“Black Heart” is the representation of betrayal, of all betrayals. Not only of love in its profound meaning, but of dreams, expectations, projects: through a large modular installation Giagnacovo gives us a look at the depths of reality, on its hidden side that we struggle to decipher, its black heart that cannot we want to investigate, whose existence we prefer not to admit until, in a rush, we necessarily have to discover it.
These hearts are forms that betray their own essence or, better said, they are the ultimate and authentic essence of a narrative that appears different on the surface, the nature and substance of that dark shadow that clothes the humanity of the individual reveals, paradoxically, its naked truth.
In a polysemic short circuit of words and visual elements, the artist moves in search of the core of feelings and emotions, digging into the folds and nuances of events, phenomena and behaviors, individual and collective. Like a collector, she identifies and collects the anomaly of definitions that do not coincide with the real manifestation that they claim to identify, that betray the meaning that is at their origin, the spirit of the promise that the term contains and guarantees: what is the convergence semantics - for example - between love and murder, between empathy and oppression, between love and rape, between care and exploitation, between respect and possession.
Giagnacovo creates an archive of awareness, a herbarium of weeds, setting up a showcase in which to simultaneously observe and reflect, a sort of magnifying glass that allows you to read the signs and gestures in the smallest detail and in their crudeness, cleansed of the misleading aura of the linguistic expressions with which they are conventionally cataloged, and attributing to each one the responsibility for a betrayal - of meaning, of value, of perspective.
Installed in a secluded and secondary environment where the traces and memory of other lives clearly survive, “Cuore Nero” establishes an intimate and personal dialogue with the observer. In this separate space - which by extension is one of the meanings of the sacred - a cathartic ritual takes place, a purification of the word which finds its full and coherent meaning again, freed from degenerations and misunderstandings. If, in the collective imagination of a culture that has evolved starting from its Christian roots, the heart of Jesus constituted the representation of love raised to its maximum power, the divine one, it is still that same tradition that inspires the last work that symbolically closes the circle: the heart of bread which in dividing and sharing with others becomes a rite of rebirth and hope, nourishment, life.” Barbara Pavan