独立映像：可以和我们谈谈你的艺术经历吗？
弗朗切斯科·乔亚基尼：我1985年出生在意大利的洛雷托。我在马切拉塔大学攻读传播学，并于2011年毕业。2014年我参加了斯莱德美术学院（伦敦）举办的夏季绘画课程。之后在2016年，我参与到艺术家克里斯托在意大利伊塞奥湖创作的装置艺术项目《漂浮的码头》。2018年我从马切拉塔美术学院取得了绘画的硕士学位。从2015年开始，我参加了不少群展，摘得了艺术奖项。2018年，我的第一个个人展览《弗朗切斯科·乔亚基尼：失踪的日子》在马切拉塔举办。这一年，我还获得了“马尔凯奖”，我的获奖作品被阿斯科利皮切诺市立美术馆永久收藏。我的作品被多本画册、杂志和艺术网站收录和报道，其中包括Arte、Juliet art magazine、exibart.com、rivistasegno.eu、artsy.net、artland.com、artrabbit.com、medium.com、arshake.com、artconnect.com、untitledv.com。2019年4月，我入选了柏林的一个艺术驻留项目，创作的作品最终在绿丘画廊的群展上展出。从此，我在柏林生活和工作，拥有了一间工作室，继续着我的艺术事业。
We Used to Draw on the Table (Moby Dick), oil, felt tip pen, marker, pastel, pen and oil stick on canvas, 50x70cm, 2020
独立映像：群展“重看”上展出的这些作品，你是被怎样的想法启发而创作出来的？
弗朗切斯科·乔亚基尼：《两个小孩》系列，我是从柏林家中的壁画中得到启发，当时我很意外也很欣喜，居然在卧室的墙壁上发现了一幅壁画。在我的作品中，背景中的两个古典艺术风格人物被喷绘覆盖了一部分，我有意为之，故意制造出碰撞，感觉很有意思。创作《来自艺术的身体》，我是从拉斐尔的《玫瑰圣母》中得到启发。《我们曾在桌上画画》和我的个人经历、求学时期的记忆有关联。这幅作品中有涂鸦、书写、笔记，还有一些素描和古典绘画的临摹。我喜欢把来自不同时期、空间、环境的元素杂糅、并置在一起。
独立映像：到现在为止，哪些艺术家感动过你？
弗朗切斯科·乔亚基尼：我感觉很难说出所有艺术家的名字，因为他们真的很多。如果你指的是在世的当代艺术家，我会说我对格伦·利贡（Glenn Ligon）的作品很感兴趣，卢卡·贝尔托洛（Luca Bertolo）的画作也很动人。
Bodies from art, oil on canvas, 60x50cm, 2020
独立映像：你觉得你的作品属于/跟随着当今的艺术潮流吗？
弗朗切斯科·乔亚基尼：好吧，我相信艺术家不应该追随某种潮流，当然他可以成为某个艺术运动的一份子。我知道这个问题的用意，我也很明白，在今天这个时代，随着大众传播、社交媒体（尤其是Instagram）的发展，艺术从未拥有过今天的曝光度，从未在全世界如此广泛地传播。但是，在大多数时候，我们体验到的并不是艺术品本身，而是通过数字屏幕看到的艺术品的图像。有时候，图像的过度曝光在所难免，毕竟当代艺术对这种“潮流”没有“免疫”。当然，总体上说，对艺术家而言这种曝光是有益的，但内容最终可能变得扁平、趋于一致，这是很危险的。回到你的问题，坦率地讲，我尝试着不跟随任何潮流（即使这非常不容易），我倾向于从某位艺术家身上得到启发，我尝试去观察身边真实的环境，而不去花费太多精力呆在网络世界里。我在意大利长大，这对我的艺术当然有很大的影响，而现在我住在柏林，这也影响着我，我尝试从两个国度吸取我艺术成长的养分。
独立映像：在社交隔离期间，你有些什么新创作吗？
弗朗切斯科·乔亚基尼：这是一段奇怪的时光。情况越来越糟糕的时候，我决定不再到工作室去，避免搭乘公共交通工具，接触人群。我把工作室的工作暂时放下，在家里创作一些小型的作品。在德国开始隔离之前，我在意大利呆了几天，那里的情况已经很严重了。我想办法搭乘最后的航班回到德国，把所有创作需要的工具都带回了家。我开始画素描、小幅油画，这对我而言是一个机会。我想艺术家在某种程度上都“享受”孤单和独自思考的时间，社交距离对日常生活是件麻烦事，但或许艺术家是可以接受的，对他/她的创作也还可以接受。不管怎么说，几周内柏林的状况好转了起来，我已经重新回到在工作室工作了。
Two Kids (R Version), felt tip pen, oil and spray on canvas, 50x40cm, 2019
Two Kids (W Version) felt tip pen, oil and spray on canvas, 50x40cm, 2019
Artist Interview | Francesco Gioacchini
Independent & Image Art Space: What’syour background?
