Poetry of borders


Is it possible today to talk about a poetry of borders? This question seems to be the starting point for the work of Bernardo Giorgi. Giorgi seems to give an affirmative answer considering it as part of a more general poetry of mobilità and meaning this as a continuous experimentation, an interesting exchance of languages, roles and reflections on the experiences that can bring us today out of our own predrawn path of the cultural industry. The word border is meant not only in its geographical sense, but also in its linguistic sense.

The most emblematic work of Bernardo Giorgi in this way is the project Dresda-Praga, where all the meaning lies in this path – in this tipographical character and this graphic sign that indicates that the project has had his own space, nucleus and center between Dresden and Prague and not for Dresden and/or Prague. This “between” is a keyword, a sign of the loss of the center and the review of roles  inside of a fluid project that brings the artists (some of them has opened to other journeys) to a project role and puts them in situations of encounter and exchange between them and curators and intellectuals. It is about an experience of circa two years of travel, historical and new discovery practice, and mapping the territory. A nomade house, a tent, has traveled between the two cities along the river, along the border of the frontier, hosting discussions and artworks, projects and dreams of various identities. The back of the tent configures itself as a map-model-geograph of identità.


The haute couture pronounces the rythm of time with sudden metamorphoses of the fashion of clothes, that work as mutations of the skin in the animal world, and cultivate the artistical mythe of the work of art in mysthicsm of the unique piece. Its foundation is the accurate measuring of the body that is reproduced in a model. If the skin is the limit of the body, the clothes are the second limit between men and its world, intermedium between the epidermis and the walls of the house (the frontier of living/housing of men where a lot of artists pay attention to today). Luigi Ontani has been able to realize a direct form of portrait. There exist although patterns that are less linked to this subjective aspect. A lot of female press, during the years when it was still very common to manufacture clothes at home, they gave patterns to a lot of women for any occasion.

In Patterns kiosk per Dialog Loci (at Kostrzyn at the Polish-German border) Bernardo Giorgi embezzles this instrument of “do it yourself” elegance, an example of stylish bricolage. He hires a kios that is decorated with elements linked to patterns. Inside the kiosk there are numbers of the magazine “Burda”, that can be taken for free. In Eastern Europe this magazine is higly requested properly for its patterns inside. Bernardo Giorgi arranges things in a way that geographical areas have a particolar clothing: the Forte, for instance, can become a bag… This way the people can realize decorations with an urban extract on their old clothes. A zone of the city can become a handbag, the lines of the patterns are shaved like punks… The inside of the kiosk, covered with synthetical grass and decorated with stuffed object is quite kitsch to compete with the comunicative messages of the market, visibly very strong.


The idea to map a territory and also a series of behaviours, comes out with traces and drawings realized by a small comunity of rabbits with their movements and trajectories that show energy. From the expansion slots of the wall that separates and that we spy, but also those who fix a shared relationship that indicates an analysis compared to the behaviours that we are also ourselves, the human kind. In the spatial organisation that Giorgi has designed the insertion of a small architecture is foreseen, a little house where animals have explored and choosen as their escape. Animals that are always the center of the contemporary artistic research. The wall, the separating element, the border posed to a limit, is a productive element, non only because the frontier is transformed in border, clasp that partecipate to both situations and apparently divides, in that territory where no one can develop a borderline syndrome, but also because stabilize a field is the first thing to do when experimenting and scientific experiment.

Today with Helments Giorgi gives us the supplies of a kit at the inside of a bag that has a throw away camera, a cd for computer, a passport and a strange hat, something in between a playing cap and a war helmet. He gives us also a vademecum on the functions of the hat, written in a language that is willingly wordy, noble and antique, declared out of time, with a sort of ironical detachment. The idea is that this bag is given to someone and that they can use the kit as they think is best. In the bag the idea of the journey that had been showed in the nomade structure between Prague and Dresden, the tent, is present. The objects of this bag are linked by the idea of comunication and the strange hat seems a concretisation of a spiritual concept that will inform future relationships. In fact, the kit serve sto realize someting and this cultural product will be given back (only the surroundings is temporary) with the bag. The nomad object isn’t lost, ma is given semantical substance through the journey.

Laura Cherubini