Giuliana Cunéaz

Giuliana Cunéaz

Giuliana Cunéaz

CONTENTS 

5-6 The Enigmatic Worlds of Giuliana Cunéaz 

Markéta Faustová 

7-8 Inside Matter 

Stefano Raimondi 

11-12 Confidenzial Zones 

A discussion between Giuliana Cunéaz 

and Claudio Cravero 

15-16 Vermilions and Neurons 

25-26 Spores and Pollens Grains 

35-36 Nanoparticles and Dandelion Clock 

43-44 Nanomushroom 

55-56 Photosynthesis 

65-66 King Birds of Paradise 

74-75 Birth Tree 

84-85 Spyrogira and Great Spotted Woodpecker 

100-101 The God Particle 

110-111 Matter Waves 

126-127 Neither Snow nor Meteor Showers 

136-137 Biography 

142-143 Appendices 

152-153 Inner Flux 

Vernon City, Prague

The Enigmatic Worlds of Giuliana Cunéaz 


In her works Giuliana Cunéaz reveals specific and 

very intense worlds. It is as though we are looking 

through a microscope into the insides of some 

unknown organism or through a telescope into 

a mysterious galaxy full of bright star clusters… 

Their infiniteness is dangerously vertiginous and 

soothing like the ocean depths. The can be simple 

and intimate, but at the same time enigmatic and 

minutely complex. In them the artist offers an ambient 

atmosphere, an instant in which the universe 

stands still, and the riveting effect of something 

dynamic happening. The viewer, who becomes a 

visitor, left to float in the works as though in a state 

of weightlessness, is sometimes in a second again 

subjugated and eagerly devoured (like in the case, 

for instance, of the hypnotic mandalas entitled ‘The 

God Particle’). Cunéaz seems to be reconciliation 

of opposites, the intersection of which is however 

exceptionally powerful – nature and science, reason 

and emotion, innocence and experience, technicism 

and art. Shapes and colours are born out 

of natural meditative green biospheres and grey 

mysterious mathematical empires and geometric 

networks. Vital plastic forms and firm materials 

exist independe independently, but they can also 

permeate each other (like in ‘Vermilions and Neurons’, 

2006 or in ‘King Birds of Paradise’, 2008). A 

paradox occurs even in Giuliana Cunéaz’s use of 

form. The latest 3D technology, three-dimensional 

video-images, is combined with the most banal 

artistic technique – not so much artistic painting 

as painted coatings. She paints natural motifs using 

a brush on a digital screen, creating them with 

a view to their real-world references (the recurring 

bird motif).The resulting work is thus enriched by 

another level – a level not just spatial but one of 

meaning. A key element in the work of Giuliana 

4 

Cunéaz is thus colour and in particcular light. She 

uses denseness, expressiveness, and contrasts. 

Her visual themes emerge from the whole and bewitchingly 

beguile our eyes and our inner vision. 

The luminescence of selected elements calls the 

Gothic art of stained-glass windows to mind. As 

with such works, in Cunéaz’s works light retains 

an inward, spiritual force. The works of Giuliana 

Cunéaz radiate various form of energy. However, 

there is a common element to their attraction, and 

that is MOTION. It is as though a wind has picked 

up around us, moving tiny particles of dust here 

and there, and sometimes a wild storm blows and 

sweeps the powerless image away into distances 

beyond our view. We perceive motion even in the 

forms themselves. Cunéaz employs spirals, waves, 

domelike shapes rising up out of a surface. And 

even the material moves and vibrates before our 

eyes. We can feel its softness and openness or conversely 

its firmness and structure. 

In the end the motion in the work is led in every direction 

– out from within, from without into the centre 

of matter, but even crosswise – the images concatenate, 

multiply, diffuse within each other. And the 

work of Giuliana Cunéaz comes to life and lives.

Inside Matter 


Formation is good. Form is bad. Form is the end, death. 

Formation is movement, act. Formation is life. 

Paul Klee 

The universe that animates Giuliana Cunéaz’s 

works is difficult to find. The forms that come to life 

in her works have something familiar about them, 

but the mind cannot associate them with known 

subjects. We glimpse correspondences with reality 

and the sphere of everyday life, we proceed by 

comparison, holding on to a familiar set of images: 

shells, trees, the concentric waves generated by a 

pebble that falls perpendicular to the water line. 

Only to find out that this world she has brought 

to the forefront, projected onto painted screens, 

animated in 3D, and exploded to form a sculptural 

body, is not imaginary nor surreal, but simply hidden, 

tiny, nanometric. It occupies some millionth 

fractions of a millimeter. 

So the effort we demand of our brains becomes 

even greater - how can we pay attention to, or even 

imagine, the inside of the most minute detail of 

an object, forgotten who knows where, and think 

that it can be populated by sub-worlds so tiny, and 

yet so interesting? It is as if we asked someone to 

read the memory of a person’s entire life, in third 

person, in the inside of a wrinkle. 

That is why, when Giuliana showed me the images 

that form the basis of her recent work, first of all 

I spontaneously turned my attention towards the 

scientific nature of these images. They are mostly 

snapshots taken in a lab, with the help of atomic 

force or tunnel effect microscopes, which can penetrate 

into the details of this otherwise invisible 

world, and bring them to light. Even the artist’s 

way of proceeding, the accurate cataloguing of 

these documents found in books, websites, or provided 

by research centers, gave me an impression 

of extreme rationality. However, when we jumped 

from those images to the works themselves, everything 

became more intimate and silent, like a 

deep, calm sea that lets the poetry of things come 

to the surface. A silence that is not perennial but, in 

the video works, is broken each time by some “refresh” 

noise, the sound of a natural element that 

accompanies us in our journey through the work, 

marking the temporal dimension: the sandy waves 

of Matter Waves, the bird calls in Occulta Naturae, 

a metallic wind in The Growing Garden. 

The work that first pushed Giuliana to deepen her 

knowledge of nanotechnology and the formal aspects 

of this universe was Quantum Vacuum, in 

2005. Here begins the path that led her to the creation 

of I The Potato Eaters, Occulta Naturae, and 

the more recent The Growing Garden, The God Particle, 

Nanocluster and Matter Waves. 

The common identity shared by these works has to 

do with both the artist’s attraction to the nanometric 

universe - which is never used as such, but processed 

and set in a new context -, and in her esthetic vision, 

which is constantly evolving, and has always been 

characterized by the interaction and dialogue between 

a human-size reality and a smaller, hidden one. 

Thus, in Occulta Naturae, what looks like the thick 

web of an exotic wood, peopled by bird of every species 

- humming birds, tanagers, apapanes - and made 

even greener by a rainstorm that has just finished, actually 

turns out to be a blown-up view of neural networks, 

cerebral cortex cells, nanoparticles of feathers 

and tobacco leaves. In The Growing Garden, nanomolecular 

images turn into 3D visual worlds that evoke 

the vegetable realm. This representation is the result 

of the artist’s own journey through reality, which led 

her to the awareness of the mystery of things. Like 

Paul Klee did almost a century ago, Giuliana Cunéaz 

views observation as a study of functions and processes. 

