Eva Giolo

The curators invited a group of artists to be inspired by the work of the well-known, Belgian filmmaker Chantal Akerman. They specifically presented them News from Home, the 1976 feature film with two equal main characters: the island of Manhattan, New York where the director resides and her mother in Brussels who, through a stream of letters, demands increasingly urgent news.

The curators invited a group of artists to be inspired by the work of the well-known, Belgian filmmaker Chantal Akerman. They specifically presented them News from Home, the 1976 feature film with two equal main characters: the island of Manhattan, New York where the director resides and her mother in Brussels who, through a stream of letters, demands increasingly urgent news.

The Demands of Ordinary Devotion is a meditation on care and love, a beautiful riddle of shapes and gestures where creation and labour are playfully celebrated. Shot in majestic 16mm and featuring creators of different kinds – a ceramist, a mother-to-be, a carpenter, a film director – Eva Giolo’s new opus is a much-needed gem of beauty and freshness.

BE GOOD, IF YOU CAN’T BE GOOD, BE GOOD AT IT Boom Boom Boom Boom is a publication composed of letters, notes, anecdotes, translations, stills and images: all traces of the creative process. The artists Rebecca Jane Arthur and Eva Giolo bring together their correspondence on the act of writing and of filmmaking, in all its complexity, struggles and playfulness. The letters unpack themes such as the challenge of making personal work and the strength found in sharing vulnerability; the act of writing itself, language and translation; writing on moving images, on their practices and that of others; and the notion of a place as a container of memories, of interiority and the confrontation with home. The publication uses words and texts as images, and all images of persons or things are hidden. The publication acts as a negative to the films that we create, revealing that which cannot be

A group of women perform small actions following the artist's instructions that can become a simulation of a violent act. The film is part of the program Mascarilla 19 commissioned and produced by Fondazione In Between Art Film.

Study of gestures_01 is a video loop on a TV monitor. Two hands fold meticulously and gently caress a shirt. An exploration of cultural heritage, traces and resurgences through gestures. The evocations of body memory, conscious or unconscious.

The Taste of Tangerines paints the portrait of Ocho (Yutakamachiocho) a small in the Seto Inland Sea in Japan. After ten years apart, a grandmother shares her memories of the island with her grandson. The film is both an account of the past and an impression of her daily life. Alternating word and image fragment the film slowly unfold and (re)constructs memories and stories. A search for the present and the past. An observation of that which produce a series of visual haiku.

A Tongue Called Mother depicts the relationship between language, gestures and affiliation. It slowly captures the actions and words of three generations of women in the same family and children learning to read, meditating on words learnt and forgotten through the body.

Elisabeth HD video, colour, 16:9, stereo, French spoken, English subtitles, 2017.

At the core of this film, collage is the artist’s search for the face of her deceased twin brother, who died without leaving behind any photographic record. Using archive footages and her own home movies, paradoxically his absence is rendered perceptible through a profusion of images. An indirect portrait is the confirmation of existence.

Shattered is a 10-minute-long short movie about the emotional life of her grandmother suffering from Alzheimer. In this movie, the spectator wanders in a silent and desolated house sheltering fragments of an old woman’s life, a woman of lost words and confused gestures. Tenderness and despair.

The film transports to a landscape of silence and solitude, alone with the wind, eyes burnt by the light. A place that turns harshness into tenderness. Although television and smartphones help to distract from the monotonous life in a secluded country village, the sense of community and place prevails.

Miniatures explore the notion of domestic spaces and memory through the filmmaker’s family archive. A legacy of 15 years of Super8 and VHS that documents the family’s history and daily life. A cross-portrait of three generations and their very own experiences of reverie and memory.

An Orange is not a Fish – an economy of love is a film installation that explores forms of care, intimacy and love and looks closely at the desire for transmission and its failures.