Artist Statement

In recent years, coming from a cultural theory background in academic anthropology and an ethnographic background in my research-based art practice, I began to create site-specific, inter-disciplinary and cross-genre interventions that build on my long-term exposure to borderlands and border zones. Having worked as an ethnographer for several years, in Italy, Brazil, Mexico and since 2002 at the Tijuana-San Diego border, I have designed a set of trans-media practices that reflect on the border as a mobile category of experience, of sensory and conceptual mediations, disciplinary negotiations, and geopolitical articulations. In my art practice, I deploy ethnography both as a collaborative method and a participatory sensibility. I have been primarily interested in ethnography as a polyvalent medium, and as an aesthetic and art attitude towards public culture. My art practice builds on and extends the pioneering contaminations between ethnography and surrealism around Georges Bataille's Document circle (Michel Leiris in particular), as well as on the passionate trans-cultural mediations of artist-researchers from Maya Deren to the contemporary interventions of Jimmie Durham, Alfredo Jaar, Renee Green, the Atlas Group, Isaac Julian, Yinka Shonibare, and others. I think of my work as an experimental mode of translating through art practice research conducted in carefully selected urban sites, public cultures, and conceptual horizons. My work incorporates the lessons learned from Conceptual Art, Arte Povera, Postminimalism, Site-specificity.

In creating a wide range of art practices, including installation, performance, cartography, digital photography, video and medical imaging technologies, I have tried to create conceptual and evocative interventions that are less about documenting, translating or representing the Other, and more about reflecting on the nature of desire in border zones, and how cross-cultural desire can be mediated through an art practice.

 
 
 

Writing on the Artist

 

2017 Art Basel Miami Beach What The Dealers Said – 2017 Round-Up

2017 The Best Art We Saw in June: John Toki, Beth Shock, Fiamma Montezemolo, Phoenix New Times, June 2017

2016 The Secret, brochure for Solo show at Kadist, by Marina Pugliese and Heidi Rabben

2016 Daily Serving, by Leila Easa

2016  Vogue Art, by Riccardo Conti, The Secret , September

2016  Tijuana Transa: Transa as Metaphor and Theory on the US–Mexico Border, by Jennifer Reimer in Journal of Transnational American Studies

2016 "Mutating Producers: Tijuana's Border Art Laboratory', by H. Yépez in 'Terremoto," Arte Contemporáneo en las Américas' Issue 5

2016 The Incurable-Image: Curating Post-Mexican Film and Media Arts, by T. Elhaik, Edinburgh Press

2015 "Zero Squared #41: Echo" by Douglas Lain, Zero Books Blog, October 21, 2015

2015 "Fiamma Montezemolo, Traces," Mike Watson, Art Review, October 2015 [pdf]

2015 "All that remains," by Emi Fontana [English] {Italiano]

2015 "Il bambino e l’acqua sporca," Sabrina Ragucci, Alfabeta June 26, 2015

2015 "Le costellazioni della Montezemolo, " La Repubblica

2015 "Fiamma Montezemolo, Fra antropologia e arti visive," Lorenzo Taiuti Art Tribune July 2015

2015 Il Manifesto, Lesistenza Del Futuro Sul Bordo Tra Messico E USA

2013 Anthropology and Art Practice, edited by A. Schneider and C. Wright

2012 Border Alchemies, Queen's Nails Project, San Francisco: SOLO Exhibition

2011, MDE11 (Encuentro Internacional de Medellin, Colombia): Independent Curators International, Lucia Sanroman

2010 Ethnographic Terminalia, New Orleans, (American Anthropology Association) Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7

2010, Giulia Grechi, Interartive: a platform for contemporar art and thought:'Mi-lieus. El juego de la profanacion'

2010, Giulia Grechi, Arte e politica, Mi-lieus. Il gioco della profanazione, Roots-Routes Research on Visual Culture