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

Continue reading →

Lawrence Lek, Geomancer, 2017, CGI film, Commissioned for the Jerwood/FVU Awards 2017. © Lawrence Lek

Lawrence Lek’s CGI film Geomancer (2017), set in Singapore in the year 2065, tells the story of an environmental satellite that wishes to become an artist.

This interview explores Lek’s fascination for futuristic scenarios and the dangers embedded in automated labour. His vantage point between West and East provides a lens through which to consider economic and political knots that are affecting the world: from Brexit to AI.  

Caterina Riva 2018 Continue reading →

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.

Continue reading →

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.

Continue reading on Y.A.W.N.S.

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.

Continue reading →

Janet Lilo, Your tree, ongoing photographic series

The local bar was about a 15 minute run away. I ran there because I was late trying to figure out the coordinates at the hotel where I left you, sick in bed.

Continue reading →