“Fugue II”

Through installations and objects, Amalia Giacomini investigates issues of the perception of space and its geometric representation. With a degree in Architecture and Urbanism from FAU-USP and a master's degree from UFRJ, Amalia Giacomini has exhibited her work at several institutions in Brazil, such as the Tomie Othake Institute (São Paulo), Itaú Cultural (São Paulo), the Brazilian House Museum (São Paulo), the Imperial Palace (Rio de Janeiro), the São Paulo Cultural Center, the Maria Antonia University Center, the FUNARTE Galleries (Rio de Janeiro and the Federal District), the Sérgio Porto Cultural Center (Rio de Janeiro), the Museum of Contemporary Art of Paraná (Curitiba) and the MAC in Niterói (RJ). Outside Brazil, in 2009, she presented the exhibition "Liberer l'horizon réinventer l'espace" at the Cité des Arts gallery in Paris; in September 2012, the solo exhibition "The Invisible Apparent" at the National Gallery in Prague.

His works refer to abstract elements and systems – such as lines, points, grids, perspectives and arrows – which, when materialized, allude concretely to the theoretical universe of spatial representation systems. Materialization that occurs in the air, be it close to a barrier such as a pillar, a wall, the floor, or surrounded by a frame.

In exhibitions such as "Experimentando Espaços" (Experimenting Spaces), at the Museu da Casa Brasileira (São Paulo - 2009) and "Da próximo vez eu faz tudo diferente" (Next time I would do everything differently), at Pivô (São Paulo - 2012), the artist constructed webs that form virtual spaces from cables, ribbons and wires. Interventions that also make the spaces in which they are inserted emerge, whether natural or built, creating systems of relationships that are only established from the meeting between the existing and the new.

In works such as "Landscape" (2010), the analytical composition, formed by the crossing of lines that indicate the geometric nature of the spaces, whether the planes are straight or curved, and how they relate to each other. Such linear plots are tense in the series "Fuga" (2009) and in works such as "Tópos" (2002)

As Felipe Scovino states: “Amalia Giacomini’s experiments are of the order of the air. Contrary to a dematerialization of the object, if we think about how air permeates and is part of the nature of her objects, Giacomini’s investigation runs through the need to make the void visible. The form and title of one of her works (Aeroplano) create a nominative and phenomenological association between lightness and escape into space. In this displacement between being and containing air, her objects question us about their appearance while at the same time founding and occupying a space, always through an economy of gestures and methods that enhance the qualities of the material and make clear its presence as necessary and irreplaceable for the foundation of this semantic territory. Ambiguously, it is in their almost disappearing character that Giacomini’s objects dedicate themselves to the incessant formation of new landscapes, pointing to a vibrating, virtual and powerful surface. It is in the clash between spectator and work that this optical field, previously static, gains shape and volume. They are not, therefore, stationary objects, but in constant transit. They appear paradoxically between maximum presence and maximum absence.”