Her works never depict a definite, immutable 

form, but rather its evolution in time, its cyclical processes 

of growth, development and death. Movement 

begets action, action generates memory, and the 

latter inscribes time into the individual. Thus the opposing 

pair dynamic/static becomes both visible and 

mimetic at the same time, by operating creatively on 

two levels - video animation and screen painting. It 

is at this stage that the artist has to invent, almost 

from scratch, a “means”, or better a “technique” that 

can condense an apparently irreconcilable static/dynamic 

situation. Looking at her previous works, she 

must have immediately deduced, from the videos, 

the possibility to show a progress, and, from 3D manipulation, 

the opportunity to transform an image 

into content. The kind of painting she introduced into 

this basic scheme could not but build an emotional 

and spatial ‘circuit’. This process lies at the root of the 

screen paintings, i.e. the painted screens where the 

artist makes her interventions by painting the video 

screen with enamel colors. When the monitor is on, 

it becomes difficult to immediately spot the painting, 

but you can sense the short-circuit - you experience 

liquid painting and a motionless video, where the 

setting only gradually changes. 

The landscapes in the screen paintings are crossed 

by iridescent energy flows and are silhouetted 

against absolute, cosmic-primordial, black backgrounds. 

They are the same 8.6-magnitude currents 

that cross the Earth’s surface in the Matter Waves 

video, turning the earth’s deepest layers inside out, 

repeatedly digging up new, strange finds belonging 

to who knows what civilization. And yet this Minoic 

pottery, these shells from remote ages, between the 

Mesozoic and the Paleozoic, these helms torn from 

warships, are (once again) nothing but images 

from the nanometric world, which have also been 

dug up by a similar, but less violent, in-depth research. 

The work opens with a close-up of some of 

these inert archaeological finds. The static picture 

sharply contrasts with the growing rise of the sand 

waves. Sound anticipates the geological drama of 

crash and disorder. The earth-wave smashes everything 

it finds on its way, making it disappear, bury- 

ing it or sweeping it far away, and leaving room for 

new archaeologies and new associations. But just 

as you manage to bring the new picture into focus, 

another waves hits it, causing the work to slide like 

the frames of a still life pictured against the extraterrestrial 

background of a Tanguy from the 30s. 

What the artist looks for is not a rapid succession 

of events - her work is not a hypnotic circus, but a 

suspended ritual that interacts with time. 

The artist, therefore, uses this rendez-vous of energy 

and stillness to stage the action’s process. The 

shift from one state to the next, from time to form, 

is gradual rather than abrupt, although not always 

exempt from power overloads, like the one she intentionally 

causes in The God Particle project. But 

how else could it be, given that this painted screen 

depicts the explosion that generated the elementary 

particle underlying the whole universe. The 

risk of a black-out is high, as shown by the researchers’ 

experiments with the Geneva accelerator. 

But Giuliana’s works distance themselves from 

research treatises. In the image, poetry is the symbolic 

link, the coupling of form and the spiritual 

kinship with the Mandala iconography, the universal 

emblem of a Buddhist cosmos created by autopoiesis 

from its own center. 

In Nanocluster, the hybridization of forms takes the 

shape of a research on sculpture. Modeling marble 

like a three-dimensional virtual reality, the forms 

of nanostructures inscribed into the sculpture, derived 

from crystals, mushrooms, spores, become 

unconscious mental associations, inkblots animated 

by imagination. 

The tree-dimensional modeling of nanometric elements 

is a common denominator shared by many 

works. At this stage the invisible, nanometric reality 

is visualized, takes up a digital body, and reveals 

a popularity that is not only spatial. 

It is in this process of appropriation and re-animation 

that the image becomes a work and acquires energy, 

as contents emerge from the sea of lost things. 

6 7

Confidential Zones 

A discussion between Giuliana Cunéaz 

and Claudio Cravero 

Claudio Cravero: What do you ask yourself when 

you imagine your work? 

Giuliana Cunéaz: Right from the beginning, I’ve 

always asked myself where I am when I’m not 

present within myself. I’ve also taken into consideration 

hypnosis, the psychic world and shamanism, 

to the point of analyzing some forms of psychosis, 

often tied to trance. From 1999 to 2001, 

the most interesting and enriching aspect of this 

experience was precisely that of carrying out a series 

of works from which these particular states of 

consciousness emerged: Shamans, participants in 

a rave party to which recently a more sociological 

aspect has been added regarding that other world 

of hard-core punks. I also attended bio-dance 

courses to understand the participants’ emotional 

reactions. That which I call “affectivity training” 

develops intense empathetic relationships among 

the participants, sometimes resulting in screaming 

and crying. Such reactions have to do with regression 

to a primal unconsciousness and a need 

for affectivity that collides with a society based 

exclusively upon individualism and profit. I’m interested 

in an investigation that shows the human 

being without defences where the boundary 

between consciousness and unconsciousness appears 

to be ever so subtle, sometimes non-existent. 

All this is the subject of an exhibition entitled 

“Officina pastello” (Pastel workshop) organized in 

Aosta in 2000. 

CC: From the projects about different experiences 

of trance up to nanotechnology: wherein lies the deviation 

that led you to this passage? 

GC: This is evidently a leap but nanotechnology 

also refers to a secret invisible universe: trance is 

what is beyond the psyche, whereas nanomolecules 

are beyond matter. 

In short, I could say that the works made from 1993 

to 1996 such as Incorporeamente (Embodily) and 

Sub Rosa present a dualistic vision. On one hand, 

there’s imagined body, and on the other hand, the 

visceral component with pulsating organs filmed 

during surgical operations. 

In 2000, I made Il cervello nella vasca (Brain in the 

tub), a work centred around the topic of the complexity 

of the individual and his perceptions, that 

opened me up to greater experiences leading to 

the theories of chaos and Heisenberg’s principle of 

indetermination. 

Quoting from a novel by the Portuguese writer 

Fernando Pessoa, I started from the concept of being 

“a sole multitude”. In short, I wanted my work 

to be generated by many parts of myself, different, 

and at times, conflicting aspects that each one 

of us possesses. My intention was that of showing 

the coexistence of different creative forms that 

don’t necessarily lead to a unitary work. In short, 

we are complex beings capable of simultaneously 

managing many situations. That’s it; my aim was 

to create a group of works that ideally could go 

on indefinitely, through a summation of the various 

phenotypes and therefore continuously transforming 

itself. The final result was the creation of 

a series of heterogeneous shapes, the entire vision 

of which forces the observer to wonder about oneself 

and one’s own fate. 

CC: After the video shot in Berlin where you ask different 

people to occupy a wasteland in the centre of 

the city, each with his own rake, burying and digging 

up the things they are fond of, you made the 

first video installations using nanotechnology. Am I 

wrong or isn’t the Zona Franca (Free Zone) project 

a continuation of the precedent topics about the 

temporary appropriation of a place, but has just 

been developed with different means? 

GC: Yes, exactly. Giving oneself some space often 

means being a nomad and leaving one’s own reality 

behind to create a different moment, not the 

ordinary one, and though a bit different, it’s what 

has been verified on a global level with the diffusion 

of Second life. 

