To watch the film in AR, download the app (353 MB, requires android 15 or later), and point at the images on the right with your device camera

Synopsis

The project Twelve Month is based on twelve tapestries depicting men weaving at their loom, captioned by personal notes revolving around artistic labour and everyday life as interconnected spheres. Every month, during a year-long period, a tapestry from the series has been inserted into different contexts, ranging from domestic settings to public spaces, from social situations to remote locations. They have been worn as a piece of garment, used as a blanket, a sunshield, or a beach towel, or included in artistic actions and still-life compositions. They have been presented in art exhibitions, hanged in the forest, or simply carried around in a bag, ready to be shown on a one to one basis, functioning as a conversation starter. The project is presented as an installation where a film in 12 chapters - each projected on the respective “tapestry of the month” through AR technology - can be watched through a digital tablet that will be made available in the exhibition space.


Project description

Where are my notes? I know I have them somewhere, I wish I’d written it down. But where would I have put this other note? I’d need to write that somewhere too. That wouldn’t solve the issue. Perhaps notes are not to be considered memory aids. They rather allow you to forget, and focus on something new.

The project Twelve Months (2023-2024) reflects a personal, experiential, and affective treatment of time, while referring to historical figurative cycles dedicated to the twelve months of the year. It is based on twelve Jacquard-woven tapestries where historical depictions of weavers at work are captioned by personal notes, ranging from the most prosaic aspects of everyday life to meditations on time, labour, leisure, and contemporary modes of production. Each month, from March 2023 to February 2024, I carried a different piece from the series and use it into different contexts, ranging from domestic settings to public spaces, from social situations to remote locations. The tapestries have been worn as a piece of garment, used as a blanket, a sunshield, a beach towel, or included in artistic actions and still-life compositions; presented in art exhibitions, hanged in the forest, or simply carried around in a bag, ready to be shown on a one to one basis, thus setting off thought and dialogue with others. Whenever possible, this process was documented with video recordings.

In the resulting installation, the tapestries are stretched on a foldable room divider - made of steel construction pipes and assembled with clamps - installed in a spiral-like shape, spatially expressing multiple conceptions of time at once; the sequence of the screens denoting linearity, their flimsy concealment hinting at that which is co-present. Moreover, the spiral-like shape will make it impossible to isolate a single moment, nor to exit the installation without going back - all the way - over it again.

The public is able to access this installation with a digital tablet and navigate through a film projected - in AR (augmented reality) -  onto the tapestries. The film - divided into twelve one minute-long parts - is interspersed with new notes reflecting on the year-long experience, and adopts note-writing’s peculiar fragmentary stratification of language and temporalities as a compositional principle. A video notebook rather than a video essay, where video clips, written notes and voiceover - separated yet interconnected elements - reflect different treatments of time as well as different points of view in relation to what is narrated and who is narrating it. In this sense, the film is also reflecting on the peculiar qualities of note-writing; its versatile relation with time (writing to fix a moment in time, writing for future use, retrieving a previous thought), but also its generative, transformative, poetic potential, beyond mere recording and retrieving purposes.

In the film, the video clips documenting the experience are punctuated by yellow post-it notes, written as if at the time of filming, where the author/
protagonist is addressing its future self. The latter is in turn embodied by the voiceover, a whispering voice addressing sometimes the viewer - commenting/ mediating/ reinterpreting/building upon the past experience as if at the time of screening -, at other times reflecting on the writing process itself, as if at the time of script-writing. In the film, these different roles of author, narrator and character are not always clearly defined and static; they interchange within the storytelling.

Writing notes is playing with time beyond the linear, uniform, and unidirectional conception of time on which the myth of progress and the currently dominant capitalist ideology are founded upon. Writing notes makes time revolve with repetitions, interruptions, accelerations, and associations. Because of its constitutive incompleteness, writing notes is production without immediate profit, an exercise in unlearning ideas of all-encompassing rationality, systematisation, or efficiency. By transcending writing-as-information, writing notes is similar to poetry. It is in the same spirit that I insist on using the technological tools that have had such leading roles in industrialisation and technological advancement for the two past centuries - not coincidentally, looms and computers are based on the same binary order - to poetically set new trajectories, receptive to desire, experience, human capacity, and circumstances.


