Dovrai imparare a godere la bellezza di una ghiandaia
e l’incanto inaccessibile dell’azzurro che ti svolazzerà davanti
Rapire il profumo intenso della lavanda
strusciando mani e corpo tra cespugli inebriati di sensualità
Dovrai conoscere la solitudine. E accompagnarti all’ingegno,
alla devota intelligenza, alla passione.
Dovrai imparare a leggere, scrivere, e far di conto
Divorare storie fino a farne ossessione e incessante fame
Imparare il nome delle cose
e il loro tremore
Prenderti di te cura come il curato di campagna
in un film in bianco e nero si premura delle anime,
con ironia, benevolenza, gentilezza. Fermezza.
Dovrai nutrire il condottiero
mai dimentica del pianto e dello sgomento
Non oscurare il desiderio, e non sentirne colpa
Diffidare della cerimoniosità, delle speranze logore,
delle dichiarazioni che tendono all’eterno
Non cercare posto sicuro dove fissarti
una volta per sempre
Non temere la confusione popolosa della tua testa,
di quelle tante io che sei,
eremita e puttana, ubriachezza e castità,
compostezza e alterazione
La furia e le sue deviazioni
Non ricoprire di disprezzo il tuo esser fatalmente madre
Che sia accettazione dell’intraducibile tenerezza
scritta sulla pelle di pesca del neonato
portato al mondo
o mescolamento del ventre quando guiderai un’idea
lentamente al farsi
allunga le mani e prendi quanto puoi della pienezza,
grattala con le unghie, rubala
e affondala in un posto solo tuo.
come quei puledri che cadono al suolo
ma continuano a provare ad alzarsi in piedi,
sanguinanti e coperti di paglia, pronti a mettersi in viaggio.
Indossa un maglione smagliante e vai. Via andare.
Perché solo da te dipenderà la salvezza.
Daniela Zangrando, estate 2020.
ad una giovane donna è dedicata a Francesco Fonassi.
When it comes to art-making, what determines who is deemed professional?
Among the many acts and ways of making art, the idea of the ‘professional’ artist seems to be that of an individual who is able to create value acknowledged both culturally and economically, whose actions and works are validated by institutions within society. In this context, the amateur is an individual fuelled by passion and interest but unable to create cultural or economic value on a societally significant scale. The divide between the two is neither clear nor permanent; it can go and has gone through endless variations and modulations with time: they are two extremes between which individuals who partake in cultural production find themselves.
Ten years ago, we did No Soul for Sale at Tate Modern, the London powerhouse museum that turned 20 this year.On that occasion, artist Adam Avikainen celebrated the nuptials between two paintings of his and two paintings he chose from the Tate Collection, in the galleries where they were hung with a group of us as witnesses1. Adam has been sending each year for 10 years an e-mail in May to the participants to these nuptials, he promised a forever and he is keeping his word. The e-mail addresses he gathered in 2010 though, have been bouncing, each year less people receive his message on behalf of the paintings. In 2020, we are scattered in different parts of the world, and in different phases of lockdown induced by Covid.Continue reading →
Ciao Lisa, ti scrivo dalla Lombardia in quarta settimana di quarantena, forse i pensieri non sono molto lucidi ma provo lo stesso a porti delle questioni che vorrei discutere con te. Innanzitutto grazie della traduzione in italiano dell’intervista che ho fatto all’artista Lawrence Lek tra il 2017 (quando ancora vivevo a Singapore) e l’inizio di quest’anno funesto, rientrata in Italia prima degli inizi del contagio da Covid-19. […]
Sarah Walker Surface Creep, 2019 Binaural audio work. 14’42. Created for Tropical Lab 13 at LaSalle College of the Arts, Singapore
Anchored in the real space of the LaSalle campus, Surface Creep is a walking tour that works between worlds. It uses the bleed between narration and diagetic and recorded sound to disrupt the spaces between truth and fiction, present and future.
Set partly in a future where Singapore has reclaimed so much land from the ocean that the world has become a giant dust bowl, the work uses fictive inquiry to bring ecological disaster into the present. (Sarah Walker, 2019).
Lek’s work usually takes the form of film, where he applies his skills at CGI (computer generated imagery) animation and at composing soundtracks. With animated, filmic works like Sinofuturism (1839-2046 AD), Geomancer, AIDOL and 2065, Lek conjures up future scenarios where the virtual is changing the definition of all human categories, including art. The artist ponders through different viewpoints — both human and artificial — and adopts English, Mandarin and Cantonese to describe how the world might be like a few decades from now.
