Naima Morelli

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formica5

Che cos’è il Popolo?
Ci sono solo due modi possibili per rispondere a questa domanda, o chiamare in causa studi antropologici del tipo Fabio Dei, Cirese, De Martino, oppure argomentare con l’arte.
L’una comprensione è intellettuale (vi parleranno di società dei consumi, snaturalizzazione bisogni, egemonizzazione e compagnia), l’altra parla direttamente ad un sentire.
Il lavoro di Angelo Formica, che ho avuto modo di beccare alla fiera Rome Contemporary, va esattamente in quella direzione.

Con un’operazione surrealisticamente a supportare un significato, anzi un’identità, quella popolare più precisamente, Formica gioca con i simboli della tradizione.
Il suo background siciliano (è originario di Milazzo) l’ha immerso fin da bambino in un humus culturale che è riuscito a rielaborare solo una volta trasferitosi a Milano, recuperando quel necessario distacco.
Un po’ come Jorge Amado, grandissimo scrittore del Popolo, il quale riusciva a narrare del suo natio Brasile solo quando si trovava a Parigi.

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duff0
Words are for explaining, but at the same time words are also for hiding.
In the moment you want to tell something, you’re making a choice. Saying something means not saying something else. It’s the feature of the language, you can’t help it. But if you’re an artist you can play with it.

Arthur Duff is one who is not scared of juggling on the edge of language’s ambiguities, indeed he enjoys himself exploring the multiple layers of semantics.
He’s an American Italian-based artist living in Venice (fortunate guy), and recent winner of the MACRO 2% prize.
Actually, the artist is not distanced himself a lot from MACRO, the main contemporary art museum of Rome. As you can see the Oredaria Arti Contemporanee Gallery, hosting his exhibition, is just nearby.

Duff’s solo show is called “Syntax Parallax”. As you came into the subterranean gallery, you’re suddenly greeted by two light installations. The yellow neons, forming words, seem to melt on to the floor.

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MA_TI_website

Quando si dice Marco Tirelli, mani in alto!
Un artista di tutto rispetto, a Roma specialmente; non per niente il Macro, quello di Testaccio, ha deciso di dedicargli i suoi due prestigiosi padiglioni, uno in cui erano sistemate le sue ultime tele, tutte di grandi dimensioni, l’altro dove era comunque sistemate le sue tele ma, attenzione, in un’istallazione ambientale.

Comunque, nonostante i tempi piuttosto dilatati dell’autobus numero 3, quello che porta a Testaccio, alle ore 9 in punto ero lì per l’inaugurazione.
C’è da dire che, con tutto il rispetto che nutro per l’artista Tirelli, in realtà la sua poetica è molto distante dalla mia sensibilità, dunque ho pensato di portarmi appresso qualcuno scevro di pregiudizi che mi aiutasse a capire con occhio obiettivo ciò che ha mosso e continua a muovere Marco nelle sue intenzioni creative.
La mia scelta è quindi caduta su di un amico australiano alloggiato in una palazzina fascista proprio di strada per l’autobus 3.
Si tratta di un grafico interessato all’arte ma sostanzialmente ignorante sull’argomento “Marco Tirelli” e che di San Lorenzo invece conosce giusto il cinema nella piazzetta. Mai sentito parlare della cosiddetta “Scuola di San Lorenzo” di cui Tirelli fece parte negli anni ‘70.
Grande fan di Rothko e di Mondrian però, mi informa durante il tragitto. Ahan. Beh, non è esattamente la stessa cosa ma… vedrai amico mio, vedrai.

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sheetswetwithsweat

In one of his poems Baudelaire said that there is no beauty without a little bit of sadness.
This artwork, from my personal collection of contemporary art, is both beautiful and painful to me.
Lucas Leo Catalano realized it for the first exhibition of the art/poetry collective Poetry Experience in which I partecipate as well.
This work has been exhibited in The Room Gallery in Rome and at Museo del Viaggio in Positano.

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artreportage

I just come back from Perth, Western Australia. I was there for a reportage about the local contemporary art scene.
Before leaving I wrote this list to clarify my own ideas and to see what I learnt from my mistakes.
Maybe someone else could find it useful too.

