Since the late 1980s, Nöle Giulini’s intensely material practice has focused on the discarded. In some ways this is a reflection on survival, or, more accurately understood — on surviving —of an enduring and at times willfully fraught effort to keep things alive. The word, ‘survival,’ is in itself unsatisfactory, conjuring up a form of forceful holding, its etymology literally meaning “to outlive”. Yet, in the context of Giulini’s work, it’s important to consider the term and to insist on the possibility of a protective ethos, of conserving in a spirit antithetical to the conservative—a practice of attending to the discarded beyond its assigned function or

15 Orient is delighted to announce an exhibition by sculptor Nöle Giulini; the artist’s first show with the gallery and her first solo-presentation in New York. Featuring a selection of sculptures and wall-works spanning the last thirty years, the show serves as a concise introduction to a practice of striking complexity and originality. December 10 – January 22, 2023 Artist Statement 1991/2022Rubber Bands, Pins(dimensions variable) Hyrdaya 2006Kombucha Culture, grown into Felt,Myrrh- and Frankincense Resins,in wood frame20 x 2 x 15 inches The King lives in the Wound(quote by Joseph Beuys),  2001Kombucha Culture, Myrrh- and Frankincense Resins (Dimensions variable) Detail of “The King lives in the Wound”(quote

Art in America reviews With the rise of new materialism, the notion that nonhuman matter has its own meaningful agency has seeped into a number of disciplines. In the past several years, many artists hoping to think “with” their materials have turned to organic and living matter. Amid this surging interest in bio art, 15 Orient, in Brooklyn, mounted a miniature retrospective of German-born, Port Townsend, Washington–based artist Nöle Giulini, who has been working in this mode for the past three decades with little institutional recognition. Cassie Packard, with Photos by Izzy LeungArt In America, March 23rd, 2023 ArtForum reviews In 2018, curator Alan Longino found

One has to walk into a room where the wedding dress sculpture created by Ms. N. Giulini visually dominates the space where it stands in order to experience the full, very profound and disturbing effect of its impact; to truly comprehend the magnitude of this achievement…There is meaning in this sculpture that says all of our ideas about relationships must be reviewed if they are to ever succeed. What we bring to each other is not some fairy tale filled with freshly scrubbed chastity but, rather, our true humanity, vulnerable, tender, often soiled, occasionally discarded and refound, but always filled with our own material…See this piece

The most extraordinary work is by Giulini, who fabricates giant brown carnival figures like medieval mummers or Miro’s Ubu Roi characters from layers of fungal skin. She cultivates this in her backyard, shapes, dries and varnishes it before stitching it together… Japan Times, April 13, 1997

..Cross the threshold of Gallery One and you encounter Nöle Giulini’s Wedding Dress, a gender-neutral sculpture constructed from recycled men’s and women’s undergarments. Hardly a patchwork that conjures up the traditional lace-curtain circus, these off-white undies have been through the wringer (they’re hand-me-downs appropriated from friends and thrift shops)…And while it may be OK for us to air–or even wear–our dirty laundry in Madonna-or-Oprah-land, Giulini’s figure takes you under (literally) to deeper, less free-spirited, less–for most of the world’s women–free territory… San Francisco Bay Guardian, March 9, 1994