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Ludovica Carbotta wins the Battaglia Foundry Sculpture Prize #05

Ludovica Carbotta (Torino, 1982) lives and works in Barcelona (ES). Her practice focuses on the physical exploration of the urban space and how individuals establish connections with the environment they inhabit. In recent works, by combining installations, texts and performances, she is researching on fictional site specificity, a form of site-oriented practice that considers imaginary places or embodies real places with fictional contexts, recovering the role of imagination as a value to construct our knowledge.

Carbotta has completed an MFA at Goldsmiths University in London (2015). Her work was presented at the 58th International Art Exhibition, May You Live in Interesting Times, Venice Biennale (2019), curated by Ralph Rugoff. Recent solo exhibitions: Die Telamonen, Bündner Kunstmuseum, Chur, Switzerland; Monowe, Fondazione Sandretto Re Rebaudengo, Torino (2019); smART, Roma (2019); Artissima Present Future, Torino (2018); Marselleria, New York (2018); Marta Cervera Gallery, Madrid (2017); ON Public - Monowe, Bologna (2016); A motorway is a very strong wind, Care Of, Milan (2014); Vitrine 270° - Without Walls, Galleria Arte Moderna, Turin (2013); Greater Torino, Sandretto Re Rebaudengo Foundation, Turin (2011). Among her recent group shows: Drawing Center (New York, US), EACC (Castelló de la Plana, E), La Casa Encendida (Madrid, E), Mambo (Bologna, IT), Palazzo Fortuny (Venice, IT) Kunstlerhaus Museum (Graz, AU), MAXXI Museum (Rome, IT), Fondazione Sandretto Re Rebaudengo (Turin, IT), Hangar Bicocca (Milan, IT), Dublin Contemporary (Dublin, IRL), Matadero (Madrid, E), Swiss Institute (Rome, IT), Les Instants Chavirés (Paris, FR). She is the co-founder of Progetto Diogene, an International Residency Program in the public space (Turin – ) and The Institute of Things to Come, a research centre on futurological scenarios ( She was awarded the Ariane de Rothschild Prize, Milan (2011), the Premio Gallarate (2016), International Fellowship Gasworks, London (2016), and the Special Mention at Premio ITALIA, MAXXI Museum, Rome (2016). In 2017 she is fellow researcher at Jan Van Eyck Academie, in Maastricht, in 2018 recipient of New York Prize, ISCP/Columbia University.

Portrait photo©Rasmus Nilausen

portrait2_photocourtesy Rasmus Nilausen.

In these months of confinement, the time appeared to freeze. A lot of activities and meetings were canceled and many big events were postponed for next year.
In some ways, one might say that we skipped a year, or at least a season. Many people refer to this time as a boring time, without stimuli, reduction of personal freedom and movement. With that came extreme difficulties to deal with the new habits and routines; and it all became a kind of lost time.

To me it seems that during the period of confinement, regulated by each state’s governmental restrictions, the global time transformed into a personal one: our inner-time-perception. How we relate to the concept of time is a collective construct. This is probably why we struggled to deal with our individual time. 
The repetitiveness of those days left the majority of us with the inability to create any new experiences, to shape them into new memories, as each day seemed to repeat itself in a loop. 

On a personal note, I got pregnant at the end of last year and while most people were experiencing this ‘interruption’ of time I was feel-ing the opposite. My belly was and is still growing and during those days my partner was repeating to me that it was amazing how my body knew how to shape a human being. I feel eager to meet our daughter and also a bit scarred, I have to admit. But while thinking about his words, I also felt a weird envy towards my own body somehow, and how it is able to create forms beyond my control.  

I guess for this reason, while at home during the confinement, I started to work on a small sculpture in clay. Reflecting on the process of making it as a way to create a sequence of events, something to be remembered, I started to record each development with drawings, to document the growth of this little shape. 
This work, still in process, is linked with my latest project: Die Telamonen, a family of sculptures where each one is a sort of reproduction of the other, using different sculpting techniques.

My proposal for the BFSP is to continue this process of growth until reaching the dimensions advised (max 50x50x50 cm). And then proceed with the lost wax mold to obtain a version in bronze. The documentation of the process, the sculptural growth will also form part of the final work.  


(proposal's text by Ludovica Carbotta)


Ludovica Carbotta, project proposal for the Battaglia Foundry Sculpture Prize #05


Ludovica Carbotta, project proposal for the Battaglia Foundry Sculpture Prize #05


Ludovica Carbotta, project proposal for the Battaglia Foundry Sculpture Prize #05

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