All posts tagged: Johanna Invrea

Gola Hundun, Anthropic Space, Natural Space, and His Newest Installation in Milan

Gola Hundun, Anthropic Space, Natural Space, and His Newest Installation in Milan

Italian land artist/street muralist Gola Hundun has divided his creative projects in the last few years into two distinct but related practices.

Gola Hundun. “Convective Motions”. Inneschi Festival. Milano, Italy. (photo © Johanna Invrea)

The first is to investigate buildings that are being reclaimed by nature and develop site-specific installations that work in harmony with the history of the relationship between architecture and nature. The second, of which we have an example for you today, is a mural installation on active buildings within cities, perhaps invoking a more integrated ecology of symbols and natural systems around it. These two lines of inquiry comprise his project “HABITAT”, a sincere stream of research that lies on the border between anthropic space and natural space

Here in Milan, the school façade will now display Gola’s dedication to life and its movements – called “Convective Motions”. While the mural composition begins from a central element of cosmic energy, a solar force that unravels centrifugally outward, he also has plans to do plantings around the mural and the property in September to extend the reach of the painted portion of his installation.

Gola Hundun. “Convective Motions”. Inneschi Festival. Milano, Italy. (photo © Johanna Invrea)

“Leaves are painted as if they were part of a fire explosion, following and growing the movement,” he tells us, “generates new ones – involving celestial bodies upon contiguous facades, symbolically returning toward the central sun in a perpetual cyclical movement.”

Gola Hundun. “Convective Motions”. Inneschi Festival. Milano, Italy. (photo © Johanna Invrea)

When completed and grown, Mr. Hundun says the entire composition will include endemic plants grass, bushes, hornbeam trees, dogwood trees, hazel trees, hawthorns, and an English oak placed on an axis with the tree painted on the wall.

“The idea is to create a simulacrum of the wood that is used to dress this municipality of Vimodrone – all spread before the building,” he says. “The tree of life here is the same kind you’ll find monotheistic or pagan religions. The two trees will be set in two movements: the painted one will be crystallized, whereas the real tree will grow inexorably.”

Gola Hundun. “Convective Motions”. Inneschi Festival. Milano, Italy. (photo © Johanna Invrea)
Gola Hundun. “Convective Motions”. Inneschi Festival. Milano, Italy. (photo © Johanna Invrea)
Gola Hundun. “Convective Motions”. Inneschi Festival. Milano, Italy. (photo © Johanna Invrea)
Gola Hundun. “Convective Motions”. Inneschi Festival. Milano, Italy. (photo © Johanna Invrea)
Gola Hundun. “Convective Motions”. Inneschi Festival. Milano, Italy. (photo © Johanna Invrea)
Gola Hundun. “Convective Motions”. Inneschi Festival. Milano, Italy. (photo © Johanna Invrea)


This project is organized by
industri scenica –  INNESCHI festival in partnership with VIMODRONE City Hall sustained by Fondazione di Comunità Milano Onlus
Consultancy about nests by LIPU MILANO
Pics
iranacredi

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Gola Hundun: Our Reckless Actions and Their Effects in Italy

Gola Hundun: Our Reckless Actions and Their Effects in Italy

“The artwork invites us to think about the lack of empathy we demonstrate towards the rest of the species and to the action/reaction process that ensues”, says street artist and muralist Gola Hundun. An environmentalist at heart and scientific lover of nature, the artist has painted this interesting ocean-themed mural in his hometown of Bellaria-Igea Marina in Italy this month as a way to focus on the bleaching of coral and the damage that the tourism industry can do to our natural treasures.

Gola Hundun. “Reckless actions effects”. Bellaria-Igea Marina, Italy. (photo © Johanna Invrea)

Mimicking the subtle changes of our developmental practices on the ocean and its species, Gola’s façade presents a scene that becomes less and less visible as it reaches the completely white corner of the wall. “The white space symbolizes means the absence,” he tells us, “the emptiness, the loss of the ecosystem that is caused by men.”