Motivations

The project Twelve Months (2023-2024) questions the conception of a uniform, unidirectional, and measurable time upon which myths of endless progress and growth are maintained. It is an exercise in unlearning all-encompassing ideas of rationality and efficiency, also pillars of my upbringing if not patterns I use by inclination. The project is about disrupting time’s linearity, accepting, celebrating, and nurturing the constitutive disorder of life, reweighing affections, affinities, and unproductive time. It is a reminder to set time aside - to the extent this is possible while acknowledging the privilege of having such an opportunity - to find the poetry within the experience of everyday life.


Film Script (VoiceOver)


March

The air temperature increases at this time of the year

And when he walks around he kicks the snow

to make it melt faster

Feeling like a kid

draining the ocean with a bucket


April

He just found a bunch of notes he thought were lost

And he is wishing he had written down where all the other notes are

yet another note that could get lost too

Perhaps notes are not memory aids

On the contrary, they clear the way into oblivion

So that you can focus on something new


May

Look, he is using his notes into a carpet

a blanket

a piece of garment

a playing mat for the children

a beach towel

To Think about labour

So Irretrievably disenfranchised from the succession of the seasons


June

He left this note for me

Focus on the plastic crudeness

of the ever-changing present

Rectify stone inscriptions on an atomic level

Produce additional temporalities

Ventriloquize past and future

in a perpetual reconfiguration of fragments


July

Ti ricordi i petroglifi della Grotta del Bue Marino

Gli ornamenti in ceramica a Dorgali

La luna pazzesca che sorge dal mare

in quelle tarde serate al Miraggio

con i bambini stanchi ed eccitati

dalla musica dal vivo?


August

Another one reads

Repudiating the uniform, unidirectional, and measurable concept of time

upon which myths of endless progress and growth are maintained

Committing to unlearning ideas of all-encompassing rationality

Pledging fidelity to production without immediate profit

Professing faith in the constitutive incompleteness of life


September

And here he is again

hacking the pillars of his upbringing

Skewing the patterns he is able to recognise

Reweighing affections and affinities

Reflecting - to the extent this is possible-

on what “to the extent this is possible” means

And still forgetting to set time aside to read poetry


October

Horrified, dismayed

left to post on social media while people are dying

so much hate, so much love

may they be doomed to eternal suffering

by the tribunal instituted on the ashes of their sadistic souls

I am swearing so much that I think it’s better I go to sleep

no dream can be worse than this


November

This is when autumn knocks down the door

when cold air makes atmospheric moisture nucleate

forming light-weighted ice crystals

that precipitate and accumulate on the ground

“Snow” as it is commonly known

and he is already counting the months to see it melting

And we repeatedly called for a ceasefire

And his parents came to visit

And we were all reminded of the impermanency

Permeating our existence

(when did I become so dramatic)