In the video-installation Zona Franca I asked a 

number of people to go onto the rooftops and to 

take the secret or dreamy part of themselves with 

them. The purpose of this was to accede to that dimension 

beyond their everyday lives so that they 

could express their wish or an intimate part of their 

being. From the point of view of its construction, 

the installation became a series of inclined planes 

of differing heights with respect to the viewer, 

which design an invisible and totally unreal city. 

And finally, all of it has been worked out in 3D to 

create a map of DNA molecules that welcomes the 

individual and, at the same time, conducts him towards 

his annulment. 

CC: In the work I Mangiatori di patate (The Potato- 

Eaters), if we want to give a contemporary interpretation 

to a masterpiece from the past, human beings 

are immerged in world of particles that move 

all around us, almost as if unaware of the dimension 

in which they’re moving. How come there is this 

formal contrast? 

GC: In this work, the characters express a feeling 

of solitude and coldness, both technological and 

molecular, of the environment, underlining the 

distance between mankind and nature. The figures 

are anonymous and their rapport with food is totally 

detached: they eat without knowing exactly 

what they are swallowing. The work refers to Van 

Gogh’s The Potato-Eaters, but it takes the opposite 

point of view. In the Dutch master’s painting, the 

rapport of the peasants with the potatoes is de- 

pendent and cyclical, since they are the ones who 

cultivate them and then eat them: whereas my 

potato-eaters are lonely people, cold automatons 

with no dialogue and communication, neither 

with each other nor with the table. 

CC: Analyzing the processes of nature as in I Mangiatori 

di patate means investigating the transformation. 

Why is there this approach to the natural 

fact and its 3D representation? 

GC: Above all, there’s the strong urge, felt collectively, 

towards recuperating nature, a dimension 

with which we are often in contact without even 

realizing it; in fact, we hardly perceive the seasons 

we’re living in. So I am interested in entering into 

the matter and analyzing the processes, but most 

of all, of seeing the forms’ change. What we see in 

reality can be found cyclically in the cosmos and 

the micro-cosmos. Furthermore, there’s another 

aspect that I’ve introduced into my video work: the 

intervention of painting directly onto the plasma 

screen which I’ve called “screen painting” and 

which I presented for the first time at the Gagliardi 

Art System Gallery in Turin in 2008. I think I was 

the first to do so. The rapport of painting on the 

screen is very different from typical digital modes 

of 3D and the reproduction of retouched photographic 

images, because I leave the painted marks 

on the screen, ancient traces, if you like, which are 

gestures deposited directly onto the monitor, thus 

becoming part of the screen’s skin; fixed drawings 

dialoguing with the video’s animated images. 

Nevertheless, it’s a matter of a gesture that goes 

against the nature of technology, which thanks to 

my intervention, structurally modifies its function. 

Both through nanotechnology and the painted details, 

I’m interested in understanding why the material 

organizes itself into specific shapes and not 

others. We think we know about the world and nature, 

but that’s not so; and throughout history sci- 

10 11

ence has shown us that there are many limits, for 

example, only going so far as empiricism. Also the 

theory of indetermination tells us that nothing is 

measurable and the quantum universe teaches us 

that void does not exist and that from this “nothingness” 

particles and anti-particles are constantly 

being created. Not just by chance, my last work, 

The God Particle, investigates precisely that collision 

among particles, looking for the Higgs boson, 

the mythical elementary particle that generates 

the universe but which hasn’t been discovered yet 

by the science, upon which recent experiments at 

the Cern have been based. 

CC: And why is there this association of 3D animation 

and specific paintings on the screen? I also 

mean, why are such contrasting means utilized for 

a formal rendering? 

GC: Mostly, the screen painting have been a way 

of interacting directly and without artifice upon 

the 3D animated images. And therefore, seeing as 

self-replication and nanotechnology tend to abolish 

diversity, I am trying with the repetition of the 

pictorial gesture to re-animate the differences. The 

landscapes I make are reflections upon the cycles 

of time and nature, of the creation of forms that 

come to life and die, where birth and death join in 

an eternal return. 

Giuliana Cunéaz working at screen painting Vermilions and Neurons, 2006 

12 13

Vermilions and Neurons

Vermilions and Neurons, 2008, digital print and acrylic on cotton, 135x120 cm 

pp. 18-19 

Vermilions and Neurons, 2007, 3D animation and enamel colour on plasma screen, 95x54 cm 

16 17

Vermilions and Neurons, 2009, digital print and acrylic on cotton, 45x31,5 cm 




20 21

Vermilions and Neurons, 2009, digital print and acrylic on cotton, 50x35 cm 

22 23

Spores and Pollens Grains

pp.26-27 

Spores and Pollens Grains, 2007, 3D animation and enamel colour on plasma screen, 95x54 cm 

Spores and Pollens Grains, 2009, digital print and acrylic on cotton, 45x31,5 cm 

28

Spores and Pollens Grains, 2009, digital print and acrylic on cotton, 45x31,5 cm 

30 31

Spores and Pollens Grains, 2009, digital print and acrylic on cotton, 50x35 cm 

32 33

Nanoparticles and Dandelion Clock

pp.36-37 

Nanoparticles and Dandelion Clock, 2008, 3D animation and enamel colour on plasma screen, 95x54 cm 

Nanoparticles and Dandelion Clock, 2009, digital print and acrylic on cotton, 45,5x35 cm 

38 39




40 41


42 43

Nanomushroom

Nanomushroom, 2008, 3D animation and enamel colour on plasma screen, 95x54 cm 

46 47

Nanomushroom, 2009, digital print and acrylic on cotton, 125x95 cm 

48 49

pp.50-51 



52 53


54 55

Photosynthesis

Photosynthesis, 2008, videoinstallation, 3D animation 

58

Photosynthesis, 2009, digital print and acrylic on cotton, 45x30 cm 

60 61

Photosynthesis, 2009, digital print and acrylic on cotton, 45x30 cm 

pp.64-65 

Photosynthesis, 2008, videoinstallation, 3D animation 

62 63

King Birds of Paradise

King Birds of Paradise, 2009, digital print and acrylic on cotton, 45x38 cm 

68 69



70 71


72 73

King Birds of Paradise, 2008, 3D animation and enamel colour on plasma screen, 95x54 cm 

74

Birth Tree

Birth Tree, 2008, videoinstallation, 3D animation 

78 79

Birth Tree, 2008, videoinstallation, 3D animation 

80 81

Birth Tree, 2009, digital print and acrylic on cotton. 50x35 cm 

82

Birth Tree, 2009, digital print and acrylic on cotton. 50x35 cm 

84 85

Spyrogira and Great 

Spotted Woodpecker

Spyrogira and Great Spotted Woodpecker, 2009, 3D animation and enamel colour on plasma screen, 95 x 54 cm 

88 89

Spyrogira and Great Spotted Woodpecker, 2009, digital print and acrylic on cotton, 85,5 x 85 cm 

90 91

Spyrogira and Great Spotted Woodpecker, 2009, digital print and acrylic on cotton, 125 x 90 cm 

92 93

Spyrogira and Great Spotted Woodpecker, 2009, digital print and acrylic on cotton, 50 x 35 cm 

