Giannina Coppiano Dwin: Nothing We Call Our Own
Oct. 29, 2011 – Jan. 29, 2012
Opening Reception: Fri., Oct. 28, 6 - 9 pm
Ecuadorian native Giannina Coppiano Dwin’s work, which may include performance and always allows the interaction of time, expresses a desire to transform simple materials into symbols of life’s basic needs. It refers to intimate moments, little rituals, or metaphors that call into play formal aesthetics, nourishment, sensory experience, women’s bodies, and the inevitable temporality intrinsic to the human condition. The sensuality of the materials is in direct contrast to the idea of the transient nature of everything. They present a sort of contemporary Vanitas. The attention to detail and labor intensiveness of the work also contrasts the transformation and the destruction of some of the performance work done at the end of the exhibition. For her exhibition in the Focus South Florida: Project Room, Dwin will present a site specific installation and performance as well as photographs.
Nourishment, body, temporality, fragility, multi-sensorial experience… such are the ingredients in the work of the artist Giannina Coppiano Dwin. Her premise is heir direct from the haptic proclivity that has had such international relevance in Latin America. The work she presents at the Municipal Museum in Guayaquil, Ecuador, can be placed within the extensive constellation of work done by women; a creative universe which today is characterized by a plurality of voices. Giannina is interested in rousing the sensorial memory in the perceptions associated with it, and in how these create relationships between the sensorial experience and certain fetishistic icons charged with cultural reverberation. Sexuality, femininity, women’s role are entrenched, suggested and treated with all their ambiguities; they are here transferred into the fugacity of their paradigms departing from the strict ephemeral character of the pieces. This bodily insinuation is created through the dense materiality of the work, in the meticulousness of the production, in the tactile quality of the materials. -Lupe Alvarez, Independent International Curator. Excerpt from exhibition catalog for Where Transient Becomes Symbol.
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