December

Do you remember we were pondering the question of unproductive time

When the current economic model has pervaded all aspects of life

When leisure is coopted by market driven infrastructures

life enjoyment partaking in the experience economy

digital platforms monetizing the time we spend feeding them with content

When capitalism is unable to provide solutions to the crises it produces

And still we found ourselves frustrated for not using our time productively

What’s the problem with us


January

This is what I’m doing now

I mean, at the time of writing

editing those notes

the script for this film which I wonder if it’s worth it

If it is worth anything at all

Or if I should do something else instead

Like reading the newspaper

Getting frustrated and sad and angry

For how things seem to unfold

And Feeling like doing something about it would be stupid and exploitative

And feeling stupid for thinking like this

For doing nothing is the worst thing to do


February

And now, in the present of my unresolved and still evolving contemporaneity

In this unattainable present, already receding into the past

I am reaching out to you to apologise

for addressing so vaguely yet so straightforwardly

for using redundant and imprecise temporal clues of presentness

For disrupting the suspension of disbelief

not even letting you enjoy a moment of relaxed fruition


Biography

Andrea Galiazzo (b. 1983) lives and works in Oslo. He is educated at IUAV University in Venice, HISK Higher Institute of Fine Arts in Ghent, and KHiO Oslo National Academy of the Arts. His works have been presented in solo exhibitions at BO (The Association of Visual Artists Oslo) and Trondhjem Kunstforening, and in a duo exhibition, with Marthe Ramm Fortun, at Huset for Kunst & Design, Holstebro DK. Additionally, Galiazzo's works have been displayed at group exhibitions at Interkulturelt museum, Oslo, Femtensesse, Oslo, The Autumn Exhibition at Kunstnernes Hus, Oslo, The Drawing Triennial 2019, Oslo, S.M.A.K. in Ghent, Annie Gentils Gallery in Antwerp and at Kristiansand Kunsthall. In 2025 his works will be presented in a duo exhibition, in collaboration with Dan Perjosvshi, at KRAFT in Bergen.


CV

Andrea Galiazzo

Born in Padua (I) in 1983. Lives and works in Oslo.

Education

2018-2020 MFA, Art and Public Space, KHiO, Oslo National Academy of the Arts, Oslo (N)

2013-2014 Post-graduate, Practice-based Research in Visual Arts, HISK Higher Institute of Fine Art, Ghent (B)

2007-2009 MFA, Visual Art, IUAV University, Venice (I)

2004-2007 BFA, Visual and Performing Arts, IUAV University, Venice (I)

Exhibitions

2025 Invitert (8), curated by Kirsti van Hoegee, KRAFT, Bergen (upcoming duo).

2024 Twelve Months, BO Billedkunstnerne i Oslo (The Association of Visual Artists Oslo), Oslo (solo). fluene får øye på oss i det høye gresset, Femtensesse, Oslo.

2023 PointCounterPoint, curated by First Supper Symposium, Interkulturelt Museum, Oslo.

2022 Pink Glass Swan, with Marthe Ramm Fortun, curated by Anna Margrethe Pedersen, Huset for Kunst go Design, Holstebro, DK (duo). Høstutstillingen 2022 - Statens 135. Kunstutstilling, Kunstnernes Hus, Oslo.  Mistakes Were Made: Members Galore, curated by Mathilde Carbel, BO Billedkunstnerne i Oslo.

2021 På ubestemt Tid, curated by Marius Moldvær, Start Blokka, Linderud, Oslo.

2020 In Broad Daylight We Posed, Trondhjems Kunstforening, Trondheim (solo).

2019 Leda og Svanen, in collaboration with Marthe Ramm Fortun for Human Touch, Tegnetriennalen 2019, curated by Helga-Marie Nordby, Tegneforbundet, Oslo. SOG(AI) - Strategier for overlevelse og gruppetilhørighet (i tilfelle apokalypsen inntreffer), curated by Beatrice Guttormsen, Nina Björkendal and Patricia Risopatron Berg, Tveten Gård, Oslo. Adjustments, infiltrations and other matters I shouldn’t be concerned about, performance for Listen-In, ROM for Kunst og Arkitektur, Oslo.

2018 Shoes and Cigarettes, Galleri Frychini, Oslo (Solo). Avskygninger, Kristiansand Kunsthall, Kristiansand. Spring Depot, Tenthaus, Oslo. Between the Lines, Reception Gallery, Oslo National Academy of the Arts, Oslo.

2017 Sea(s), curated by Ghalia Elsrakbi and Haytham Nawar, Ionian Arts Center, Kefalonia.

2016 The Bottom Line, curated by Martin Germann and Philippe Van Cauteren, SMAK, Ghent.

2015 Adventure Time is Over, curated by Stefano Arienti, Almanac Inn, Turin. Make your Dream a Reality, performance at the Governor’s Mansion, Ghent. Little Hisk, curated by Ulrike Lindmayr, Hospitaalplein, Antwerp.