94 95

The God Particle

pp.98-99 

The God Particle, 2009, 3D animation and enamel on plasma screen, 165x95 cm 

The God Particle, 2009, digital print and acrylic on cotton, 125 x 80 cm 

100 101

The God Particle, 2009, digital print and acrylic on cotton, 60x45 cm 

102 103

The God Particle, 2009, digital print and acrylic on cotton, 60x45 cm 

104 105

Matter Waves

Matter Waves, 2009, digital print and acrylic on cotton, 110x85 cm 

108 109


110 111


112 113


114


116 117


pp.120-121 

Matter Waves, 2009, videoinstallation, 3D animation 

118 119

Neither Snow nor Meteor Showers

pp.124-125 

Neither Snow nor Meteor Showers, 2010, 3D animation and enamel colour on plasma screen, 124x81,5 cm 

Neither Snow nor Meteor Showers, 2010, digital print on cotton, 50x25,5 

126 127

Neither Snow nor Meteor Showers, 2010, installation: screen painting, sculpture in fibreglass and painted plaster, 

digital print and acrylic on canvas 350x500 cm (detail) 

128 129

Neither Snow nor Meteor Showers, 2010, installation: screen painting, sculpture in fibreglass and painted plaster, 

digital print and acrylic on canvas 350x500 cm (detail) 

130 131

Biography

Giuliana Cunéaz was born in Aosta and lives and 

works in Milan. She graduated from the Academy 

of Fine Arts in Turin and uses all artistic media, 

from video-installations to sculpture, from photography 

to painting, and even screen painting. 

In the early Nineties, she embarked on an avenue 

of research that involved exploring forms combined 

with video experimentation. Her first works 

convey a personal re-elaboration of minimalist 

laguages and those related to Arte Povera. In 

1990 she created Il silenzio delle fate (The silence 

of the fairies), an installation located in the Valle 

d’Aosta featuring 24 music iron stands with a 

marble musical score. Each contained a part of 

a musical composition, whose entirety was represented 

by the sum of the single elements. Each 

music stand, however, had an independent des- 

Giuliana Cunéaz working at Corpus in Fabula, 1995 

tiny and was located in a place characterised by 

the memory of a legend about fairies. This work 

of art, therefore, even then demonstrated a complex 

multitude, the red thread of all future work. In 

1991 she created Lucciole (Fireflies), her first video 

installation with screens that reproduced the fixed 

image of the space concealed below the television. 

1993 was the year of In Corporea Mente, a flexible 

work that draws its origins from research on the 

imaginary body, which is considered to have surpassed 

studies elated to Body Art on an emotional 

level. Gillo Dorfles judges this work as “portent of 

a new and, in fair part, original realization of the 

future of today’s visual art, and perhaps of that 

of the near future”. Her research on the imaginary 

body contcontinues in the years that follow with 

Sub Rosa (1995-1996) which involves creating 

three videosculptures Corpus in Fabula, Biancaneve 

and Pneuma where the almost ethereal structures 

in white and transparent Perspex contain 

realistic images of blood and flesh taken from 

heart surgery. The sculpture, basically takes on an 

ambivalent aspect, between the fabled presence 

of the body (there is no lack of references to the 

work of Gustav Klimt) and its physical concreteness. 

In 1998 with L’Offrande du Coeur and Il Cervello 

nella Vasca (The brain in a vat) (1998-2000) 

Giuliana Cunéaz tackles the theme of complexity, 

one of the crucial areas of her research. The artist 

questions herself on the creative process and on 

its development by breaking up the unitariness of 

the work seen as a simple product. And she does 

so first by examining a fifteenth century tapestry, 

whose tapisserie are transformed into an interactive 

panel, (L’Offrande du Coeur) and then by reworking 

scientific experiments from a creative 

perspective (Il Cervello nella Vasca). The latter work 

also encompassed Transire, a video that examines 

the alterations of an individual with respect to the 

ordinary state of consciousness. Giuliana Cunéaz 

conceives the work of art as a challenge, a passage, 

or even how to reach the limits of the conscience. 

In the Officine pastello project (1999-2002) that 

included Biostory, Riti sciamanici and Discoteca, 

the artist seeks laboratories of emotions – the 

officine pastello – aimed to solicit the sphere of 

sensorial and emotional perception through experimentation 

on oneself and on others in an unnatural 

or artificially created environment. This 

line of research also extended to the videos and 

photographs that are part of the Riti Sciamanici 

(Shamanic Rituals), possibly her most well-known 

work, in which the Shaman is the intermediary 

to live through a collective experience of a tribal 

nature. But even he becomes wholly involved in 

his performance before the onlookers thus eliminating 

any element of a documentary nature. 

In 2003 Giuliana Cunéaz created Terrains Vagues, 

an important video installation on the very concept 

of identity. With the assistance of several citizens 

of Berlin, the artists reflects on the relationship 

between the physical nature of a place and 

man’s feelings. No longer the relationship between 

the imaginary body and the mind therefore, or the 

need to create laboratories of emotions, but an extension 

of oneself within a research perspective 

in which Giuliana Cunéaz takes a course which is 

always on the threshold, but still fully real. No coincidence 

in a non-place inside the city each person 

buried an object that was particularly dear to 

them, and then unearthed it again so that its disappearance 

and slow re-emergence allow the object 

to recharge itself with a new symbolic worth. 

Also in the case of Punkabbestia, also in 2003, 

displayed that year at the Quadrennial, the artist 

created a video installation in which the modern 

metropolitan tribe accompanied by their dogs become 

the inhabitants of tents which are ancestral 

and post-modern at the same time. Once again, 

therefore, the artist creates a divergent course 

where what has happened in a place becomes the 

metaphor of an emotional journey that challenges 

indifference. This all leads her, the following year, 

to create Zona Franca, a world in which the inhabitants 

live on the rooftops of houses and in that 

place of absolute freedom, they can give free rain 

to their creativity. “I like the idea that men migrate 

and occupy a new territory, creating a new form 

of cohabitation by changing the perceptive and 

relational process”, explains the artist. In 2005 3D 

became part of her research, so much so that it became 

an area of research both in terms of video and 

painted screens. The acquisition of a technological 

tool is not, obviously, a an end in itself, but is part 

of a research in which the artist acquires data from 

the world of science and nanoscience to transform 

them into a sort of virtual landscape that interacts 

134 135

continuously with the real data. This happens in 

the Quantum Vacuum, and in another video from 

2005 I Mangiatori di Patate (The potato eaters) inspired 

by the painting of the same name by Van 

Gogh. Giuliana Cunéaz has identified a completely 

new dimension, where natural elements are actualized 

through 3D images and the use of nanotechnologies. 

This was the starting point for Occulta 

naturae (2006) and, afterwards, for The Growing 

Garden (2007- 2008), where moving virtual images 

exist side by side with painterly elements. 

What we see, therefore, is a sophisticated elaboration 

where art, for Giuliana Cunéaz, continues to 

be a self-sufficient, individual way for challenging 

the laws of physics and reinter preting the whole 

environment around us. Giuliana Cunéaz started 

to exhibit her work in well-known public and private 

exhibitions in Italy and abroad in the early 

nineties. She also participated in the Videoformes 

Festival in 1991, 1993, 1996, 2000 and 2010. 

