Toderi’s video work of the past 5 years has thematically dealt with shifts in political and social power, and instances of personal resistance in the face of adversity. Toderi favours cycles and loops as narrative and formal devices in her work.
Il decollo (The Takeoff) is a subtle computer manipulation of a single video-still taken from a blimp-camera over a soccer game in Italy. The resulting video features a spinning aerial view of a soccer stadium; spot lights sweep across the playing field, converging in the centre while sounds of a cheering crowd fade in and out. Toderi’s uses the stadium as a symbol for a shift in socio-political power from governments to the hegemony of spectacle and entertainment.
Based on Pasolini’s film 1001 Arabian Nights, Il fiore delle 1001 notte (The flower of 1001 nights) is set in an imaginary Baghdad – both a place of fables, and the subject of American ‘video game’ styled war measures. A combination of computer graphics, and tiny animated models shot on the artist’s kitchen table, miniature umbrellas become radar dishes and romping spaceships dance an elegant ballet.
Toderi’s installation of Il decollo and Il fiore delle 1001 notte won the Gold Lion Award for the Italian Pavilion at the 1999 Venice Biennale. While she has exhibited at the Guggenheim Museum in New York, and The Musée d’art contemporain de Montréal, this show marks her first North American solo exhibition. Grazia Toderi has also been recently featured in Fresh Cream: Contemporary Art in Culture published by Phaidon Press.