<<Perhaps (but I don't know) because, being a woman, and therefore starting as a "negro" compared to the whites, I still have the sense of having walked towards something that was due to me because I loved it: knowledge, science, beauty, justice. I know, knowledge, science, beauty, justice built by the "male". But the only ones that exist and that allowed me to "live" beyond the terrible everyday silence assigned to women.>>
Ida Magli, 1986
<<First we compose, then we decompose, then we dissolve the decomposed the matter, purify the split matter and fix it. In this way, man and woman will be one.>>
Book of the philosopher's stone, 1778
'La Dote – The Dowry' is an installation that dialogues with the ancient method: an embroidery on canvas of the 78 illustrated plates for the creation of the philosopher's stone. A journey out of time between symbols, experimentation and system, a subtle fil rouge, almost an intangible sign that becomes a feminine desire for silence and method. It is a work in transition that changes according to the the space that is hosted in and it establishes a dialogue within. In the version shown in the rooms of the Omero Museum at the Mole Vanvitelliana in Ancona, on the occasion of the Sensi dʻestate festival, the work was entirely tactile for visitors who
were able to interact with it and leave a mark of their passage.
For T:AIM in Palermo it has been transformed into a book, the feminine version of the ''Elementa Chemiae 'JC Barchusen, 1978.
The work was presented for the first time at the Wunder Festival 2013, Cellino Attanasio, TE.
Ida Magli, 1986
<<First we compose, then we decompose, then we dissolve the decomposed the matter, purify the split matter and fix it. In this way, man and woman will be one.>>
Book of the philosopher's stone, 1778
'La Dote – The Dowry' is an installation that dialogues with the ancient method: an embroidery on canvas of the 78 illustrated plates for the creation of the philosopher's stone. A journey out of time between symbols, experimentation and system, a subtle fil rouge, almost an intangible sign that becomes a feminine desire for silence and method. It is a work in transition that changes according to the the space that is hosted in and it establishes a dialogue within. In the version shown in the rooms of the Omero Museum at the Mole Vanvitelliana in Ancona, on the occasion of the Sensi dʻestate festival, the work was entirely tactile for visitors who
were able to interact with it and leave a mark of their passage.
For T:AIM in Palermo it has been transformed into a book, the feminine version of the ''Elementa Chemiae 'JC Barchusen, 1978.
The work was presented for the first time at the Wunder Festival 2013, Cellino Attanasio, TE.
Chiara Ludolini is a Set Designer and a Visual Artist based in Manchester.
Her work investigates the importance of solitude, self-awareness and bewilderment that prepare the individual to the “outside” world. She uses the traditionally female medium of embroidery and experimenting with different materials to give voice to her ideas, founding in the intricate vocabulary of stitching, a realisation in the dialogue between the 'male' and 'female' realms of design and embroidery and through that systematic act (of stitching) and the (self) enforcement of silence; a timeless, meditative, female space. Her series of drawings titled 'The Fall' and 'Know your beasts' are like a distorted mirror where the playfulness softens the dark imaginarium and the images become a juxtaposition of embodiment and spectrality. They are like memories of innocence whilst acknowledging strife; a Gothic style for the fractured contemporary moment.
Her work investigates the importance of solitude, self-awareness and bewilderment that prepare the individual to the “outside” world. She uses the traditionally female medium of embroidery and experimenting with different materials to give voice to her ideas, founding in the intricate vocabulary of stitching, a realisation in the dialogue between the 'male' and 'female' realms of design and embroidery and through that systematic act (of stitching) and the (self) enforcement of silence; a timeless, meditative, female space. Her series of drawings titled 'The Fall' and 'Know your beasts' are like a distorted mirror where the playfulness softens the dark imaginarium and the images become a juxtaposition of embodiment and spectrality. They are like memories of innocence whilst acknowledging strife; a Gothic style for the fractured contemporary moment.