GIULIA PARLATO

Diachronicles (2019)

The Dig, archival inkjet print on Permajet photo art silk, edition of 5, different sizes available.

In Preservation, in Destruction I Feel Trapped, archival inkjet print on Permajet photo art silk, edition of 5, different sizes available.

Lizard, archival inkjet print on Permajet photo art silk, edition of 5, different sizes available.

The Storyteller, archival inkjet print on Permajet photo art silk, edition of 5, different sizes available.

Encounter, archival inkjet print on Permajet photo art silk, edition of 5, different sizes available.

Limestone, archival inkjet print on Permajet photo art silk, edition of 5, different sizes available.

Quarry, archival inkjet print on Permajet photo art silk, edition of 5, different sizes available.

Evidence n.1, archival inkjet print on Permajet photo art silk, edition of 5, different sizes available.

Ladder, archival inkjet print on Permajet photo art silk, edition of 5, different sizes available.

Falcon, archival inkjet print on Permajet photo art silk, edition of 5, different sizes available.

Evidence n.2, archival inkjet print on Permajet photo art silk, edition of 5, different sizes available.

Evidence n.3, archival inkjet print on Permajet photo art silk, edition of 5, different sizes available.

Box, archival inkjet print on Permajet photo art silk, edition of 5, different sizes available.

Wunderkammer, archival inkjet print on Permajet photo art silk, edition of 5, different sizes available.

Evidence n.4, archival inkjet print on Permajet photo art silk, edition of 5, different sizes available.

 Stratigraphy , archival inkjet print on Permajet photo art silk, edition of 5, different sizes available.

Empty Box, archival inkjet print on Permajet photo art silk, edition of 5, different sizes available.

DIACHRONICLES (2019)

Diachronicles is an examination of the historical space, regarded as a fictional container where an apparent collection of evidences opens up to the fantastic. In this space, the attempt to reconstruct the past falls into phantasmal gaps, where things are generated, used, buried, unearthed, transported, and relocated.

This nomadic and fragmentary nature of what has been left behind, reveals how the movement, transfiguration, and misinterpretation of objects shape historiography and ultimately, the real.

In the impossible search of academic legitimation, the viewer is invited into a world where the factual and the fake overlap. The work addresses the leading role archaeology and the museum space play in a historical narrative, using the human body to suggest scale and as a means to display objects.

Furthermore, Diachronicles digs into a parallel history, filled with poetic figures to encode, nonexistent artefacts and forgeries hidden in museums basements. This exploration, started at the Royal College of Art in 2018, is still ongoing.

Special thanks to Director of Museo Archeologico Regionale A. Salinas Francesca Spatafora, Sandro Garrubbo, Director of Museo di Zoologia P. Doderlein Sabrina Lo Brutto, Enrico Bellia, Soprintendenza per i beni culturali e ambientali di Palermo: The Director Lina Bellanca, the director of the archeological heritage section Stefano Vassallo and the archeologists Rosa Maria Cucco, Giuseppina Battaglia and Filippo Iannì.

Using Format