Naima Morelli

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Australia

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I recently interviewed the artist Twoone  (Hiroyasu Tsuri) in his studio in Collingwood.
The studio was quite empty because he had brought all the paintings at the Backwoods gallery, for his upcoming solo show “Define Nothing”.
Twoone’s Japanese background is evident in his paintings’ balanced composition. His mystical-looking characters with animal heads, realized in his unique style, are his trademark in the Melbournian thriving street art culture.
The exhibition has been a success. I took some pictures of the Twoone’s artworks in the gallery, and then I followed him in a street nearby where he was painting a wall. 

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haristalk

The inevitable destiny of every artists is to be know from the wide public just for a single artwork or an aspect of their more extensive production.
Duchamp is for everyone “the guy of the urinal”, Damien Hirst is the chap who did the shark, Eric Clapton is Layla’s ex boyfriend and so on..
If I say Haris Purnomo, what comes to your mind?
Babies with tattoos, of course.
Haris has painted babies with tattoos for almost 22 years – becoming one of the most popular Indonesian artists in the meantime.

The last solo show of Haris Purnomo “Beyond the Mirror Stage” at the Mifa gallery in Melbourne, Australia, has just finished.
The day of the finissage – you say “finissage” only in Italy and France, what a ridiculous name for “closing”! – the gallery Mifa decided to host a talk with the artist.
It was an interesting talk of 45 minutes with the SBS radio presenter Sri Dean and with frequent interventions from the public. The discussion was focused on the symbols used by the artist and his way of working.

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1

In Melbourne one of the first questions people ask you is “where do you come from?”.
It makes sense in a city where hostels are flooding with drunk people swearing in so many different languages.
There are backpackers coming here with a sheer party mentality, europeans seeking for a well-payed job as waiters and wannabe adventures romantically compelled by soil their hair with red dust, possibly riding through the desert on a rusty jeep (that’s me, and I sadly found out that there is not that much desert in Victoria).

The prosaic reality of Melbourne city clashed so hard with my fantasy – eating Kangaroo on a red rock with aboriginals people – that I decided to keep myself busy with what is supposed to be my main job: contemporary art.
Well, the truth was that I was already in Melbourne to complete the last stages of my reportage about Indonesian contemporary art, so I found myself turning on the recorder and listen to the artist Tintin Wulia.
It was the first interview here in Melbourne and one of the last interviews for my reportage about Indonesia Contemporary Art.
Her work and her experience as an artist epitomized the core of my book: there is no such a thing called Indonesian art, there are some practices born in a geographical segment called Indonesia, and there are some artists born in Indonesia that are making art.
The edges are so sharp just on the map – ideas and aesthetic are much more fluid – yet these borders matter incredibly when comes to bureaucracy, biennales pavilions and personal identity.

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howto2

I just came back from my 32nd interview for my reportage in Australia, so I finally feel like I can tell my opinion about how to interview an artist.

The first thing you have to do is obviously contact the artist and you usually do that through her/his mail on her/his personal website.
The first mail has to be a quite formal style, without exaggerating though.
You have to be short and clear, explaining the artist why you want to interview her/ him and what aspects of her/his work are you interested in.
If your interview is part of a bigger project, like a reportage, spend a few words to inform the artist about it.
Don’t forget to explain her/him if this is your own project or if you are working for a magazine.
In this last case it would be nice to put a link to the website of your magazine, so the artist can have a look.
Put also your own website or blog in the signature, along with your personal page on a web magazine that hosts your work, if you have one.
That would give you credibility and would also give the artist the possibility to take a peek at your style and at the kind of articles you usually write.
The next mails would probably me more informal. At this point you can get rid of all the links in your signature, the “best” and “regards” and sign with just your given name.

In your second mail you can suggest the artist a place where you can have the interview.
The most common places are the artist’s studio, a nice and quite café, the space where the artist has currently a show or the gallery that represents him.
Give options to the artist. To meet her/him in his studio would be ideal – you can guess much more from the artist’s natural habitat than from outcomes of a simple conversation.
Of course, you can suggest to meet in the studio, but not all the artists have one and not everyone is happy to let a suspicious journalist or art critic in. If the artist tells you that his studio is empty or messy at moment, just don’t bother. Above all don’t insist.

If you are doing the interview in your own city, you probably would know the most quiet and suitable cafe for an interview. If you are abroad don’t be shy, just ask the artist if he knows a nice cafe to meet.
The choice would probably tell you something about the artist lifestyle and tastes.
In any case discover new places in a new city is always exciting.

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3

Productivity and Bohemia are concepts which are seldom associated.
You have to admit though that having grown up reading Sartre and Simone the Beauvoir – or at least having seen the pictures – you are not immune to the charms of café.

Every city has is own aesthetic when comes to cafés.
Not everyone is snob enough to live in Paris and go to the Café De Flore – whom has turned into an established place for loaded folks anyways.
What it is left to us is send to hell the Café De Flore, and create our own, well… café mythology.

If you live in Rome you certainly know the cafés Canova and Rosati in Piazza del Popolo.
During the sixties these two cafés gathered the so called “artists from Piazza del Popolo”, but now Canova and Rosati are the equivalent of the ultrachic cafés in Saint Germain, Paris.
Sure, it is always cool to pass by Piazza del Popolo and say hi to the Italian dandy artist Ontani– last time I checked he had a permanent permit to be parked at Canova – yet these cafés are too posh for us.
Same things with the cafés in Via Veneto, once Antonioni, Mastroianni and Fellini’s reign.

You have to consider as well that in Italy there is this tradition of kicking you out if you take too long to sip your coffee.
If you are in Rome and you are a writer looking for a place to read and write quietly, you will be likely accepted in some cosy and shabby-chic looking cafés in Via Giulia, Pigneto or San Lorenzo.
You can start to create your own café mythology from there.