Gola Hundun. “Reckless actions effects”. Bellaria-Igea Marina, Italy. (photo © Johanna Invrea)
Gola Hundun. “Reckless actions effects”. Bellaria-Igea Marina, Italy. (photo © Johanna Invrea)
Gola Hundun. “Reckless actions effects”. Bellaria-Igea Marina, Italy. (photo © Johanna Invrea)
Gola Hundun. “Reckless actions effects”. Bellaria-Igea Marina, Italy. (photo © Johanna Invrea)
Gola Hundun. “Reckless actions effects”. Bellaria-Igea Marina, Italy. (photo © Johanna Invrea)
Gola Hundun. “Reckless actions effects”. Bellaria-Igea Marina, Italy. (photo © Johanna Invrea)
Gola Hundun. “Reckless actions effects”. Bellaria-Igea Marina, Italy. (photo © Johanna Invrea)
Gola Hundun. “Reckless actions effects”. Bellaria-Igea Marina, Italy. (photo © Johanna Invrea)
Gola Hundun. “Reckless actions effects”. Bellaria-Igea Marina, Italy. (photo © Johanna Invrea)
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Gola Hundun Follows Kids Art and “The Path” in Napoli

Gola Hundun Follows Kids Art and “The Path” in Napoli

“It is less easy to sensitize people to the respect of nature,” says Italian Street Artist Gola Hundun, and you understand his entire oeuvre during the last decade.

Gola Hundun. “The Path”. Naples, Italy. October 2019. (photo © Johanna Invrea)

With “Sentiero”, his latest ode to pyramidic peaks that soar above the earth in Napoli for the Xenia Community Festival.

Speaking of community, Gola opened up the creative process to school children to aesthetically explore some of the themes he is most influenced by – nature, spirituality, our encounters with both. He is so moved by the collaborative drawing made by two boys named Enrico and Salvatore that he writes today to tell BSA readers about the work and the affect it had on his multi-story mural.

He shares with us the original artwork by them that he chose the sketch among many others because of its inner meaning, which he thinks is very close to own research.

“The path is represented as a thin red line, as the pathway every man should walk to reach the Knowledge shown as a golden mountain. Beside each single man there’s nature, seen as an obstacle, but is actually part of himself,” Gola tells us.

Gola Hundun. “The Path”. Naples, Italy. October 2019. (photo © Johanna Invrea)

“A rich variety of vegetation dominates the lower part of the wall, creating a multi-layer prospective effect. What is very interesting is also the chromatic scale and the way the artist uses it: simple, elementary colors, to let the pure shape of the elements to come out on a very neutral background. Gold means divine value of the nature and so the mountain becomes a golden idol in the middle of the jungle of life. The contrast between the golden mountain and the cold tones of the leaves emphasizes the allegorial message beyond it.

Gola Hundun. “The Path”. Naples, Italy. October 2019. (photo © Johanna Invrea)
Gola Hundun. “The Path”. Naples, Italy. October 2019. (photo © Vincenzo Capasso)
Gola Hundun. “The Path”. Naples, Italy. October 2019. (photo © Vincenzo Capasso)
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Guided Flight with Gola Hundun: “Torre di Volo” Land Art in Sardinia

Guided Flight with Gola Hundun: “Torre di Volo” Land Art in Sardinia

When the plants and animals take over again there will still be remnants of you, as they transform your achievements and failures organically en route to natural balance.

Gola Hundun. Torre di Volo. Campidarte Art Residency. Sardegna, Italy. May 2019. (photo © Eleonora Riab)

The evidence of this eventuality lies not only in our predilection for self-destruction but on the current existence of the 7,000 tower-fortress structures that still dot this island of Sardinia. Time and elements have not destroyed these structures built over a period of 16 centuries – long before the event of Christ’s birth. Today they are remnants, monuments of that Nuragic civilization, but are also home to birds, four legged creatures, insects, grasses, bushes, and trees.

Italian Street Artist, muralist and land artist Gola Hundun thinks of communications towers and overlays them with references of totemic massings, historical human rituals, geographical coordinates, shamanic journeys, and patterns of aviary flight. For this installation called “Torre di volo” (Flight Tower) he also is thinking about guiding birds through controlled space.

Gola Hundun. Torre di Volo. Campidarte Art Residency. Sardegna, Italy. May 2019. (photo © Eleonora Riab)

“The central element of the installation is inspired by the forms of the flight control towers of the airports,” he says, “a type of architecture that has always fascinated me and had a strong influence on my imagination both aesthetically and poetically.”