Francesco Gioacchini: I was born in Loreto,Italy, in 1985. I first studied Communication at the University of Maceratawhere I graduated in 2011; I attended a summer program in Life painting at theSlade School of Fine Art in London in 2014 and in 2016 I worked on “The FloatingPiers”, art installation made by Christo at Iseo Lake in Italy. In 2018 Igraduated for a second time, obtaining a master’s degree in Painting withhonors from the Academy of Fine Arts of Macerata. Since 2015 I have beenparticipating in several group exhibitions and art prizes. In 2018 I presentedmy first solo show in Macerata with the title “Francesco Gioacchini. MissingDays”, during the same year I was awarded with “Premio Marche” and my winningartwork has become part of the permanent collection of the Pinacoteca Civica inAscoli Piceno. My work has been published and featured in various catalogues,art magazines and art websites such as Arte, Juliet art magazine, exibart.com,rivistasegno.eu, artsy.net, artland.com, artrabbit.com, medium.com, arshake.com,artconnect.com, untitledv.com. In April 2019 I have been selected for an Artresidency in Berlin with a final group exhibition at Green hill gallery, sincethen I live and work in Berlin where I have a studio and carry on my artisticresearch.
Independent & Image Art Space: How youwere inspired to do the pieces now showing at RE-SEE?
Francesco Gioacchini: The Two Kids pieceswere inspired by a fresco that I have at home in Berlin; it was kind of abeautiful surprise discovering a fresco in the wall of my bedroom. In my twoworks the classical figures in the background are partially covered by thespray; I was interested in creating this kind of collision. The inspiration forBodies form art has come from Raphael’s Madonna della Rosa, while the pieceentitled We used to draw on the table is more connected to my personal memoryand to the high school days. In this painting as well we can see scribbles,writings and notes along with drawings and reproductions of classicalpaintings. I like to merge and juxtapose elements which come from differenttimes, spaces, environments.
Independent & Image Art Space: Who aresome other artists you are moved by right now?
Francesco Gioacchini: It is alwaysdifficult to name other artists, there would be many names. If the question isreferred to contemporary living artists I can say that I am interested in GlennLigon’s work and right now I am really fascinated and moved by Luca Bertolo’spaintings.
Independent & Image Art Space: Do youthink which current art world trends are you following?
Francesco Gioacchini: Well, I believe thatan artist should not follow a trend; he can be part of an art movement instead.I understand the question and I am aware of nowadays in particular, withmassive communication, social media, especially Instagram, art has never beenso visible to people and so widely spread all over the world. Nevertheless,most of the time we don’t experience the artwork itself but images of artworksthrough a digital screen. Sometimes it is difficult to avoid this overexposureof images, and contemporary art is not “immune” to this practice. Of courseit’s a great opportunity for artists in general having this visibility butoften it seems that the content ends up flattening out and conforming, and thiscould be a big risk. Going back to your question, to be honest I try to not tofollow any trend (even though it is not easy), I rather prefer being inspiredby single artists and I try to look at my real and physical surroundingsinstead of giving too much attention to the digital ones. I grew up in Italyand of course this has a big influence on my work; I am now living in Berlinand also this experience influences my work. I can say that I am trying to feedmy art with these two worlds.
Independent & Image Art Space: Are youcreating new work while social distancing?
Francesco Gioacchini: Quarantine and socialdistancing have been an odd time. When the situation was getting bad I decidednot to go to the studio anymore, in order to avoid taking public transport andmeeting people. I left the work that I had in the studio on hold and I organizedmyself to do small size artworks at home. Before the quarantine began inGermany I had spent a few days in Italy, where the situation was alreadybecoming very serious, I managed to return to Berlin with one of the lastavailable flights and I took everything I needed to work from home. So Iorganized myself with drawings, projects, small size canvas and I must say thatit was an opportunity. I believe that artists in some way “enjoy” solitude andtime to think; social distancing it’s hard for daily life but maybe it’s moreacceptable for an artist and his/her work. In any case, since a few weeksluckily the situation in Berlin has improved considerably and I have startedworking in my studio again.