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big_game_hero

When you visit a museum in Australia, you have to consider the snake danger.
According to the Australian mentality, which is close to Hinduism in this sense, you shouldn’t kill any snake – after all a snake is still part of the wildlife and you have to respect it.
Anyways, being aware of the snake danger, I decided to go to the Heide Museum equipped with my Crocodile Dundee hat.
I hoped that my Indonesian boyfriend Lucas would have bring with him a kris and my Japanese friend Minako a katana but, alas, they didn’t.
“What about you? Didn’t you bring a mandolino with you?” Lucas asked me referring to my Neapolitan origins.
“How you supposed to kill a snake with a mandolino, genius?”
“Unless…” I mumbled making my way through the lianas separating us from the museum “you charm the snake playing  Torna a Surriento or something like that.”
Walking carefully, we finally arrived at the door of the Heide Museum without being bitten, which was good.
The current show was titled “Fiona Hall: Big game hunting”
Coming into the exhibition I took off my hat and I rapidly switched my attitude from adventurer to art critic.

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dailey

The Italian web magazine Art a Part of Cult(ure) just published the interview I had in Perth with the artist Peter Dailey. The interview is part of my reportage about the Perth art scene.

Here you are the link to the interview

Here you are my pictures of the artist’s studio

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1

During my researche on the contemporary art scene in Melbourne, I had the chance to visit the studio of the artist Alasdair McLuckie at Gertrude Contemporary, in Fitzroy.
The artist moved in recently, in January, and he is very happy to have plenty of space to work.
Alasdair’s first inspiration is primitive art and cultures, an interest that he had inherited from his father. Recently he has re-discovered modernism, that had itself a very close relation with tribal art.
Looking Alasdair’s beads works, you can tell that he is very concerned with the formal aspect of art, and his artworks are accurates in every detail.
There is also storyteller aspect in his work. Some of his collages, prints and drawings are infact collected in notebooks made to be browsed.
Coming into the studio, you can see the artist’s favourite palette everywhere: deep blue, orange, saffron yellow, pink, pale violet, grey, black and mustard green.
The interview is coming soon, in the meantime here you are some pictures from my studio visit.

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Flaming Flamingo 2011 (lr) copy

Melbourne. I consider the afternoons devoted to see art exhibitions like a sort of cultural safari.
You need a friend to enjoy it and a location where it is likely to meet dangerous, exotic or fascinating artworks.
In Melbourne some good locations for exhibition safaris are Fitzroy, the CBD and South Yarra.

So a couple of days ago I was in South Yarra with a friend and we had the chance to see the wonderful exhibition of Louise Saxton called “Sanctuary too” at Gould galleries.
No other show could be more suitable for an art safari: the subjects were in fact animals, insects and birds after vintage illustrations from natural history books and colonial painters.
The particularity was that all these artworks were realized in needlework, which means lace and nylon tulle arranged to form the images of animals.
All the pieces of this sort of collage were ties together by needles. Only coming closer to the artworks you can notice the needles, as well as the real nature of the different tulle.
That way the animals look stabbed, and at the same time the illusion of shape formed by the colourful patches is revealed.
My friend was fascinated by this coexistence of beauty and cruelness as well.

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1

I interviewed the artist Tania Ferrier some days ago at her apartment in the grooviest side St.Kilda, Melbourne.
This versatile artist was born in Perth but travelled a lot during her life.
It was a very interesting chat for me, not only because she was able to compare the two art scenes that I’m investigating at the moment (Perth and Melbourne). The most interesting thing was indeed to see how her adventurous life is strictly connected to her artistic practice.
Waiting for her interview to be published, I want to share an aspect of her early production: the “Angry Underwear”.

The story around the Angry Underwear seems to be out a Frank Miller graphic novel.
In the seventies Tania was working as clothed bartender in a Go Go Strip Club in New York.
In that period she started to make outfits for the strippers, motivated by one particular incident.

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1

Extreme case: let’s say you are an art journalist doing a reportage in a remote third world country.
You do all the research, you use all the common sense and you even follow some “how to” on the internet.
Even then, you could find yourself in a difficult situation like: I fixed one month in advance an interview with artist Pinco tomorrow. But I just meet artist Pallino and I can interview him only tomorrow, because he leaves the day after tomorrow. A rapid check to your mailbox and… crap! The artist Pollaiolo wants to anticipate his interview…apparently he is free only tomorrow!
So, let’s make the point. We have three interviews to prepare in one single day.
And you wake up late today too!

Don’t cancel an interview. Don’t even think about it.
To cancel an interview is bad. It’s always bad.
I did that just two times and each time a dire calamity had struck me.
The first time my boyfriend threw me out of our house, the second time a crater suddenly opened in the ground devouring my beloved kitten.
So don’t do that. Seriously.

What you can do is forget about the tan today, ignore the heat and the shining sun and sit in front of your computer.
Now all your efforts will be concentrated on doing an accurate research and at the same time get all the work done as fast as possible.
I usually use the following method.

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1

I just come back to Melbourne after two weeks in Perth. I was there for a reportage on the Perth contemporary art scene.
Through the Turner Galleries I came in contact with the artist Peter Daily, an established and very generous artist who has his studio in Woodbridge.
I meet him at a floor talk for his exhibition at the Fremantle Art Centre and he gives me many precious information about the artistic situation in Western Australia and about his highly imaginative work.

Visiting his studio I notice how much importance Peter gave to the materials in his works. He seem to experiment new techniques all the time, daring to use also unexpected and unorthodox material with great results.
The interview I had with him will be out soon, in the meantime here you are the pictures I took from my visit to the artist’s studio.

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