2014 Red Dawn, curated by Gertrud Sandqvist, HISK, Ghent. Anonymous Shortcut, site-specific installation, Citadelpark, Ghent. Reviewed, curated by Simon Delobel, Frans Masareel Centrum, Kasterlee.

2013 Citybooks, De Brakke Grond, Amsterdam. Graz Chartres Venedig, curated by Peter Wolf, ORF Gallery, Graz.

2012 Salvo, Annie Gentils Gallery, Antwerp.

2011 NowBelgiumNow, curated by Ulrike Lindmayr and Stella Lohaus, LLS 387, Antwerp.

2010 Orphée (Auto Sacramental), performance curated by Indigo, Nijinski, Brussels.

2009 The Greatest Hit, Colpire il Tempo, curated by GUM Studio, Massa Carrara.

2008 Milestone, curated by Elisa Simionato, Nuovi Segnali 2008, Palazzo Liviano, Padua (solo). IUAV al MAXXI, curated by Cornelia Lauf and Angela Vettese, MAXXI Museum, Rome. Hell on earth: varieties of dystopia, directed by Lewis Baltz and Antonello Frongia, Palazzetto Tito,Venice. Re: public!, curated by Ibrida, Tese di San Cristoforo, Bacini dell'Arsenale, Venice.

2007 Spritz Time!, curated by Milovan Farronato, Fondazione Bevilacqua la Masa, Venice.

2006 Private Eye: a prologue, directed by Nicolas Bourriaud, Moderna Galerija, Ljubljana. 90ma Collettiva giovani, Fondazione Bevilacqua la Masa, Venice.

2005 Something happened, directed by Lawrence Carrol, Ca’ del Duca, Venice. Stai all’erta, directed by Adrian Paci, magazzini Ligabue,, Venice. 358-Riflessioni sul Contemporaneo, curated by Daniela Zangrando, Perarolo, Belluno.

Residencies

2025 For real?, with Harold Offeh, PRAKSIS, Oslo (upcoming). 2022 TextielLab, working period, TextielMuseum, Tilburg (NL). 2018 Cité internationale des arts, in collaboration with Marthe Ramm Fortun, Paris (F). 2017 Ionian Center for Art and Culture, research residency curated by Sarina Basta, Kefalonia (GR). 2015 Frans Masareel Centrum, working residency, Kasterlee (B). Fondazione Spinola Banna per l’Arte, masterclass with Raimundas Malasauskas and Jason Dodge, Poirino, Turin (I). Fondazione Spinola Banna per l’Arte, masterclass with Stefano Arienti, Poirino, Turin (I). 2013 Frans Masareel Centrum, working residency, Kasterlee (B). Kunsthuis Syb, working residency, Beetsterzwaag (NL). 2012 Fondazione Giorgio Cini, working residency curated by deBuren, Venice (I).

Fellowships, Grants, and Awards

2023-ongoing SKS Statens Kunstnerstipend two-years Arbeidsstipend, Kulturrådet, Oslo. 2023 Diversestipend, Kulturetaten, Oslo Kommune. Kulturrådets prosjektstøtte visuell kunst, Kulturfond, Kulturdirektoratet, Oslo. BKV Prosjektstøtte høst, NBK, Oslo. Subsidiert atelier, Kulturetaten, Oslo. 2022 UDs Støtteordning for internasjonale kunsthåndverksprosjekter, Ministry of Foreign Affairs - Norwegian Crafts, Oslo. NK reisestøtte høst, NK, Oslo. BKV Prosjektstøtte høst, NBK, Oslo.  NK reisestøtte vår, NK, Oslo. TextielLab development support, TextielMuseum, Tilburg. BKV Billedkunstnernes Vederlagsfond one-year stipend, NBK, Oslo. 2021 Norske Kunsthåndverkeres studentpris, NK, Oslo. 2020 Oslo kommunes krisestipend, BOA, Oslo. Kunstnerassistentordningen, Kulturrådet, Oslo. SKS Diversestipend for nyutdannede kunstnere, Kulturrådet, Oslo. 2015 DE.MO./Movin'Up, MIBACT Ministry of Cultural Heritage and Activities and Tourism, Rome and GAI Giovani Artisti Italiani, Turin. Bourse Artichok, awarded by Bureau International Jeunesse, Brussels. 2007 Studio fellowship 6421, Fondazione Bevilacqua La Masa, Venice. 2004/2009 Scholarship IUAV, Architecture Institute of Venice.

