"Le travail", is what Baldelli considers the central part of her research and thought, and is based on the question of "definition" per se and the notion of order.
The genesis of Baldelli's artistic work was born in Germany from the clash between the German and Italian languages, in a situation of total discovery and fascination for this new language, in a tension between analysis and perception game, some words were more stimulating or frequent than others. One of this, was the word tun/machen which in Germans means simply "to do". The task at the Fine Art Academy in Fribourg, was exactly to produce - the act of doing things, doing a work,
being in action...Not only to be original, but also to carry out the required task as student...what form should this act of doing have taken? What should the students be aiming for? This imperative of creativity has, over time, given rise to growing scepticism, if not a certain fury.
End of 2003 beginn 2004, Baldelli was part of an overproductive class (completely integrated into the cultural system with various projects in galleries and Kunstverein in an atmosphere where professionalism made already feel the pressure),she began to feel empty and without resources. In a moment of anger and frustration, she literally started to throw into the air all the objects she could take in her hand. A sort of fight with her own Studio! This action, defined as a "liberating catharsis by the artist", was the first gesture of understanding and deployment of the concept of doing per se.
Without category or order, her "throwing action", had somehow democratized the objects. The material, was no longer distinguishable from the ready made, the tool or the work of art, everything was on the ground, on the same level... everything had been "thrown".This furious gesture standardized the status of the instruments, and posed the first question on the definition and therefore the origin of each object. The disorder produced in the affection had to disappear, next day..
How to reorder? Baldelli begun to select and separate things systematically, but the questions more and more present, began to surface. Why would the pens go in the pens case? the pens case in the drawer? What about the drawer in the desk? Why put things back in their place? After all the strength and violence of this intervention, putting things in order as if nothing had happened made no sense to the artist. By askinking all this questions, Baldelli delicately started to arranged differently the things on the ground, one beside the other in a kind of geometric alignment. She was then able to discover the productivity of the situations, by transforming the situation of disorder into a new shape on the ground, through the positioning and alignment of the objects lying in front of me.
The subjective assimilation of work materials and objects from her immediate environment to ready-made became the basis for the following installations. Since then her work "Le travail" have become a way of affirming this project which consists in finding multiple system, others order, or perhaps even only in proving that the form consists of a set of manufactured differences between objects. Through their heterogeneity, objects produce a space "between", an intermediary that defines each time the dimension, shape and aesthetics of Baldelli installations. What symbolically represents the links between all things in this "Chaosmonde", so well defined by Édouard Glissant
2.
            
     "It is not about making a single finished object, but rather about producing situations, a process that shows the intertwining of things. The objects thus placed face to face consciously escape obvious classification or interpretation serial. Nor are the situations in which I show objects absolutely closed, on the contrary, totally different relationships between the objects or materials which I have already worked can also appear. Therefore, I consider my installations as a moment of transition, a reconfiguration of elements in search of their own exhaustion3".
 
What immediately appeared was the existence of different levels of complexity that I can only solve with the help of observation and analysis as critical and intuitive as it is specific to the handyman:
"Each element represents a set of relationships, both concrete and virtual; they are operators, but can be used for any operations within a type. It is the same way that the elements of mythical reflection are always halfway there between perceptions and concepts
4".

 
Extract from the text : Almost Nothing! about Daniela Baldelli work in situations
Autor: Bianca Gierbinger

1 To not do, 2003 - 2004

2 Traité du Tout-Monde, White Collection, Gallimard, 1997

3 Interview with Daniela Baldelli, on March 2010
4 Claude Lévi-Strauss, La pensée sauvage, Edition Plon, p. 31-32

1 To not do, 2003-2004

studio view

SAdBK Fribourg im Brsg, Germany

Copyright © 2019 Daniela Baldelli 23 Rue du Petit Musc, 75004 Paris All rights reserved.

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