Gola Hundun. Torre di Volo. Campidarte Art Residency. Sardegna, Italy. May 2019. (photo © Eleonora Riab)

Participating in an art residency on the property of the Campidate artists residency (near Monastir), the Italian born millennial finds the support he needs to pursue his natural art-making cycle in an environment that is closest to his personal ethos.

He says that he spotted a bird of prey called a Kestrel inside the Campidarte base buildings and became inspired to imagine himself directing the flight of birds, one further degree of interaction with nature he has pursued for most of his life.

Gola Hundun. Torre di Volo. Campidarte Art Residency. Sardegna, Italy. May 2019. (photo © Eleonora Riab)

“The installation stands today on a ridge of that land, in an elevated and strategic position, generally loved by birds of prey,” he tells us.

A continuation of a personal artists’ campaign he calls ABITARE that more than contemplates his work as potential habitat, “Torre di volo” will be complete when Gola sees a winged friend entering the doorway of his central tower. He says the entire creation is based on his “desire to create a form capable of hybridizing my fascination for the ancestral totemic verticality and the desire to create a living space easily accessible to certain species and biological niches.”

“From the tower that I interpreted, I hope that in the near future the flight of a bird of prey will begin, allowing us to observe in reality the idea of flying, going and coming back and making the structure itself come alive,” he says. “The occupation of the tower by a bird is part of the idea of the installation and is indispensable for its completion.”

Gola Hundun. Torre di Volo. Campidarte Art Residency. Sardegna, Italy. May 2019. (photo © Eleonora Riab)
Gola Hundun. Torre di Volo. Campidarte Art Residency. Sardegna, Italy. May 2019. (photo © Johanna Invrea)
Gola Hundun. Torre di Volo. Campidarte Art Residency. Sardegna, Italy. May 2019. (photo © Johanna Invrea)
Gola Hundun. Torre di Volo. Campidarte Art Residency. Sardegna, Italy. May 2019. (photo © Johanna Invrea)
Gola Hundun. Torre di Volo. Campidarte Art Residency. Sardegna, Italy. May 2019. (photo © Johanna Invrea)
Gola Hundun. Torre di Volo. Campidarte Art Residency. Sardegna, Italy. May 2019. (photo © Johanna Invrea)
Gola Hundun. Torre di Volo. Campidarte Art Residency. Sardegna, Italy. May 2019. (photo © Johanna Invrea)

For more about Campidarte:

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Gola Hundun Activates on the Precipice of Man and Nature

Gola Hundun Activates on the Precipice of Man and Nature

“Abitare” (To Live In)


Italian Street Artist and urban interventionist Gola Hundun is often thinking about the idea of coexistence and cohabitation between humans and the rest of the natural world. He often looks for that delineation on which to create new art.

Naturally it is performed with a flourish of theatricality.

Gola Hundun. “Abitare”. Rimini, Italy. 2018. (photo © Tommaso Campana)

“I consider these places to be sort of a temple or a monument that speaks about the frontier between human space and the natural one,” he says of this abandoned industrial carcass that is returning back to the earth somewhere around Rimini, Italy.

Here he interacts with the ruins – a formerly useful construction of humans that behaved as if it was not part of nature, possibly in an open attack of nature. Now it looks as if he is introducing it back to the ecosystem it stood amongst and apart from.

Gola Hundun. “Abitare”. Rimini, Italy. 2018. (photo © Tommaso Campana)

“Today it’s clear that human behavior (especially Western humans) that sees us like the dominant species of the world who can manage all resources for our own development and not consider the rest of biosphere – these behaviors have brought the planet on the brink of an Eco-disaster,” he says.

So it is here at the scene of the crime that the forensic detective converts to holy healer, interacting with the ruins and blessing it as it convenes a unique and slow transformation.

This abandoned location is a place where spontaneous growth is happening already,” he tells us. “These places for me are a ready made work of art where I introduce my glorifying theme, trying to bring to light their intrinsic holy aura.”

Gola Hundun. “Abitare”. Rimini, Italy. 2018. (photo © Tommaso Campana)

Gola Hundun. “Abitare”. Rimini, Italy. 2018. (photo © Johanna Invrea)

Gola Hundun. “Abitare”. Rimini, Italy. 2018. (photo © Johanna Invrea)

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