On Nero


Diego Marcon, SPOOL BROADCASTING, block III, Tape 02. Elena, July 15 2012. Courtesy the artist

Milan, EXT. DAY.

A loud noise comes from inside the exhibition space. Once through the darkened threshold, a giant garden dwarf welcomes the visitor to Diego Marcon’s suggestive new body of works. The artist, on returning to Milan after over a year in Paris and after several months of tight work, faces up to what has been happening around him and analyses his own artistic drives, choosing to approach his beloved medium of film in an artisanal way. The conversation delves into Marcon’s older projects and how they are feeding this exhibition as well as driving the development of new characters for the future. Spoilers ahead: the interview contains mentions of Heads, Winnie-The-Pooh and what Franti stands for.

Caterina Riva, 2015

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Full conversation in Italian here


It all begins in a pub in London.
It all begins at an airport in Turin.
It all begins in a gallery in Rome.


We meet in a half-empty pub in East London, it’s late afternoon but outside it looks like night, it’s really cold, I’m drinking red wine, and Ed’s drinking whisky, I think. We don’t have any preestablished ideas but we spend a long time talking about how to configure this collaboration of ours, for the pages of Nero. During the dense discussion we stumble on the idea of teaching each other something, not in a didactic, specialistic or authoritative way, but mixing genres and categories, choosing things we like and communicating them to the other, allowing for mistakes and corrections to arise in the process. We end up deciding that the unveiling of the primary materials should take place in a few days, by email: we’ll propose passages from independently chosen books and at that point we’ll update each other again.

Caterina Riva, 2010

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