Nadia reconstructed a broken bottle that had pieces of her family photo on random pieces of the bottle. The intention was to create a visual representation of “broken family,” showing how alcohol abuse can fracture a family and change its dynamics or structure. She visually communicated this through the scattered reorganization of the photo and the imperfect reconstruction of the rum bottle. This created

Result #1

Nadia reconstructed a broken bottle that had pieces of her family photo on random pieces of the bottle. The intention was to create a visual representation of “broken family,” showing how alcohol abuse can fracture a family and change its dynamics or structure. She visually communicated this through the scattered reorganization of the photo and the imperfect reconstruction of the rum bottle. This created vernacular objects that reflected the destruction of family bonds, and, as a result, linked the fractured family to a deeper trauma. The museum as a place of personal memory and intimacy, which is undermined by the knowledge that one cannot always return to it.The paintings of Maaike Takaishi, from the series La ricotta di merda (The Spring of Fire), 2002, and the film The Egg of Knowledge, 2002, are both based on photographs of the life of a woman who was a student in a Japanese art school. The title of the latter work, taken from a passage in a Japanese text, refers to the first day of her life. The woman has been in contact with the world for a long time, but her relationship with it is limited to her school days. She is a young woman, and, she says, I have only just begun to see it. The film shows her in her room, with her head and hands in the air. She holds the camera with great care, and it is as if she were a child in a world that is becoming more and more remote. The woman holds a little ball of tape in her hand, the ball that symbolizes the longing for contact with the world. The viewer is confronted with a childs wish, but it is also a childish wish that has been fulfilled by an older woman.The exhibition also included a video, La ricotta di merda (The Spring of Fire), 2002, that consists of the sounds of a womans voice speaking to a young girl, who is also a young woman. This girl is the artist's daughter, and she speaks in a very low, soothing voice. The artist's daughter is not only the artist's daughter, but also the artist's mother. It is as if she were speaking to herself, to the daughter. The artist's daughter is also the artist's son, and the father's words and gestures are reflected in the son's face.

Result #2

vernacular and poetic images that resonated with the time and place in which they were made, and with the problem of the broken bottle, which is a reminder of the fragility of life and its place in the world.

Result #3

Nadia reconstructed a broken bottle that had pieces of her family photo on random pieces of the bottle. The intention was to create a visual representation of “broken family,” showing how alcohol abuse can fracture a family and change its dynamics or structure. She visually communicated this through the scattered reorganization of the photo and the imperfect reconstruction of the rum bottle. This created . . . a powerful sense of the fragment,“ which was itself an ambiguous signifier.The title of the exhibition, A Fragment of a Bottle, was a reference to the fact that, in the 20s, the São Paulo Bienale organized an exhibition of such bottles, which, for the sake of the conservation of precious materials, were labeled with a single word: Fragment. The word was meant to make clear that the existence of the objects represented in the show was contingent on the existence of this word. The fragments of the bottle became, in fact, the object of a photographic and visual art, and it was thus a metaphorical matter, a matter of the moment. The same is true of the exhibition itself, which is an installation, a collection of objects, and a reconstruction of a broken bottle. The work of art is a matter of the moment, a matter of the present, and the moment is a temporal and spatial condition, a state of matter, a state of matter, a state of culture. The work of art is thus a material object, an object that can be found, but not produced. It is not produced in the space of the gallery, and it does not exist in the space of time. This is the same as the case of a fragment, which is not produced in the space of the gallery, but that is produced and destroyed by the work of art. It is a material, it is a matter of time, and it is therefore a time that is historical, a time that is recognizable as time. This is what the fragment, which is not produced or destroyed by the art object, but is produced and destroyed by the work of art, is: an object that transcends time. It is an object that is a temporal object.The bottle is a material object, a material that can be produced, but not destroyed.

Result #4

vernacular, vernacular-like, symbolic fragments that became a metaphor for the individual who is always threatened by the passage of time and the powerlessness of the other. The bottle was a symbolic representation of the individual who is always on the verge of losing his or her way in the world, which is the subject of the work.For the video, Nadia shot a few minutes of the bottle being broken in the street. She then transformed the footage into a series of video interviews with the people who were most affected by the crime. The images were taken from the street and the bottle was a surrogate for the individual who cannot easily connect to the world. The video revealed how the broken bottle, which is always in the middle of the street, becomes a sign that allows the individual to connect to himself or herself. In this way, the video asked us to think about the relationship between the individual and the world, and to reflect on the meaning of the broken bottle.

Result #5

Nadia reconstructed a broken bottle that had pieces of her family photo on random pieces of the bottle. The intention was to create a visual representation of “broken family,” showing how alcohol abuse can fracture a family and change its dynamics or structure. She visually communicated this through the scattered reorganization of the photo and the imperfect reconstruction of the rum bottle. This created . . . a distortion of the bottle, and a reflection of the distortion of the family photo, which in turn suggested the distortion of the family photo as well as the distortion of the family. The result was a metaphor for the way family and family relationships are distorted by the destruction of a bottle and the loss of its contents.The film was divided into three sections: a loop, a slide, and a video. The loop showed a group of women who were seen in a restaurant in New York, posing for a camera. The women wore the same white dresses and the same white stockings as the men in the film. The two men in the loop looked to be standing in front of a mirror, staring into the camera. The woman in the film was seen to be in a state of distraction from the camera, her hands in the air as if she were about to get dressed. In the second segment, a slide show was projected on the wall. Each slide was a series of slides that the woman had taken with a camera. The slides showed the same group of women as in the film, but the slides were not continuous and the images were not continuous. The slides were made in a similar way to the slides the men in the film made. The slides were projected on the wall and were not continuous, but the images were. The slides showed the same group of women as in the film, but the slides were not continuous and the images were not. The slide show was the only continuous image in the film.The video was a slide show. A woman was shown walking along the street, her hands slightly in the air as if she were about to pick up a telephone. The video showed the same group of women as in the film, but the video was not continuous. The woman in the slide show was not a member of the film crew. The woman was a woman who was not in the film and would not be in it.