Miao Ying, Happily Contained, 2018, VR, 7′ , Courtesy of the artist and MadeIn Gallery
I am not sure where your IP address is located as you read this article. I am in now Italy trying to question the reach of digital technologies in our lives, interactions and flailing democracies. I started becoming more aware of the role of technology in society while living in Singapore, noticing how interfaces were shaping the city and its inhabitants.
I move to the edge of the wall, touch the surface which is cold and chalky. What house system are you using? Yours is a new house, one you designed yourself. You open the window. I talk about what was on my mind that night. An image of two habits short-circuiting. One stimulated by the other, something being distilled, boiled down. That it was meant to be. You reposition my chair, wipe down the table. That it’s still a region of tissue, strata of flesh and nerves and muscle. I go through my list, I mention resistance training, flexibility, geophysical processes. You pour liquid into a glass. I steady the glass with my hand. I use the other to push the image across and let it drip, discharge onto the wooden surface like some form of glandular secretion.
Madison Bycroft, Mollusk Theory: Soft Bodies, Institute of Contemporary Arts Singapore, 2018.
Kai is a perky Chinese-Singaporean woman wearing gray shorts, sneakers and a T-shirt adorned with cats. You get the impression she is getting ready for a run rather than a performance. The Ikea stools for the audience are arranged in an arch shape in part of the gallery close to a glass partition. My Brazilian friends, attending the performance with me, feel the audience setup is constrictive, mirroring public spaces in Singapore where any improvised crossing or alternative routes are obstructed by metal barriers and plant fences. It seems I have been in Singapore long enough to no longer pick up on bodily curtailment.
The text was written and first published in a Dance Mag, The Furor Issue, 2018.
Dafne Boggeri, Training Coincidences, 2017. Courtesy Marsèlleria. Photo Sara Scanderebech
Chi è Dafne Boggeri? i-D è un lavoro del 2006 dove l’artista si presenta in quattro carte d’identità, indossando in ciascuna una maglietta con una scritta diversa; la serie completa compone la frase: trans/lation/some/time. La traduzione non risolve l’enigma che, anzi, si infittisce quando nel campo relativo alla professione nei documenti si legge “astronomo”. Dafne Boggeri si divincola dalle definizioni e si muove agilmente fra una molteplicità di linguaggi.
I come from Northern Italy, not too far from where Marco Polo started his journey East more than seven hundred years ago, but I now live in Singapore. I travelled there by plane with one big luggage and no immediate return ticket. In Europe my skin is white but gets tanned in summer months, in Asia when I stand in the sun I get ‘sunburnt’ instead. Language reveals a lot of cultural and historical biases.
Massimo Bottura is a Michelin star chef, his restaurant, featured on Chef’s table, Master of None and many other food and TV programmes, is Osteria Francescana in his hometown, Modena, a city in the centre of Italy where making pasta is considered an art. Bottura is married to Lara, an American woman he met when, in their 20s, they started working on the same day in the same New York restaurant. Lara eventually married the man but also a vision and then a restaurant. She was the one who introduced Massimo to art galleries and contemporary art exhibitions. Those encounters and ideas gradually made their way into dishes, inspired by Bottura’s childhood and traditional Italian family recipes transformed into new creations through conceptual twists often referencing works of contemporary art.
Adrian Piper è un’ artista-filosofa. Lo si apprende dal suo enciclopedico sito web (www.adrianpiper.com), che rivela come la sua ricerca trovi espressione in tre differenti discipline: non solo l’arte e la filosofia, ma anche lo yoga. Nella pagina dedicata alle sue notizie biografiche sono raccolti diversi documenti: testi brevi o estesi, scritti, riscritti e aggiornati a distanza di anni; saggi in prima persona e compendi in terza, oltre alla pagina Wikipedia ricostruita personalmente dall’artista. Sul sito compaiono lettere inviate a redattori, editori e curatori nelle quali Piper prega di correggere informazioni scorrette e di non basarsi su considerazioni esterne all’opera d’arte.
Articolo commissionato da L’Officiel Art Italia e apparso sul N. 3 Aprile 2018
Jeremy Sharma’s exhibition at ICA Singapore has a vibrant pulse and operates as an orchestra. The instruments the Singaporean artist plays are his videos: in one of them there is a saxophonist who introduces a soulful vibe resonating in the entire gallery. Billy Wong, who played in the Singapore Symphony Orchestra, was befriended by Sharma as a street busker; in the video he performs his interpretation for a song composed for guitar, the new score Wong wrote can be found pinned on a wall in the gallery. Sharma films the musician playing at sunset by the windows of a room with a recognisable backdrop of Singapore HDB flats’ skyline. A paper contract next to it, reveals it is an office space rented only for the day of the filming.