Related Activities

2023 Kunst mot vinden - Kunstsalg i solidaritet med Fosen-aksjonistene, BO Billedkunstnerne i Oslo, Oslo. 2022 MAPS semester review, external sensor, MFA Art and Public Space, Oslo National Academy for the Arts. KOROs studentpris, jury member, Oslo National Academy for the Arts. Copyeditor for Structural Magic, Liv Bugge, Torpedo Press. 2021 Gallery of Employees: A Careful Approach to Social Interactions in the Public Space, lecture for the seminar Go Big or Go Home? Kunsthåndverk i offentlig rom, organised by Johanna Zanon and Norske Kunsthåndverkere, Vega Scene, Oslo. Cast member in Goliat, Draugen & Maria, a film by Liv Bugge, Oslo. 2020. Sound contribution for I don't have a clue how to become an internet-based ceramicist, podcast curated by Joerg Franzbecker, Oslo National Academy of the Arts, Oslo. 2018 Voice actor for The Other Wild by Liv Bugge, Interkulturelt Museum, Oslo. 2016 Photographer for Stein til Byrden, Marthe Ramm Fortun, Munchmuseet , Oslo. 2015 Print Art Fair, Frans Masareel Centrum, Kasterlee. Photographer for Yesterday was different, Kasper Bosmans and Marthe Ramm Fortun, Komplot, Brussels. 2014 Drawings by the Artist as a Child, lecture at Hungarian Psychological Association, Budapest. MediaWriting, collaborative workshop at OKNO, Brussels. 2013 The Giant Crane from Ghent, performance in collaboration with Lola Bachs Lasurt and Kasper Bosmans, Mechelen. Visiting Professor at Tumo, Center for Creative Technologies, Yerevan. Lecturer at Pop-Up City Live, De Brakke Grond, Amsterdam. 2009 Durham/Galiazzo Interview, sound piece in collaboration with Jimmie Durham for All That Is Solid Melts Into Air, Cultuursite-De Garage, Mechelen. 2007 Interviewer for Talk with me, sound project curated by Achille Bonito Oliva during the 52nd Venice Biennale for RAM Radioartemobile, Venice.

Catalogues and Publications

2024 Johanna Zanon, Curate Your Own Textile Art Exhibition, in Anne Szefer-Karlsen (curated by), Interweaving Structures: Fabric as a Material, Method and Message, KMD UiB, Bergen, Central Museum of Textiles, Łódź, and Archive Books, Berlin. 2022 Den Nasjonale Jury (curated by), Høstutstillingen 2022 - Statens 135. Kunstutstilling, in Billedkunst, n.3 2022, Norske Billedkunstnere, Oslo. 2020 Joerg Franzbecker (curated by), I don't have a clue how to become an internet-based ceramicist, Oslo National Academy of the Arts, Oslo. 2019 Tegnetriennalen 2019: Human Touch, in Numer, n. 121, Tegneforbundet, Oslo. 2015 Martin Germann, Philippe Van Cauteren (curated by), The Bottom Line, Mercatodor, Brussels. Make your Dream a Reality, HArt Magazine n. 141, May 2015, Antwerp. Oscar van den Boogaard (curated by), The Institute, HISK, Ghent/Lannoo Publisher, Tielt. 2014 Gertrud Sandqvist (curated by) Red Dawn, HISK, Ghent. 2012 Atte Jongstra, De dood trekt van onderen op. Wandeling in Venetië, hard//hoofd, Amsterdam. 2011 Angela Vettese, Chiara Vecchiarelli (curated by), Visual Arts at IUAV, Venezia 2001-2011, Mousse Publishing, Milan. Fondazione Bevilacqua La Masa (curated by), BLM 02>10, Mousse Publishing, Milan. 2009 Guido Bartorelli, Stefania Schiavon, Giovanni Bianchi, Nuovi Segnali 2008 2009, Area Creatività - Comune di Padova, Padua. 2008 Lewis Baltz, Antonello Frongia (curated by), Hell on earth: varieties of dystopia, IUAV, Venice. Angela Vettese, Cornelia Lauf (curated by), IUAV al MAXXI, Charta Editore, Milan. 2007 Milovan Farronato (curated by), Spritz Time!, Mousse Magazine, Milan. RAM - Radio Arte Mobile (curated by), Talk with me, Rome. 2006 6421 (curated by), 6421 Correspondences 2006-2007 (VOL. I-VI), Venice. Ana Maria Bresciani (curated by), Fine del gioco, IUAV, Venice. Stefano Coletto (curated by), 90ma Collettiva, Fondazione Bevilacqua La Masa, Venice. Renè Gabri, Cesare Pietroiusti (curated by), The two obstructions, Marsilio Editore, Venice. 2005 Daniela Zangrando (curated by), Riflessioni sul contemporaneo, Belluno.

