable. It promises no community, but a shifting formation” (Hito Steyerl - “In Free Fall: A Thought Experiment on Vertical Perspective,” pg.9).

CORPUS_SEESAW, Installation detail, 2021 "To understand any of this, one has to keep actively in mind the relationship between the various meanings of the precarious; precariousness is a function of our social vulnerability and the condition of our exposure that always assumes some political form; precarity is differentially distributed, and so one important dimension of the unequal distribution of conditions required for a liveable life. But precaritisation is also an ongoing process... So maybe precarious is what we feel, or would rather not feel" (Judith Butler, "Bodily Vulnerability, Coalitions, and Street Politics," pg.186-87).

CORPUS_SEESAW, Installation detail, 2021 "Corporeality displaces from the noun ""body"" any stable onto-historical projections, and reveals something we all "the body"" is nothing other than a formation of such projections. Corporeality reveals "the body" as sheer transitivity - but that transitivity is also its main power, since connected to its capacity to resist, insist, invent" (Andre Lepecki, "Dance and The Age of Neoliberal Performance," pg.15).