Rosa Aiello’s work draws from cinema, literature, popular psychology, and online databases to form her visual, sound and imaginary repertoire. She builds narratives by exploring the fundamental ambiguities—both comforting and oppressive—of social and familial structures. Conditioned rituals apply to domestic and emotional cycles and habits, as well as to the performance of work and maintenance; meanwhile they intersect with the rhythms of nature, the repetition of seasons, the succession of days. Devices such as the alphabet, chronologies, syntaxes, and refrains overlap with highly personal content, to reveal the intimate, arbitrary, and perverse mechanisms at play in these structures.
Love Test
Mint, Stockholm
September 19 – October 27, 2024
From My Window
with Niloufar Emamifar and Luzie Meyer, Sentiment, Zurich, 2023
From My Window
with Niloufar Emamifar and Luzie Meyer, Sentiment, Zurich, 2023
Yours Faithfully (Please do not), 2022
Cardboard divider, wood, glue, paper from "Englische Geschäftsbriefe" by Günter Wichmann, Verlag Die Wirtschaft, Berlin, 1967; 23,3 × 16,8 × 2,2 cm
Yours Faithfully (case (Feste) Kiste), 2022
Cardboard divider, wood, glue, paper from "Englische Geschäftsbriefe" by Günter Wichmann, Verlag Die Wirtschaft, Berlin, 1967; 23,3 × 16,8 × 2,2 cm
Yours Faithfully (We remain), 2022
Cardboard divider, wood, glue, paper from "Englische Geschäftsbriefe" by Günter Wichmann, Verlag Die Wirtschaft, Berlin, 1967; 23,3 × 16,8 × 2,2 cm
Yours Faithfully, 2022
Single-channel HD video, color, multi-channel sound; 00:17:56; Installation view: Drei, Cologne, 2023
The All Attractive
Drei, Cologne, 2023
The All Attractive
Drei, Cologne, 2023
Dear Sirs, 2022
Digital art print, aluminium frame, museum glass; 45 × 80 cm / 46 × 81,5 × 3 cm (framed)
Memory of a gesture in a hospital cafeteria, 2023
Laser cut found HDF board, pen on paper, aluminium frame; 45,5 × 36,5 cm / 47,2 × 38,2 × 3 cm (framed)
Memory of a gesture in a hospital cafeteria, 2023 (detail)
Laser cut found HDF board, pen on paper, aluminium frame; 45,5 × 36,5 cm / 47,2 × 38,2 × 3 cm (framed)
Sun, sand, and tears, 2023
Found HDF board, mascara, piece of wall, aluminium frame; 45,5 × 36,5 cm / 47,2 × 38,2 × 3 cm (framed)
Sun, sand, and tears, 2023 (detail)
Found HDF board, mascara, piece of wall, aluminium frame; 45,5 × 36,5 cm / 47,2 × 38,2 × 3 cm (framed)
The All Attractive
Drei, Cologne, 2023
Kitchen Diary (Sex, death, food, money), 2023
Single-channel HD video, color, stereo sound; 01:13.08
Traffic
Kevin Space, Vienna, 2022
Traffic
Kevin Space, Vienna, 2022
Traffic
Kevin Space, Vienna, 2022
Yours Faithfully (panic both in), 2022
Cardboard divider, wood, glue, paper from "Englische Geschäftsbriefe" by Günter Wichmann, Verlag Die Wirtschaft, Berlin, 1967; 23,3 × 19 × 2,2 cm
Yours Faithfully (Competitors' products cheaper), 2022
Cardboard divider, wood, glue, paper from "Englische Geschäftsbriefe" by Günter Wichmann, Verlag Die Wirtschaft, Berlin, 1967; 23,3 × 19 × 2,2 cm
Yours Faithfully (Dear Mr. Handy), 2022
Cardboard divider, wood, glue, paper from "Englische Geschäftsbriefe" by Günter Wichmann, Verlag Die Wirtschaft, Berlin, 1967; 23,3 × 19 × 2,2 cm
Yours Faithfully (Dear Sirs), 2022
Cardboard divider, wood, glue, paper from "Englische Geschäftsbriefe" by Günter Wichmann, Verlag Die Wirtschaft, Berlin, 1967; 23,3 × 19 × 2,2 cm
Yours Faithfully (case (Feste) Kiste), 2022
Cardboard divider, wood, glue, paper from "Englische Geschäftsbriefe" by Günter Wichmann, Verlag Die Wirtschaft, Berlin, 1967; 23,3 × 16,8 × 2,2 cm
The Last Man, 2022
Single-channel-HD-video, stereo sound; 00:32:51; Installation view: Fluentum Collection, Berlin, 2022
The Last Man, 2022
Single-channel-HD-video, stereo sound; 00:32:51; Installation view: Kölnischer Kunstverein, Cologne, 2022
The Last Man, 2022 (film still)
The Last Man, 2022 (film still)
Caryatid Encounters, 2021
Single-channel-HD-video, sound; 00:47:01, looped; Installation view: Drei, Cologne, 2021
Caryatid Encounters, 2021 (film still)
Caryatid Encounters, 2021 (film still)
Caryatid Encounters, 2021 (film still)
24 Normal 10, 2021 (detail)
85 collected cardboard boxes, book; 231 × 290 × 57 cm
Inventory (Horror), 2021
