Elena Damiani

Intersticio (Interstice, 2014) traces the topography of a non-specific site, an in-between zone. The video presents a panoramic view of two territories of a shifting and unresolved character, composed out of segmented events that visually intersect at a shared horizon point. Over the images, a fragmented and ambiguous poetic narration describes, by means of images found in digital archives, a hybrid site that permutes the representation of nature through its fusion of source material. The sense of permanent wandering designates an excursion with no precise destination, a mental place of fractured limits with an amplitude larger than any physical location. This trajectory appears to be dictated by the circumstances of an open field, where concrete places are now only points along a route, and the in-between moments that mark a continuous state of transition are the ultimate destination. With Intersticio, Damiani presents a journey to a territory comparable to contemporary space—a world so ample that the spatial and temporal coordinates essential to historicity fade, throwing our impressions of reality into question.

Transforming found materials into collages, sculptures, videos, and installations, Elena Damiani critically addresses our understanding of the present via the potentiality of images from the past. She is interested in revising subjects such as geology, archaeology, and cartography—by reworking materials such as books, photographs, video footage, and public records—in order to stage fictions where multiple topographies and times unfold together, hovering between an indeterminate past and present. She aims to explore the ways in which specific materials can be staged as incomplete and ambiguous when extracted from their contexts, then recomposed into works that point out the manipulability of cultural objects and information, thereby forming new memory paths and connections.