Press

2023 Per Anders Krogh-Vennemo, What Am I Doing av Andrea Galiazzo, Paragone Art History Journal, 19/02/2023, Oslo. 2022 Marthe Ramm Fortun and Andrea Galiazzo at Huset for Kunst & Design, Art Viewer, 26/12/2022, Antwerp. Pink Glass Swan, in contemporaryartlibrary.org, Contemporary Art Library, Los Angeles. Marthe Ramm Fortun & Andrea Galiazzo: Pink Glass Swan, in Det skal du se! uge 46, Kunsten.nu Journal, 15/11/2022, Aarhus, Copenhagen. Mona Pahle Bjerke, Langt mellom toppene på Høstutstillingen, NRK anmeldelse, 13/09/2022, Oslo. Johanna Zanon, Go big or go home? None refleksjoner rundt kunsthåndverk og monumentalitet, Kunsthåndverk, n. 161, issue 1, January 2022, Oslo. 2021 Cecilie Tyri Holt (curated by), Kunsthåndverk, n. 160, issue 3, December 2021, Oslo. Una Mathiesen Gjerde, More is more, Subject, 08/06/2021, Oslo. 2020 Gustav Borgersen, Alle disse bildene er stjålet, Adresseavisen, 27/06/20, Trondheim. Nora Joung, The Drawing Triennial 2019, “Human Touch”, Art-agenda, 09/01/2020, New York. 2019 Andreas Breivik, Føleri og uutslettelige avtrykk, Kunstkritikk, 28/11/19, Oslo. Kåre Bulie, Øvelser fra strekens verden, Klassekampen, 27/11/2019, Oslo. Arve Rød, Tegnetriennalen skjønner tegninga, Dagbladet, 18/11/2019, Oslo. Ina Hagen, The Art World Strikes Back at Misuse of Power, Kunstkritikk, 12/02/2018, Oslo. Septembre Tiberghien, À l’origine était le dessin, Hippocampe n°24, Dec 2015 - Feb 2016, Lyon. Laurence Windels, Drawing | The Bottom Line in het S.M.A.K, wdistrict.be, Oct 2015, Gent. Joris Vergeyle, SMAK: The Bottom Line, De Ochtend, 08/10/2015 Radio 1, Brussels. Tien Kunstenaars Zwaaien Af, HArt Magazine n. 134, November 2014, Antwerp. Laura Herman, Open Studios, review in Metropolis.com, May 2014 Utrecht. Marc Holthof, De Achterkant van de Reclame, HArt Magazine, October 2011, Antwerp. Nicola Setari (curated by), The two obstructions, Janus n. 20, June 2006, Milan.


Twelve Months video documentation:  https://vimeo.com/948726861?share=copy

Password:   TwelveMonths