C-print on Hahnemühle paper, yellow letter, page of 'Codependent No More’ (1987) by Melody Beattie, black marker, ballpoint pen; aluminium frame, museum glass; 60 x 80 cm
Inventory (Horror), 2021 (detail)
Helen Exhales, 2021
C-print on Hahnemühle paper, five prints; aluminium frame, museum glass; 60 x 80 cm
Inventory (Caryatid), 2021 (detail)
Artemis' 2 Become 1 (Discipline and Character Building), 2021
46 photographic prints; each 15 × 10 cm
Caryatid Encounters
Arcadia Missa, London, 2021
Antonienstr. 1, 13403 Berlin, 2021
Hahnemühle Photorag print, C-type prints; framed; 61 × 81 × 2 cm
Kitchen Offering, 2021
Two C-type prints; each: 15 × 10 cm; Installation view: Caryatid Encounters, Arcadia Missa, London, 2021
Kitchen Offering, 2021
Two C-type prints; each: 15 × 10 cm
Caryatid Encounters
Arcadia Missa, London, 2021
The Victim, configuration of 28, 2019 (partly)
Digital print, pearl paper, double-sided tape; 28 parts, each 10 x 15 cm
Seduction
Lodos, Mexico City, 2019
The Victim, configuration of 28, 2019 (partly)
Digital print, pearl paper, double-sided tape; 28 parts, each 10 x 15 cm
The Victim, configuration of 28, 2019 (partly)
Digital print, pearl paper, double-sided tape; 28 parts, each 10 x 15 cm
The Coquette, 2019
Installation view: Seduction, Lodos, Mexico City, 2019
The Coquette, 2019 (film still)
The Coquette, 2019 (film still)
The Coquette, 2019 (film still)
The Coquette, 2019 (film still)
Progression (Harvest Hills - Coventry Hills), 2019
Installation view: Joins (with Patricia L. Boyd), Cell Project Space, London, 2019
Rosa Aiello, Setting, 2019
Digital print, photo rag paper, acetate film, glue, aluminium frame; 31,2 × 41,2 cm
Because the house layout is determined by a standard, the people that live and gather in the house are standardized., 2019 (detail)
Digital print, photo rag paper, acetate film, glue, aluminium frame; 31,2 × 41,2 cm
Rosa Aiello, Conditioning, 2019
Digital print, photo rag paper, acetate film, glue, upholstery fabric, aluminium frames; Diptych: 62,4 × 41,2 cm
Rosa Aiello, Configuration II, 2019
Digital print, photo rag paper, acetate film, glue, aluminium frames; Diptych: 62,4 × 41,2 cm
The Prude, 2018
Digital print, pearl paper, black marker, paper matte, wood frames; 54 × 93 cm
The Prude, 2018
Digital print, pearl paper, black marker, paper matte, wood frames; 54 × 93 cm
The Prude, 2018
Digital print, pearl paper, black marker, paper matte, wood frames; 54 × 93 cm
The Prude, 2018
Installation view: The Coquette, The Prude, Southern Alberta Art Gallery, Lethbridge, Canada, 2018
FATE PRESTO, Casa Masaccio, San Giovanni Valdarno, Italy, 2017
Amore Molesto, 2017
Single-channel-HD-video, multi-channel-sound; Installation view: FATE PRESTO, Casa Masaccio, San Giovanni Valdarno, Italy, 2017
Amore Molesto, 2017 (film still)
Amore Molesto, 2017 (film still)
Rosa Aiello, Some of hell, 2018
31 photographic prints; 57 × 117 cm
LL, RN, OO, Double Consonant, MO, AI, 2017
Installation view: 27 seasons, Galleria Federico Vavassori, Milan, 2017
LL, RN, OO, Double Consonant, MO, AI, 2017 (detail)
Double L, 2017 (detail)
27 seasons, 2017
Single-channel-HD-video, sound; 00:08:10; Installation view: 27 Seasons, Galleria Federico Vavassori, Milan, 2017
27 seasons, 2017
Single-channel-HD-video, sound; 00:08:10; Installation view: Cul-De-Sac, Antenna Space, Shanghai, 2017
27 seasons, 2017 (film still)
27 seasons, 2017 (film still)
Born square (1), 2017
Glazed ceramic tiles; 59 x 59 cm; Installation view: Acoustic Holographic Language, Bureau des Réalités, Brussels, 2018
Fate square (1), 2017
Glazed ceramic tiles; 59 x 59 cm
Builder and Demon, Éclair, Berlin, 2017
The Demagogue, 2016
Photorag paper, pen; Installation view: The Demagogue; Bureau des Réalités, Brussels, 2016
The Demagogue, 2016 (detail)
Temper, Outpost, Norwich, England, 2016
Temper, Outpost, Norwich, England, 2016
Temper, 2016 (film still)
Hope for the Best, 2016 (film still)
A River In It, 2015
Installation view: Eli Ping Frances Perkins, New York, 2015
A River In It, 2015
Installation view: Eli Ping Frances Perkins, New York, 2015
Arcs (1,2,3), 2015 (film still)
Serving, 2015 (film still)
Shame Baby, Baby Shame, 2014 (film still)