In 1994, she took part in the Saõ Paolo Biennial in 

Brazil and in 1996 she exhibited her work at the 

Obalne Galerie in Pirano in Slovenia. In 2002, her 

works were shown at the Museum of Contemporary 

Art in Bucharest. In Italy, in 1995 her work 

appeared at the Revoltella Museum in Trieste; 

in 2000 at the Pecci Museum in Prato and at the 

Torre del Lebbroso in Aosta. In 2001 she staged 

solo exhibitions at Castello Ursino in Catania and 

at the Museum Laboratory of Contemporary Art at 

La Sapienza University in Rome. In 2002, she participated 

in Exit at the Sandretto Re Rebaudengo 

Foundation in Turin. In 2003 she staged two solo 

exhibitions at the Play Gallery in Berlin and at the 

B & D gallery in Milan. Also in 2003, one of her 

video installations was displayed at the Festival of 

Italian Cinema in Annecy. In Annecy, in the same 

year, she also represented Italy in an exhibition 

entitled Shift which involved 9 European artists. 

In 2004, as part of the Quadrennial exhibitions in 

Rome, she participated in Anteprima in Turin. In 

2005, she staged a solo exhibition at the Gas Gallery 

in Turin. In 2005 and 2008, two solo shows of 

her works were held at the Gas Gallery in Turin. In 

2008, Silvana Editoriale published an important 

monograph that reviews over twenty years of her 

work. In the same year, she participated at Tina B. 

Prague Festival and third Seville Biennial Youniverse 

selectioned by Peter Weibel. In 2009 has exposed 

at the PAV (Parco d’Arte Vivente), realized 

by Piero Gilardi; in the same year has presented 

a monumental sculpture for the exhibition Memoria 

Sottotraccia at the Archaeological Museum, 

Aosta, and has participated at the exhibition 

Body Automatons Robots at Museo d’Arte, Lugano. 

The artist working at screen painting The God Particle, 2009 

136 137

Appendices

Exhibitions 

Solo exhibitions 

2010 

Photosynthesis, Temporary Palazzo, Parma 

curated by Chiara Canali 

2009 

Inner Flux, Galerie Vernon City, Prague 

2008 

The Growing Garden, Gas Art Gallery, Turin 

curated by Giovanni Iovane, James Putnam, 

Sergio Risaliti 

2005 

I Mangiatori di Patate, 

Gas Art Gallery, Turin curated by Laura Cherubini 

2003 

Terrains Vagues, Play-gallery for still and 

motion pictures, Berlin 

Turbe Celesti (Heavenly Crowds), B&D Studio, 

Milan 

2002 

In Absentia, Galleria Arte Contemporanea, 

Catania curated by Antonio Arévalo 

2001 

Officine Pastello, Museo Laboratorio di Arte 

Contemporanea - Università La Sapienza, Roma 

curated by Antonio Arévalo; Corpi & Corpi, Zuni 

Arte Contemporanea in collaboration with the 

Observatory of Photography of the Municipality 

of Ferrara. Ferrara curated by Roberto Roda; 

Sguardami, Castello Ursino, Catania 

curated by Alberto Fiz 

2000 

Il Cervello nella Vasca (The Brain in a Vat), B&D 

Studio, Milan 

curated by Alberto Fiz and Sabrina Zannier; 

Officine Pastello, Torre del Lebbroso, Aosta 

curated by Antonio Arévalo 

1996 

Corpus in Fabula, Théatre des Guetteurs 

d’ombre, Clermont-Ferrand curated by Gabriel 

Soucheyre; Sub Rosa, Galleria Anonimus, 

Lubjana 

curated by Sabrina Zannier and Milan Zinaic 

1995 

Grey Zone, Galerie l’Art du Temps, 

Clermont-Ferrand curated by Davide Cabodi 

1993 

In Corporea Mente, Chiesa di S. Lorenzo, Aosta 

curated by Gillo Dorfles; In Corporea Mente, 

Galleria l’Uovo di Struzzo, Turin 

1990 

Il silenzio delle fate, Forte di Bard, Aosta 

curated by Adriano Antolini and Janus 

Group exhibitions 

2009 

Corpi Automi Robot, Tra arte,scienza e tecnologia, 

Museo d’Arte, Lugano 

curated by Bruno Corà and Pietro Bellasi; Memoria 

Sottotraccia, Segni e forme dell’archeologia, MAR 

Museo Archeologico Regionale, Aosta 

Flower Power, Villa Giulia Centro Riceca Arte 

Attuale, Verbania 

curated by di Andrea Busto; Greenhouse (Winter), 

Parco d’Arte Vivente - PAV, Torino curated by 

Claudio Cravero 

2008 

Tendances actuelles de la vidéo d’art en Italie. 

Centre d’Art de la Bastille, Grenoble ; 

YOUniverse, Biacs 3 the Seville Biennial Centro 

Andaluz de Arte Contemporaneo (CAAC), 

Seville curated by Peter Weibel; TINA B. – The 

Prague Contemporary Art Festival, 

Laterna Magika, Prague 

2007 

FemLink The International Video Collage, traveling 

show curated by Véronique Sapin, stopping 

in: - Marseille, France, «les Instants Vidéo», 

Polygone Etoilé (December 8) - Jakarta, Indonesia, 

French Cultural Center, December 14 – January 

5 - Caracas, Venezuela, Taller Multimedia 2007 

and « les Instants Vidéo (November 4), France 

Embassy - Dublin, Ireland, The Shed (November 

15) - Beyrouth, Lebanon, « les Instants Vidéo 

» with Shams - Issy les Moulineaux, France, 

Cultural Center Le Cube, October 25 - 6DOF - 

Puebla, Mexique, Cultural Center « La Cloaca », 

6-14 sept 07 - Pula, Croatia, Pula Film Festival 

(July 21) - Cambridge, MA, CyberArts Night 

Vision Festival 2007 (May) - New-York USA: 

Women’s Caucus for Art International 

Video Screening February 18) - Eindhoven, 

Nederlands, Temporary Art Center (March 8 – 

23) - Boston Massachusetts, Boston Cyberarts 

Festival, March 9 - Barcelona, Spain, FESTIVAL 

LOOP (June 24) 

2006 

Querschnitt. Sezione Trasversale 2, Galleria 

Gas Art Gallery, Turin; Mostra Convegno, 

Energia. Forza Vitale. Tra il Visibile e l’Invisibile. 

