Say it with flowers

Say it with flowers

Say it with flowers shows the deformed daisies that have been found close to Fukushima, four years after the disaster happened at the Fukushima nuclear power plant. The ‘mutant’ daisies show the impact of the radioactivity on nature.

Courtesy of Stefania Miscetti Studio – Rome

Bedheads

Bedheads

Courtesy of Stefania Miscetti Studio – Rome

The domestic objects become ghosts and claim their own absence eroding the space of the memory.

August 6th mon amour

August 6th mon amour

In July 2013 the artist went to Hiroshima to interview two survivors of the atomic bomb. What really impressed her was that both said that even though they survived, the bomb never stopped detonating for them. Since for their whole lives, they had to hide that they had been to Hiroshima during the bombing.
For the H bomb survivors, in fact, it was very hard to find a job or get married, since they ran the risk anytime to get ill or have ill children. Somehow their lives got stuck after the bomb. Both the survivors told me that the worst time of their lives was not when the bomb was dropped but when they had to deal with love problems. He felt lost when he wasn’t allowed to marry his girlfriend (because of her father’s will) and she felt desperate when she lost her husband. It means that everyone of us has experienced his/her own
personal little Hiroshima. That’s why she took the image of the Hiroshima watch (the one that has been found after the bomb was dropped and that now is in the Hiroshima Peace Memorial Museum) and moved the minute hand one minute later and added the second hand twitching for one second.

Series of Wittgenstein

Series of Wittgenstein

LW 625; LW 179; LW N612; LW 305; LW 378; LW 524; LW 402

With lightness and irony Margherita Morgantin uses her drawings to face some aphorisms taken from Wittgenstein’s On Certainty. And while patrolling the statute of certainty and common sense, the limits of knowledge and the weight of doubt, the intersection of beliefs and conventions, the artist’s visual imagination moves acrobatically on the edge of the philosopher’ s words.
In reading Wittgenstein we grasp a clarification that better confuses us. And this is what Morgantin’s visual “captions” do. They “confuse” with the words and somehow, in various ways, they bring an explanation back to light. Not one single meaning among the many possible ones, but many possible ones among the impossible.

Courtesy of the artist

Love in translation

Love in translation

The table with two chairs “Love in translation” 2017, is the invite to seat and write those words which emerge form the soul and escape the daily language in the negotiation of a couple relationship, because essentially intimate and not translatable.