Sto in un albergo nel caos sporco di Mong Kok, la mia camera e’ su un piano alto e mi pare di essere un’ eroina di un telefilm del giro del millennio tipo quello con Jessica Alba con il tatuaggio di riconoscimento a codice a barra sulla nuca. Se non sto attenta, mi e’ gia’ capitato di aprire la porta dell’armadio anziché quella della doccia, dato che sono uguali e adiacenti.
Finding a title for this exhibition has been hard; there was for a moment The abstraction of the art object (2017–2065) but I am no Lucy Lippard and it sounded like I was setting out to write a treatise. Then there were Satellite dreams, Dancing satellite and a brief Star Wars reprise, The last satellite, untileventually the satellite was shut down.
Haji Widayat (Indonesia) Wild Orchids in the Forest 1985, oil on canvas
Early morning and the fog pouring into the valley like a river. The hills a shade of emerald so dark that they are almost black. The gently rustling ferns, the wood-plank walls, the water dripping off the roof in beads of light—everything seemed to be drawing breath. She emerged from her sleep as if coming out of a cocoon, opened her eyes into the blooming of things. Through the window she could feel the crisp bite of the wind, see the fog enveloping everything as if the clouds were descending from above. For a moment she closed her eyes. Suddenly the sound of marbles falling onto the roof. When she opened them again the world had whipped itself into a storm.
Have you ever travelled in time to an imaginary place where disparate famous architectures coexist by the placid waters of a lake? Have you ever seen someone else’s living room in a black and white photograph, distant as a memory yet as close as a family member? A lush velvet curtain becomes a portal transporting you to sculptures in Russia or the Trump Towers in India, amid flowers, foliage and clouds appropriated from Italian art history.
Francesca Grilli, Gold, site specific performance. Library of the American Academy, Rome, 2015
“[…] As the drama of female consciousness in the world; as an attempt to interrupt the dream that man has of woman in order to dream himself; as the possibility of relationships now freed, even if traumatized, from the realm of silence.” (1)
In this precise historical moment, to reflect on what it means to be a woman seems to harbor connotations whose implications are, to say the least, problematic. It does so, in part, because we are still prisoners of a stage in which the male gaze is the one that judges and the only one adopted by the mass media. In a 1973 essay, film theorist Laura Mulvey indicated the tendency of Hollywood movies to reduce the woman to a sexual function or otherwise to a virginal figure of salvation, ever passive with respect to her instrumentalization in male narrative. (2)
Alex Cecchetti, Le chevalier, table, 4 chairs enzo mari autorpogettazione, woodcut, prints, menu with poems, 2017, from “Tamam Shud” at Ujazdowski Castle, Warsaw. Photo: Pat Mic
Quando si incontra Monsieur Cecchetti spiccano i suoi occhi castani: guizzano, si illuminano, ridono. Il corpo tracima energia e le mani e la testa si muovono con foga, accompagnando le sue narrazioni. La voce, allo stesso tempo stentorea e melliflua, porta con sé influssi della sua esistenza nomade tra Italia, Francia e Inghilterra, in un prisma di lingue e di aggettivi, che prendono sfumature diverse in base al contesto linguistico in cui ci si trova. In questi anni Alex Cecchetti ha realizzato libri, sculture, collage, coreografie, performance, riviste, tarocchi…, ma continua a scartare ogni definizione e tentativo in ingabbiarlo in un genere o in uno stile.
Ex-cinema Lietuva, Vilnius, Lituania. Foto di Caterina Riva, 2016
Ultimo giorno a Vilnius. Cammino tra le strade acciottolate della città vecchia fino al ponte sul fiume che mi porta alla zona moderna: grandi supermercati Maxima, grattacieli con l’insegna gigante di una banca svedese… Ho in mente la direzione, l’ho controllata sul portatile prima di lasciare l’albergo ma ora non sono così sicura delle distanze e mi perdo un po’. Invece di costeggiare il fiume salgo verso una strada più in alto e mi ritrovo davanti a un edificio immenso, di era sovietica, che pare un’arena sportiva. Avvicinandomi, noto che lo spazio intorno è vuoto e pieno di erbacce, alcuni vetri sono rotti, altri ricoperti da graffiti; è decisamente abbandonato.