Bolognano, Pescara curated by Antonio d’Avossa 

and Lucrezia De Domizio Durini 

2005 

Le Parole Disperse, Chiostro di San Domenico, 

Casale Monferrato 

curated by Tiziana Conti; Corsi e Ricorsi della 

Storia, EnPleinAir, Pinerolo curated by Tiziana 

Conti; Regionevolmente, Mostra collaterale 

a Vitarte 2005 Exhibition of modern and 

contemporary art, Viterbo curated by Gianluca 

Marziani; Latte di Mandorla, Primo Piano 

LivinGallery , Lecce curated by Dores Sacquegna 

and Grazia De Palma; Il Corridoio dell’Arte, 

Assessorato alla Cultura della Provincia di 

Torino, Turin curated by Gabriele Fasolino and 

Gabriella Serusi; Il Corridoio dell’Arte, Palazzo 

della Triennale, Milan 

curated by Gabriele Fasolino and Gabriella Serusi 

2004 

VideoDialoghi, Centre Culturel Francais, Turin 

curated by Mario Bertoni and Willy Darko; 

Omaggio a Joseph Beuys, Museo d’Arte 

Moderna Ascona curated by Antonio D’Avossa 

and Lucrezia De Domizio Durini; XIV Quadriennale 

di Roma Anteprima, Palazzo della Promotrice 

delle Belle Arti di Torino section 

curated by Luca Beatrice; Querschnitt Sezione 

Trasversale, GasArtGallery, Turin 

2003 

The first free international forum, Bolognano, 

Pescara curated by Lucrezia de Domizio Durini; 

The heart of art video collection, Facoltà di 

Scienze della Comunicazione, La Sapienza, 

Università degli Studi, Rome; Biostory, Annecy 

Cinéma Italien, Bonlieu Scène Nationale, 

Annecy; Shift, Immagespassages, Arteppes, 

Annecy curated by Annie Auchere Aguettaz; 

Gli Altri, Gas Gallery, Turin curated by Luca 

Beatrice; Fotografia al Femminile, Espace, Turin 

140 141

2002 

Exit, Fondazione Sandretto Re Rebaudengo, 

Turin 

curated by Francesco Bonami; The heart of art, 

Palazzo di Rinascita Comunicazioni, Ascoli 

Piceno curated by Mario Savini; Una Babele 

Postmoderna, Galleria San Ludovico, Parma 

curated 

by Edoardo Di Mauro; Il Peso del Virtuale, Galleria 

En Plein Air, Pinerolo 

curated by Tiziana Conti; Europa Video Art, 

Chiesa San Paolo Modena, Modena curated 

by Mario Bertoni and Willy Darko; Europa Video 

Art, Galleria Canem, Castellò de la Plana; 

Europa Video Art, Digit, Acc Galerie, Weimar; 

Maravee. La luce della notte, Villa Ottelio- 

Savorgnan, Ariis di Rivignano, Udine curated by 

Sabrina Zannier; Lune Parlanti, Galleria d’Arte 

Contemporanea, Repubblica di San Marino 

curated by Walter Gasperoni; Medienturm, 

Museum of Contemporary Art, Bucarest 

2001 

Riflessi della memoria, Complesso 

monumentale dell’Annunziata, Tivoli curated 

by Roberta Ridolfi; Trieste Contemporanea - 

Central European Video Art Presentation, 

Trieste curated by Giuliana Carbi; Videotape, 

L’Arengo del Broletto, Novara 

2000 

2000 Odissea nello spazio, Museo Su Logu de 

S’iscultura Tortolì, Nuoro curated by Edoardo 

Manzoni and Maurizio Sciaccaluga; Videoformes 

2000, Musée des Beaux Arts, Clermont-Ferrand 

curated by Gabriel Soucheyre ; Trapassatofuturo, 

Cartiere Vannucci, Milan curated by Alessandro 

Riva; Artiste a confronto, Centro per le Arti 

Visive Pescheria, Pesaro; Corpus in Fabula, 

Fondazione Bandera per l’Arte , Busto 

Arsizio curated by Manuela Gandini and 

Alberto Fiz; Fotoalchimie, Centro per l’Arte 

Contemporanea Luigi Pecci, Prato 

curated by Mirella Bentivoglio; Détails, 

La Giarina, Verona 

curated by Luigi Meneghelli; Giuliana Cunéaz, 

Clauds Morene, Novara 

curated by Marco Tagliaferro 

1999 

Atlante, Palazzo Masedu, Sassari 

curated by Giuliana Altea and Marco Magnani; 

Posizione Kappa, Palazzina Azzurra, San 

Benedetto del Tronto curated by Roberta Ridolfi; 

Percezione 3000, B&D Studio, Milan; Virtual 

Addict - Biennal Internationale de la Photo et 

des Arts Visuels, Liège 

1998 

Conscience d’amour, Galerie l’Art du temps, 

Clermont-Ferrand 

curated by Sabrina Zannier ; L’Arte verso il 

Cibermondo, Punto Video - Arte e Tecnologie, 

Museo Revoltella, Trieste 

curated by Sabrina Zannier; Supermercarte, 

Supermercato PAM, Venice 

curated by Antonio Arévalo 

1997 

Aperto ’97, Trevi Flash Art Museum, Trevi 

1996 

Il Corpo Dell’Angelo, Obalne Galerie, Piran 

curated by Sabrina Zannier and Majda Bozeglav 

Japelj; Corpus in Fabula, Théatre des Guetteurs 

d’ombre, Clermont-Ferrand ; 1° Premio Trevi 

Flash Art Museum, Trevi Flash Art Museum, 

Trevi 

1995 

Mito Moto Meta, Studio d’Arte Nadia 

Bassanese, Trieste 

curated by Boris Brollo and Maurizio Sciaccaluga; 

Contrappunto, Museo Revoltella, Trieste curated 

by Sabrina Zannier 

1994 

Violenze Carnali, Galleria l’Uovo di Struzzo, 

Turin 

curated by Maurizio Sciaccaluga; Violenze Carnali, 

Galleria Centro Steccata, Parma Violenze 

Carnali, Galleria Continua, San Gimignano; 

Photoidea - 22° Bienal Internacional de Sao 

Paulo, Sao Paulo 

curated by Mirella Bentivoglio 

1993 

Photoidea, Jonkers Education Art Center, New 

York 

curated by Mirella Bentivoglio; La Forêt - Festival 

de la Création Video,Clermont-Ferrand curated 

by Gabriel Soucheyre ; Libro e Segnalibro, Museo 

dell’Informazione, Senigallia curated by Mirella 

Bentivoglio; Violenze Carnali, Galleria 

Unimedia, Genoa curated by Maurizio 

Sciaccaluga; Violenze Carnali, Galleria Diecidue 

Arte, Milan; Violenze Carnali, Galleria Rino Costa, 

Casale Monferrato; Ad Hoc, Castello di Parella, 

Ivrea; L’Opera al femminile, Galleria Arx, Turin 

1992 

Icone di Maggio, Palazzo Ducale, Aosta; Valle 

d’Aosta in Lathi-Finland, Lathi Art Museum; 

Operazione Le Cisterne, Santa Maria di Castello, 

Genoa curated by Maurizio Sciaccaluga 

1991 

Art et Artistes Valdotains, Halle des Fetes de 

Meysieu, Lyon ; Evenements d’espace Etranger, 

Videoformes - Festival de la Création Vidéo, 

Clermont-Ferrand curated by Rosanna Albertini ; 

Sub-Trans-Alpina, Forte di Bard, Aosta curated 

by Andrea B. Del Guercio, Claudio Fontana and 

Sandro Ricaldone; La mémoire de l’eau, Conca di 

By, Aosta 

1990 

Il Filo d’Arianna, Chiesa di S. Lorenzo, Aosta 

curated by Emanuela Lagnier 

142 143

Articles and reviews 

2009 

Stefano Castelli, Noi Robot, Tutti gli automi 

dell’arte, Arte, November; Elena Meynet, Memoria 

Sottotraccia, La Stampa, July 1; Alessandro 

Mendini, Anche gli stampi hanno un’anima, 

Abitare, March; Barbara Reale, Cunéaz, Leopardi, 

Neira, ExibArt, March 11; A.M.G. Clima e Ambiente, 

Al PAV tre artisti italiani ci fanno riflettere sulla 

situazione della terra, La Stampa, February 6 

2008 

Daniela Giachino, A Grenoble l’arte di Giuliana 

Cunéaz. La Stampa, November 12; Alberto Fiz, 

Zeus, Orwell e nanotecnologie. Il giornale dell’arte, 

November; Stefania Tagliaferro, Vetrine Europee 

per Giuliana Cunéaz. La Stampa, October 5; Arte 

Tecnologico y espectador interactivo. Diario de 

Sevilla, October 2; Youniverse, La Bienal Global. 

