2014
Photography C-Print from 35 mm film, cm 46x68 cm; wood box, documents, Inkjet print on paper, tape, artist book, HD single channel video, 5 min, color.In collaboration with Giuliana Racco.
Só estás bem onde não estás is the result of a workshop, conducted by Racco and Guidi in Porto within the vintage auditorium of the Cooperativa dos Operários Pedreiros do Porto (Stone Masons Cooperative).
The Porto Sessions hinged on the (delayed) arrival of sample stones shipped from the West Bank – displaced resources caught in international red tape. The movement of the samples was the pretext for an analysis of four cardinal points – context, value, desire and constraint – with a mixed group of participants (sculpture students from the Faculty of Fine Art and technical school students from former Portuguese colonies).
Another piece – a donation – took place in the Cooperative’s own museum: one of the three samples of Jerusalem stone was officially inserted into the museum’s idiosyncratic collection, placed on permanent display and accompanied by its donation letter and booklet, bearing the over 200 emails exchanged in order to transport the stones and unblock them in customs.
Exhibited at
To Disconfirm, Galleria+, Bolonia, Apr 23—Jun 13, 2015 , curated by Vincenzo EstremoThe technical Unconscious, Stone Masons Cooperative Museum, Porto (P) Sep 23—Oct 30, 2014, Curated by Inês Moreira and Gonçalo Leite Velho
Só estás bem onde não estás es el resultado de un taller realizado por Racco y Guidi en Oporto, dentro del auditorio de la Cooperativa de Operarios Pedreiros do Porto.
Las Sesiones de Oporto se basaron en la llegada (tardía) de piedras enviadas desde Cisjordania – recursos desplazados atrapados en la burocracia internacional –. El movimiento de las muestras fue el pretexto para un análisis de cuatro puntos cardinales –contexto, valor, deseo y constreñimiento – con un grupo mixto de participantes (estudiantes de escultura de la Facultad de Bellas Artes y estudiantes de escuelas técnicas de las antiguas colonias portuguesas).
Otra pieza – una donación – tuvo lugar en el museo de la Cooperativa: una de las tres muestras de piedra de Jerusalén fue oficialmente insertada en la colección del museo, colocada en exhibición permanente y acompañada de su carta de donación y folleto, con más de 200 correos electrónicos intercambiados para transportar las piedras y desbloquearlas en aduana.