Wandering Beauties, 2007-2008
Photography / Performance / Video
Neon>Campobase, Bologna and Container – mobile laboratory of public art, Bologna

‘Wandering Beauties’ is a project began at neon>campobase and continued the following two years at Container Movable Laboratory/Observatory of Public Art in San Donato neighborhood.
Cinzia Delnevo focused her research on people born from the union of parents of different nationality, defined ‘wandering beauties’ which might imply also ‘wondering beauties’. The subjects of the future photographic portraits of Delnevo are the inhabitants of the Bolognese districts of San Donato, Pilastro and Zamboni, among them also the youngest attending Saffi middle school, but also acquaintances and friends of the artist.
That beauty, generated by the mixture of different worlds, interrogates the viewer, unaware of the intimate relationships that have formed those faces, of which she/he knows only the first and last name. Identity is basically a choice of the individual. The photographs are the culmination of a process of mutual acquaintance between subjects, at the end of which the photographed become owner of their portraits. 

Il progetto Wandering Beauties inizia a neon>campobase e prosegue per i due anni successivi presso il Container Laboratorio/Osservatorio Mobile di arte pubblica nel quartiere S. Donato a Bologna.
Cinzia Delnevo concentra la sua ricerca su persone nate dall’unione di genitori di diversa nazionalità, definite appunto Wandering Beauties (bellezze vaganti, ma anche bellezze interroganti).
I soggetti dei futuri ritratti fotografici di Delnevo sono gli abitanti dei quartieri bolognesi di San Donato, Pilastro e Zamboni, tra questi i giovanissimi della scuola media Saffi, ma anche conoscenti e amici dell’artista.
Quella bellezza, generata della mescolanza di mondi diversi, interroga lo spettatore, ignaro delle relazioni intime che hanno costituito quei volti, di cui conosce solo nome e cognome. L’identità è in fondo una scelta dell’individuo. Gli scatti fotografici sono il momento culminante di un processo di conoscenza reciproca tra soggetti, al termine del quale i fotografati diventano proprietari dei propri ritratti.


Wandering Beauties, Pilastro (Bologna) #Identità, 2008
Video 27’ 09’’

Wandering Beauties, Pilastro (Bologna) #Identità is a work by artist Cinzia Delnevo which investigates the complex field of the concept of Identity in its all declinations. Delnevo underlined the importance of keeping the original title of this work, since in Italian language the same term is used both for the singular and the plural: this is an important premise that perfectly reflects the artist’s assumption of identity as a condition that for its own nature cannot be asserted as stable and univocal, but instead as a state of constant reverberation and change towards the multiple drifts possible.

In this video some children with a “double nationality” tell the artist how do they feel about their family’s culture and when exactly this side of their being comes out in some quotidian actions or situations and when instead they experience the Italian culture and how and when they feel connected to it through friends, music, food or other activities that strengthen this other side of their cultural conscience.

Text by Laura Dinicolantonio

Looking for something there, yet it is there, 2014-2016
Performance in collaboration with Shervin Kianersi Haghighi.

Between January 2014 and summer 2016 I activated a series of performances in public spaces.
A collaborative piece with the Iranian artist Shervin Kianersi Haghighi while based in Ghent, Belgium and me based in London, UK. Once a month we picked a place like a shop or restaurant and asked the owner about the most annoying work that she or he does on a daily basis. After having a discussion about the nature of this work, we offered respectively to do that task for her or him on another day. We then tried to execute it exactly the way they would after their instructions. We both started on the same day and at the same hour and compared our experiences after about a week. The performance was then documented as the result of our discussion.


Twelve movements for hourglass and contrabass /
Dodici movimenti per clepsamia e contrabbasso, 2009-2011

In this performance I mechanically turn upside down an hourglass of sand each time that it finishes its cycle. In the brief period of time that elapses between the end and the start of the hourglass’s cycles, the musician chooses what and how to play, observing his allowed time. This “time” is little more than a moment if compared with the waiting time that follows or precedes it. Only after the execution of each movement can the musician write notation on a special stave*. Therefore this performance is also a concert in which the time of the sound and the time of the pause are in a certain sense inverted, as well as for the musical notation which takes place only after the public execution; a Cagean silence is inside the silence, alternating to linearity the perception of its opposite. For the musician the restriction to musically act in a time that corresponds to a moment leads both the performer and the audience to realize how much in that moment an expectation could be concentrated, rather than something unique and unrepeatable. The time which precedes and follows this event are perceived like a distinct ‘before’ and ‘after’; but they are both irremediably in a relation of reciprocal necessity.