ABC, October 2; Kristian Leahy, Sevilla se convierte 

en el centro universal del arte tecnologico, La 

Gaceta, October 2; Nome in codice Tina B. Il 

giornale dell’arte, October; Marina Mojana, 

Praga, Contemporary Art Festival, Il Sole 24 Ore, 

September 28; Tiziana Conti, Giuliana Cunéaz, 

Exibart, March 19, 2008; Sabatino Cersosimo, 

Giuliana Cunéaz, Gas - Gagliardi Art Sistem, 

Turino, Artkey Magazine, March 17, 2008; 

Silvia Tagliaferri, Vi guido con l’arte nel mondo 

invisibile(I’ll guide you with art through the 

invisible world), La Stampa, April 1, 2008 

2007 

Angiola Maria Gili, 7 videos for Rewind, Torino 

Sette, La Stampa, June 1 

2004 

Marina Mojana, Alla Quadriennale un Tentativo 

di esistenza, Il Sole-24 Ore, February 1; Angelo 

Mistrangelo, La Quadriennale di Roma in 

Anteprima a Torino, La Stampa, January 

18; Francesco Poli, I territori incerti della 

Quadriennale, Il Manifesto, March 11 

2003 

Ursula Celesia, Giuliana Cunéaz espone a Berlino, 

La Stampa, March 5; Rosella Ghezzi, Dove 

guardano i giovani, Vivimilano, Corriere della 

Sera, November 29; Laura Taccani, Giuliana 

Cunéaz: Turbe Celesti, City Milano, November 

29; Terrains Vagues. Videoinstallation, Taz Berlin, 

March 10 ; Monica Ponzini, Turbe Celesti, Exibart, 

March 22 

2002 

Maria Grazia Torri, Sciamani ad alta quota, 

Kult, November; Maurizio Sciaccaluga, Stati 

di allucinazione, Arte, September ; Alberto Fiz, 

Saranno famosi? Scopriamolo a Exit, Carnet, 

September; Arianna di Genova, Quella casa con un 

sex appeal da Museo, Il Manifesto, September 22 

2001 

Ugo Giuliani, Insulae, Identità e alterità, Exibart, 

20 Dicember; Maria Cristina Bastante, Officine 

Pastello, Exibart, October 4; Paola Magni, Sciamani 

e Ballerini. Nelle installazioni della Cunéaz l’arte 

dell’alterazione, Il Giornale, October 9 

2000 

Alberto Fiz, L’arte di digitare, Class, December; 

Gabriel Soucheyre, L’atelier des pastels, 

Turbulences Video, October ; Olga Gambari, Le 

fabbriche dei sogni create da Giuliana Cunéaz, 

La Repubblica, July 28; Daniele Perra, Giuliana 

Cunéaz, Tema Celeste, July-September; Luigi 

Espanet, Corpus in Fabula, Marie Claire, August; 

Ilaria Ventriglia, L’estetica High-Tech2, Ars, June; 

Francesca Bonazzoli, Giuliana Cunéaz, Vivimilano, 

Corriere della Sera, June 21; Silvia dell’Orso, Punto 

di vista, La Repubblica delle Donne, Repubblica, 

June 6; Maurizio Sciaccaluga, I Robot dal cuore 

umano, Arte, May; Susanna Legrenzi, Io Donna, 

Corriere della Sera, May 13 

1999 

Elisabetta Planca, Paris Photo, 40 ore per 

inventare una collezione, Arte, November 

1998 

Alessandra Galasso, Tecnologie che passione!, 

Arte, August; R. D. La vidéo prend conscience de 

l’amour, La Montagne, June 16 ; Sabrina Zannier, 

Nuove strade sperimentali per gli esploratori 

del video, Messagero Veneto, June 30; Sabrina 

Zannier, Un futuro comunicativo, Messagero 

Veneto, August 30; Alberto Fiz, Classici alle stelle, 

Milano Finanza, January 31; Janus, Femmine Folli, 

Arte In, n. 54, March-April 

1997 

Sabrina Zannier, Dallo strabismo alla protesi, 

Flash Art, n. 205, summer 

1996 

L.Bojanic, Etericnost angelovega telesa, Primorske 

Novice, 1996; V. Urbancic, Breztelesnost kot izziv, 

Delo, August 3; Milan Zinaic, Sneguljcica in smrt, 

Dne Vnik, XLVI/1996; Luca Beatrice, Dove sta 

andando l’arte? La scena del rischio, Flash Art, 

summer 

1995 

R.Vittorio, Nove contrappunti, Messagero Veneto, 

September 5; E. Luca, Sperimentazioni nel segno 

del Contrappunto, Il Piccolo, September 3; 

E. Cappuccio, Tre artisti e le loro interpretazioni del 

mito, Il Piccolo, May 25; Ar.Ca. Tre pittori del mito 

a Trieste, La Stampa, March 31; Sabrina Zannier, 

Mito Moto Meta, Flash Art, n. 192, June-July; 

Gillo Dorfles, In Corporea Mente, Turbulence 

Video, 1995 

1994 

Claudia Colasanti, All’artista piace porno, L’Unità, 

April 6; G.Cavazzini, Violenze carnali su corpo 

e coscienza, “Gazzetta di Parma”, March 30; 

Guido Curto, Giuliana Cunéaz, Flash Art, n. 181, 

February; Simonetta Lodi, Differenze dei sessi 

nell’arte, Tema Celeste 

1993 

Luisa Perlo, Criterio uniformante di Giuliana 

Cunéaz, Corriere di Torino, Dicember 11; Jean Paul 

Fargier, La prise de la Bastille, Art Press 180, May 

; Gabriel Soucheyre, Au delà du silence d’une fée 

invisible, Turbulence Vidéo, 1993 ; Janus, Eden, 

Une Forêt, Videoformes Editeur, 1993 

1991 

Alberico Sala, Uno sguardo dal Forte, Corriere 

della Sera, September 15 

1990 

Manga, Giuliana Cunéaz, Juliet, October- 

November; L.B.,Viaggio tra arte e fiaba, La Stampa 

Valle d’Aosta, September 7; Rosanna Albertini, 

In punta di piedi nel nascondiglio della “fata 

serpe”, L’Unità, August 27; Angelo Mistrangelo, 

Nella scura fortezza di Bard l’atmosfera magica..., 

Stampa Sera, July 27; M.G.L. Musica per fate su 24 

spartiti, Il Giornale, July 21 

144 145

Books and Catalogues 

2010 

Chiara Canali, Photosynthesis 

MUP Editore, Parma 

2009 

Chiara fagone, Visual Vortex Lux Design 

Diffusion Edizioni, Milan; Bruno Corà and Pietro 

Bellasi, Corpi Automi Robot, Tra arte, scienza e 

tecnologia Mazzotta, Milan; Autori vari, Memoria 

Sottotraccia, segni e forme dell’archeologia. 

