1 and many concrete balls

2003

The work 1 and many concrete balls was conceived as interactive and it was shown on different days in two different spaces. The former was a small, self-contained room where the spheres constituted almost a solid surface, while in the second room the spheres were scattered in such a way that the experience underfoot carried more a potential of hazard. The resulting echoing sound produced by the crashing of the spheres completely altered the perception of the space (from Gerard Wilson text)

Stage plan drawings

2014

Approaching the empty page of a black hand-bound book as a stage, Stage plan drawings reproduces in the form of graphic drawings, developed from choreographic Banesh notations, dancers’ patterns and formations for Tchaikovsky’s Nutcracker and for Britten’s Young Apollo. The viewer is invited to browse the book whilst listening to the recorded sound of dancers ‘steps on stage. An interplay between public and private spaces is at play in the display of the work: from the public moment of a performance to the singular act of reception of the viewer in the gallery space, back to the public as an online digital format for the book; here the singularity of reception is preserved via the one to one encounter of the work on the computer screen.

Stage plans is an artist book (hand-bound book courtesy of Denise Hawrysio) and sound installation, originally conceived for Book Act a project by AMBruno for the exhibition at The Tetley in Leeds, it was shown with Graphic Traces installation for acts/reacts 2014 at Wimbledon Space.

Stage Plans digital version

Balancing beam

2001

An interest in movement and communication is already apparent in Emanuele’s earlier pieces. Working with ideas of balance balancing beam is informed by Emanuele early experiences in gymnastic and dance. Painted in two contrasting colors, the object with a strong formal presence is displayed as an interactive sculptural piece and the viewers are invited to walk on it.

Formations

how gestures make space

2016

Formations, a participatory project based on a circular walk around Peckham, exploiting strategies of repetition it explores drawing as a performative and temporal act. The project saw the participants covering a diverse range of the area, engaging in different activities through a system of rule-based instructions. The event took place over four weeks, facilitating participation and interaction with the local community.

Week 1 – Walking, drawing, looking & seeing

Week 2 – Walking conversations

Week 3 – Observation, repetition, enactment

Week 4 – Walking lines

Walking lines, the final performance saw the participants tied together with resistance bands walking along an agreed route. Negotiating inter-relational dynamics and surroundings, individual journeys shift and adapt to the group dynamics.

Open 16 – How gestures make space

Drawing outlines no 2: Where do I end and you begin?

2017

Drawing outlines no 2 – Where do I end and you begin? Posing this question right at the start of the perfomance Emanuele continues her exploration of inter-relational boundaries; three dancers are tasked to define their own outlines whilst moving; negotiating their individual space with space of the other, the dancers are confronted with the impossibility of never being able to complete the task.

Drawing outlines no 2 – Where do I end and you begin was presented as a Live Performace for Draw to Perform 4 at Fabrica Gallery in Brighton in March 2017 with the participation of dancers Natasha Hubert, Gina Jamieson, Callum Anderson

Images courtesy of Manja Williams at DTP

Photocopier & spinning tops

2002

A photocopier, spinning tops and A 4 paper are the materials for this installation. Ideas of balance and perpetual motion are expressed through repetition and accumulation. Repeatedly recording with a photocopier the fleeting movement of balance of a spinning top whilst it spins, indexical marks of the balancing movements. Photocopier & spinning tops invited the viewers to become active participants of the work making photocopies themselves. A playful interplay between differing modes of perception of the work: participation and conceptual understanding.

Emanuele has recently revisited this work and is currently in the process of producing an artist book with the drawings, offering permanence to a fleeting moment.

Acts of Presence

2.15 Traffic Island

2017

Part of the series Acts of Presence – 2.15 Traffic Island has been developed in collaboration with writer Alyson Hallett; it is part of a larger body of work that is ongoing. Based on a setup rule: two people acting as one, one can see, the other can hear; taking in what’s happening around in different locations around the city. Internal dialogues and perceptions of the surrounding overriding each other are recorded from memory in post production through a range of means.

 

WhiteNoise

2015

WhiteNoise is a collaborative residency and exhibition between Greig Burgoyne and Rossella Emanuele, held at the Centre for Recent Drawing (C4RD), in London. WhiteNoise bookwork, a consequent publication with interpretive and critical writings, published by Marmalade visual theory and is distributed by Central Books, extended the project concerns in the form of an artist book.

The project sought to explore through collaboration drawing in relation to performance, considering how the role of the body can expand our notion of what constitutes the structured space. In the form of markmaking, walking, combined with repetition, accumulation and endurance, the resulting installation and films aimed to debate how drawing can explore systems of making and thinking. Considering the energy in becoming brought into the space in the making of the work and those forces that exist already in and outside of the context and site together.

The project was funded by the Arts Council England (ACE) and the University for the Creative Arts (UCA).

WhiteNoise bookwork 

WhiteNoise bookwork texts

Yale University Radio interview 

Central Books

Sweeping actions no #1

2017

Framing as choreographic moments, the sweeping and walking actions of the cleaning and security staff inside the Heydar Aliyev Centre by Zaha Hadid – such an extraordinary space in an incongruous place –  Sweeping Actions no #1 juxtaposes the timeless gleaming white hallways and floors of the space with the slow, repetitive and uninspired movements of the working staff that seemingly aimlessly, walk back and forth across the building during opening hours. Defining their walks as lines in space, Emanuele channels these movements as if there was a stage they were rising on.

Sweeping Actions no #1 has been made after a residency at Yarat Contemporary Art Space in Baku, Azerbaijan in 2014; it has been included in A History of Drawing, an exhibition at Camberwell Space that charts the history of teaching and making of drawing at Camberwell College of Arts curated by Kelly Chorpening.

Drawing outlines no 1

2014

Drawing outlines plays with an impossibility. Two dancers are tasked to define their own physical boundaries when in movement; continuously redrawing their own outline whilst negotiating their space with the other. The notion of shifting boundaries is an on-going concern in Emanuele practice that she explores through physical and material circumstance.

Drawing outlines was realized for ACTS REACTS 2014, a festival of performance across theatre and fine art at Wimbledon Space, with the participation of dancers Lauren Bridle and Davin King from The People Pile.

Acts Re-acts 1 Exhibition