Rosa Aiello

CV / Press
Publications

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.

Exhibitions:

I Call It Home, My Hell
Rosa Aiello, Matthias Groebel, Markus Saile, Julia Scher, Type 42
February 24 – April 13, 2024
Hosted by Bel Ami, Los Angeles

The All Attractive
Rosa Aiello
March 3 — April 22, 2023

Alles Gute für den Gast
Rosa Aiello
June 18 – July 31, 2021

HAUS
Horst Ademeit, Rosa Aiello, Henri Chopin, Whitney Claflin, Cédric Eisenring, Tobias Madison, Sam Pulitzer, Julia Scher
curated in collaboration with Cédric Eisenring
September 7 – October 26, 2019

Original Character
Rosa Aiello, Ben Burgis & Ksenia Pedan, Charlie Froud, Morag Keil, Olga Pedan
organized in collaboration with Olga Pedan
April 18 – June 7, 2018

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

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

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)

Caryatid Encounters, 2021
Single-channel-HD-video, sound; 00:47:01, looped; Installation view: Drei, Cologne, 2021

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 Coquette, 2019
Installation view: Seduction, Lodos, Mexico City, 2019

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
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)

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)

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, 2016 (film still)

Hope for the Best, 2016 (film still)

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)