Musumeci Editore; Andrea Busto, Flower Power 

Silvana Editoriale, Milan 

2008 

Peter Weibel, Youniverse, Biacs3 Bienal de Arte 

Contemporáneo de Sevilla; Various Authors, TINA 

B. Darkness is noon The Prague Contemporary Art 

Festival; Giovanni Iovane, James Putnam, Sergio 

Risaliti, Giuliana Cunéaz Silvana Editoriale, Milan 

2005 

Laura Cherubini, I Mangiatori di Patate Gas 

Gallery, Turin; Gabriele Fasolino and Gabriella 

Serusi Il Corridoio dell’Arte Neos Edizioni, Turin; 

Tiziana Conti Le parole disperse Gas Gallery, Turin; 

Gianluca Marziani Regionevolmente Graficart, 

Formia 

2003 

Giancarlo Politi and Luca Beatrice, Dizionario della 

Giovane Arte Italiana, 1 Giancarlo Politi Editore, 

Milan; Mario Bertoni and Willy Darko Europa 

Video Art La Grafica, Turin 

2002 

Francesco Bonami Exit Mondadori, Milan; 

Various Authors (selected by Luca Beatrice), 

XIV Esposizione Quadriennale d’Arte Anteprima 

2003-2005, De Luca, Rome; Tiziana Conti, Il 

peso del virtuale Edizione Galleria En Plein Air, 

Pinerolo; Sabrina Zannier, Maravee Electa, Milan; 

Walter Gasperoni, Lune Parlanti AIEP-Editore, 

San Marino; Edoardo Di Mauro, Una Babele 

postmoderna Realtà e allegoria nell’arte italiana 

degli anni ’90 Mazzotta, Milan 

2001 

Roberto Roda, Corpi e corpi Editoriale Sometti; 

Chiara Bertola The Art is a Fifth Element Giovani 

artisti italiani Premio Querini Stampalia per l’Arte 

Charta, Milan; Luigi Meneghelli, Caprice Grafiche 

Stella, Legnago; Roberta Ridolfi, Riflessi della 

memoria Progetto Tivoli ama la città Comune di 

Tivoli; Mario Bertoni, Videotape, Videoinstallazioni 

Videoart Edibas, Turin 

2000 

Luigi Meneghelli, Détails 

Galleria La Giarina, Verona; Mirella Bentivoglio, 

Fotoalchimie Museo Pecci di Prato, Bandecchi & 

Vivaldi, Pontedera; Roberta Ridolfi, Crea-azione 

Comune di Fermo; Antonio Arevalo,Officine 

pastello Regione Autonoma Valle d’Aosta, 

Arti Grafiche DUC, Aosta; Sabrina Zannier and 

Alberto Fiz, Il cervello nella vasca B&D, studio 

contemporanea, Milan; Alessandro Riva, 

Trapassatofuturo Cartiere Vannucci, Milan; 

Maria Cristina Ronc, Sguardi discreti Espressioni 

d’arte fotografica Arti Grafiche DUC, Comune di 

Chamois 

1999 

Gillo Dorfles, Ultime tendenze nell’arte oggi, 

Universale Economica Feltrinelli, Milan; Roberta 

Ridolfi and Mario Savini, Posizione Kappa Arte 

installata Edizione Cappa, Ascoli Piceno; Giuliana 

Altea and Marco Magnani Atlante Geografia 

e storia della giovane arte italiana 

1998 

Antonio Arévalo, Supermercarte; Sabrina Zannier, 

Conscience d’amour Videoformes, Clermont 

Ferrand 

1997 

Sabrina Zannier, Dallo strabismo alla protesi 

Aperto ’9, Giancarlo. Politi Editore, Milan; 

Various Authors. Aperto Italia ’97 Giovane Arte e 

Giovane Critica. Giancarlo Politi Editore, Milan 

1996 

Paolo Nardon 1° Premio Trevi Flash Art Museum 

Giancarlo. Politi Editore, Milan; Sabrina Zannier 

and Milan Zinaic, Sub Rosa Galerija Anonimus, 

Ljubljana; Sabrina Zannier and Majda Bozeglav 

Japelj, Il corpo dell’angelo Obalne Galerije 

Piran, Piran; Sabrina Zannier Corpus in Fabula 

Turbulences Video, Clermont Ferrand 

1995 

Sabrina Zannier, Contrappunto; Davide Cabodi 

Grey Zone Galerie l’Art du. Temps, Clermont- 

Ferrand; Boris Brollo and Maurizio Sciaccaluga, 

Mito Moto Meta Nadia Bassanese studio d’Arte, 

Trieste 

1993 

Gillo Dorfles, In corporea mente 

Musumeci Editore, Aosta; Maurizio Sciaccaluga, 

Violenze carnali; Janus, Eden - Une Forêt – 

Videoformes Videoformes Editeur, 

Clermont Ferrand ; Mara Mascano 

and Maria Angela Masino L’Opera al Femminile 

Galleria Arx, Turin 

1992 

Maurizio Sciaccaluga, Operazione Le Cisterne 

Graphotecnica, Genova 

1991 

Rosanna Albertini, Evenements d’espace Etranger, 

Videoformes ’91 Videoformes Edition, Clermont 

Ferrand; Antonio Del Guercio, Claudio Fontana 

and Sandro Ricaldone, Sub Trans Alpina Regione 

Autonoma Valle d’Aosta 

1990 

Emanuela Lagnier, Il filo d’Arianna. Regione 

Autonoma Valle d’Aosta; Adriano Antolini 

and Janus, Il silenzio delle fate Pheljna, 

edizioni d’Arte e Suggestione, Aosta 

146 147

Inner Flux 

Vernon City, Prague

152 153

pp. 150-157 

Inner Flux by Giuliana Cunéaz, Vernon City, Prague, December 9 2009-January 15 2010, exhibition view 

156 157

The catalogue was published to coincide 

with the exhibition of Giuliana Cunéaz 

organized by Vernon Gallery 

Curator: Monika Burian 

Graphic designer: Barbora Kohoutová 

Photographers: Tomáš Souček 

Elisabetta Zoni 

Text writers: Claudio Cravero 



3D modelling and animation: Sergio Ricciardi 

Sound design: Lorenzo Bianchi 

Post production: Metamorphosi, Milan 

Multimedia Group srl, Milan 

SmokyBungalow, Milan 

Digital print: L.A.B. srl, Milan 

Translations: Elisabetta Zoni 

A special thanks to: 

Pietro Gagliardi 

Elena Inchingolo 

Paola Stroppiana 

and Gagliardi Art System, Turin 

We would also like to thank: 

Angelo Colombo 

Alberto Fiz 

Giorgio Gardel 

Mauro Inzoli 

Nicola Loi 

Angelo Nicolosi 

Antonio Rosset 

Andrea Vitali

Giuliana Cunéaz

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