Performance presented in 2009 at Gervasuti Foundation during Ogni limite ha una pazienza, curated by Cesare Pietroiusti and Filipa Ramos and presented in 2011 at Museum House Ludovico Ariosto during my solo show Twelve | Non linear experiences of time, Ferrara, Italy. In this occasion I collaborated with the Visual Designer Simona Materazzini and introduced the show online:  http://dodiciesperienze.com

In July 2011 this piece was performed with violinist Rania Zoidi under the title Twelve movements for hourglass and violin, 2009-2011 at Adiacenze, Bologna, Italy.

*A brief note about stave
This special stave, conceived for writing single movements, is composed of 5 curved lines joined until they assume a non-linear form. The stave is printed on 30 x 30cm white paper. 
Designed in collaboration by Simona Materazzini.

Dodici / Nessuna nota libera, 2011

Password: Nessunanotalibera

La performance Dodici movimenti per clepsamia e contrabbasso (2009-2011) è stata video-registrata in assenza di pubblico tra le mura del Museo Casa Ariosto a Ferrara. La documentazione è stata da me rielaborata esclusivamente per ciò che riguarda la sua organizzazione temporale. Nel video, il tempo della performance e il suo contenuto per certi versi imprevedibile diviene materiale plasmabile e ad ogni movimento è stata attribuita la stessa durata, portando i due tipi di azione “l’attesa” e “il movimento” a 12 secondi ciascuno.

Il tempo reale della performance dal vivo diviene in video quello di un solo movimento di clessidra. I suoni prodotti e i rumori presenti durante tutti i movimenti della performance si tramutano in un concerto inatteso.

Questo video come la performance da cui è tratto è manifestazione della necessità di guardare il proprio tempo focalizzando l’importanza delle scelte, il tempo necessario per compierle, l’attesa e il tempo di un attimo, il tempo che, per citare il compositore tedesco Dieter Schnebel “quando diventa un istante si trasforma in spazio”.

Leggi anche il testo di Viviana Checchia, * scritto in occasione della mostra “Dodici. Esperienze non lineari del tempo”, tenutasi al Museo Casa Ariosto, Ferrara, 2011.

Waiting for an annunciation, 2010
Venice, Fondamenta S. Felice, March 25, 2010 (from 12:00am to 15:00pm)

The idea of this performance rises from the feeling of confusion and disorder seen as a feature of our historical time. Here, the continued demand of original projects redeems itself  through an overturning. An artist, who normally should do and give, decides instead to wait, to hear, to shut up and for a duration not strictly predetermined. This waiting is carefully prepared with the best wishes within a studied site inside Venice. It is a public space, a place of passage that lies between water, earth and sky.  Moreover, when I close my eyes, the place opens itself, finding a fourth coordinate. What happens, is an oscillation between inner and outer. 
The formal limitation of language in words is perceived as a never-ending dilatation: perhaps, only poetry or sound are able to speak during the unique auratic time in which the performance lives and happens. Mediation and explanation through words are perceived by me both as necessity and limit, a limit impossible to overcome.

All’interno di questa performance convivono numerose direzioni di senso. L’idea da cui trae origine è una sensazione di confusione e di disordine caratteristica del nostro momento storico, collettivo e personale. La costante domanda di idee progettuali originali si riscatta quì in un’azione di ribaltamento. Chi normalmente dovrebbe fare e dare, decide invece di aspettare, di ascoltare, di ammutolirsi in un giorno importante e per un tempo che non può predeterminare con precisione. Questa attesa viene preparata con i migliori auspici e in un luogo ricercato all’interno della città di Venezia. La scelta finale cade su un luogo pubblico, di passaggio, che si trova tra acqua, terra e cielo. Ma il luogo, nel momento in cui si chiudono gli occhi si amplia e trova una quarta coordinata. Ciò che succede è un oscillamento tra esteriore e interiore, il limite formale che ha la parola nel farsi, viene percepito come una dilatazione infinita: solo la poesia o forse il suono possono parlare nel momento unico e auratico in cui la performance vive ed avviene, la mediazione e spiegazione in parole viene da me percepita come necessità e come limite invalicabile. 


In absence of delay / In assenza di ritardo, 2009

First performed 18 December, 2009 at Gervasuti Fondation, Venice, Italy.
Contrabass: Salvatore Lauriola
Video documentation by Claudia Rossini

A bass player and a chair on which anyone who wishes may sit. Those who sit have a microphone in front of them that amplifies their breathing. The bassist interprets that rhythm in sound, as it occurs. This work is born from the awareness of the effective delay that inevitably accompanies the interpretation of what we experience, the very moment that we experience it.

The performance involves the people present activating a point of view from the outside and contemporary from the inside, because the breath is perpetual in all of us. Whoever is seated can at the same moment breathe, listen to his own amplified breathing and listen, and allow the others hear the rendering that is given by the musician. The audience sees and listens to both the performance and their own breath.