Nina Bernagozzi


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Nous sommes faits du même limon - We are made of  the same alluvium 

Exhibition at Pauline Perplexe - Artist Run space in Arcueil-Paris / Mai 2016 

We were made of the same alluvium.

A wasp was watching the scene, hoping to be able to change something about the script.

There is already enough two quarters poetry in this exhibition, if it takes place.

The scenario flows in the silt, overflows on the house

I no longer have clear ideas.

The green silt, the earth of Sceaux

In the stagnant bottom, hard to determine

Spring marshes and stagnant waters.

Green particles of dirt deposits.

In the internal interlacing

No perspective but the limoncello

Ô limoncello

Nina Bernagozzi's work immerses immeasurably in issues related to the bottom and the surface.

« Hard to know if it's the bottom or the surface »,

Everything is flying organically free to the wind - The background or the erasing surface.

Entoptic phenomenon

Alluvium of our land



LIME flooded

It’s cloudy it’s a permanent doubt and at the same time a questioning that can become fruitful


Floating glass

Flying flies banged on the tile

Glazed mood

Degenerative Fibers Floating in Words

Ocellus of the house

The kitchen has overflowed into the entire house. Nina's sprays sometimes still have the strong smell of beetroot, spinach, or red wine, and it spreads in shades of purple.

The painting takes as a frame the limits of the millstone house.

Stone sponge

Impregnationist paintings.

Like a Mac Guffin, the sheets soaked by time fall to the ground like the sides and sets of a scenario to be constructed.

Scenario pretext, shy occelus, Nina's paintings speaks of the off-screen, of what is not included in the video Mon chien jaune - My yellow dog.

No tautology

-but all of this is terribly dependent?

-About what?

-the Rest.

A formalist painter preaches the fact that The girl reading a letter at the window of Johannes Vermeer

is composed simply of masses of colors and dynamics.

He takes malicious pleasure in it, hidden, in the rigor of his analysis:

we will talk about the plan, the background then the opening and finally the relationship between the plans and the figure.

-- never about the letter?

In 1972, in an interview with Harald Zeeman, Paul Thek spokes of misunderstandings

as being a way of creativity. We can easily imagine him saying it with a smile and it's reassuring.

Don’t understand? I really don’t know...

( Early mornings thoughts of Morgan Courtois, from really late vesperals notes of Nina) 


les corps flottants- floating bodies  I et II / inks and roots on paper / 155 cm x 200 cm

les corps flottants- floating bodies III / inks and roots on paper/ 240 cm x 200 cm


un nœud pour des nœuds- a knot for knots  / keys in galalith (homemade milk stone) and  fabric belt 

pomosensaoro- pommel without  gold / ink on paper / 28 x 45 cm


cristallisation de larme - Tear cristallization / ink on paper / 42cm x 22cm


la cantinière- The canteen girl / sheets and beetroots / variable dimentions



                                                                                                            Saccage- Plunder /spinach on paper slicks and green clay self-harvest in the ground/ 120 cm x 60 cm and dimentions of the staircase



                                       J’en fais trop- I do too much /video projection with variable duration and dispositif


Nous étions faits du même limon - We were made of the same alluvium / paint wall paper / roots of Rehmannia / 240 cm x 265cm 

Wall that Golem is watching - Golem / sheet, green clay self-harvest in the ground and Rosemary leaves

That wall, This wall faces a window through which, from the Sunset, you can see the projection of the movie

Mon chien jaune- My yellow dog / duration 24 min.


Wall in the silent, the limnologist grapped her ears to stick them on the damp earth.

-”I can only breathe in the lower regions.” 

-The various of sensation before  its unification. The solids have melted and the matter becomes shapeless, chaotic.
It refuses its frontality for expansion without polarity,

- impressed by the image of this reel catching fire,

“ I catch a dust which flies in the air, it is perhaps the beginning of a film- What important? ... I hurry with the orthers ants, we do a colossal job. The snake skin moves.”
Ingmar Bergman 



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© Nina Bernagozzi-2019 / Cannot be used without permission.