“To be an art reporter is fun, but if you don’t plan everything in the details it can be very stressing.
If you are lucky someone, maybe the magazine you collaborate with, has sent you in foreign city or country to do an amazing five pages reportage about the local art scene. If you are extra lucky maybe your magazine would be also open to pay you for that.
But you know, even Oriana Fallaci and Martha Gellhorn would have an hard time to find good assignment nowadays.
Times are tougher and tougher, especially in the field of contemporary art.
If you’re an enterprising free lance journalist or art critic you can probably decide to make a project of your own and try to sell it later to magazines and newspaper. Maybe you can even make a book out of it.
Anyways remember to plan every step in advance.
1. Focus your research

The first thing you have to do is to focus your research. Maybe you are interested just in the painting scene of that city, or just in the hipster scene, or the influence of craft on contemporary art.
Or maybe you want to have a general picture, not very specific but quite thorough.
This second kind of macro reportage is the one I personally like the most. However my tips are valid also if you are conducting a more specific research.

2. Make a previous research on the city

Have a quick look of what other people already wrote about the art scene. Don’t exaggerate, it’s better to not build preconceptions based on what other people thinks. The best thing to do is read a novel or two set in the city you are going to visit. Have a look at a very general travel guide that gives you neutral information, like Lonely Planet or something like it.
If you find some catalogues of exhibition about artists from the city that you are going to visit, try to have a look at it.
If you know someone in your own city that has a link with the place you are going to visit, talk with them, either informally or with an interview.
If these people have a link to the art world is better, but don’t undervalue the impressions of friends or acquaintances disconnected from the scene.

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This is a short essay about the Italian photographer Sara Magni that I wrote some time ago for the catalogue of “Fuori 5”, an exhibition at Galleria Gallerati, Rome:

“Waking up from a nightmare of desolation, discovering to be frightening and completely alone.
Founding themselves in a cruel and frozen night, in a pasolinian lawn. When the concrete buildings are the background, you suddenly realize that your room’s walls are just a fleeting shelter. Is it all just in our own mind, or is it actually a torched dream?

The series “Doppio Incubo” (Double Nightmare) was realized for the Premio Cairo at the Permanente in Milan. In this work the author explores the theme of man’s estrangement in the city. Sara Magni ventures in the human psyche, taking snapshots directly from the subconscious. She enacts characters that seems out of context, but at the same time she forced us to deal with them. No one has the voice to cry his longing for an “elsewhere”, we can read in his photos a frozen shadow of reality. Her research is displaced in the suburbs and non-places loaded with a reflection or anxiety, a sort of alienation in between Antonioni and David Lynch.

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rally

The Italian web magazine Art a Part of Cult(ure) just published my review on the exhibition “Rally – Contemporary Indonesian Art” at the National Gallery of Victoria.  The interview is part of my reportage about Indonesian Contemporary Art.

Here you are the link to the review

Here you are the link to the English translation of the review

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bigbamboo1

Within few months I’ve appreciated two artworks that look similar but that are very different in the concept.
The first one is at MACRO Testaccio, Rome, Italy and it’s called Big Bambù, by the American artists Mike e Doug Starn.
The second is site-specific installation covering the pavillion of ART/JOG12, Yogyakarta, Indonesia and it’s by the Indonesian artist Joko Dwi Avianto.

Enjoy the photogallery:

bigbamboo

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adityachandra

The Italian web magazine Art a Part of Cult(ure) just published my interview to the Indonesian artist Aditya Chandra H.  The interview is part of my reportage about Indonesian Contemporary Art.

Here you are the link to the interview

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Let’s say that we don’t know anything about Cameroon.
Even worse, let’s pretend that we heard about this country only by the soccer match channels.
To be short, let’s have the same approach that the average Italian Macro’s visitor probably has.
It’s more question of practicality than of willful ignorance.
An art appreciator coming visiting the contemporary art museum of Rome will go there without a previous research of what Camuroon is, what are the inner dynamics and the main issues of that country. That’s the problem with the global art. No one can know everything about everywhere and often the press releases and the captions near the artworks explains everything but the context in which the artworks are born.
You can argue that this is the art critic’s job. Well, maybe.

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limoni

I always sought a day-routine, the only way to get things done, like my graphics novel and, currently, my book about Contemporary Art in Indonesia.
I was very much inspired by this articles on the amazing Brain Pickings website and, of course, I didn’t miss the opportunity of breaking the routine that I made for myself to read it and share, and write this post… Whatever!
I always was the kind of girl making daily schedule to force me doing my work during the day. It started when I was in the High School because I didn’t have a lot of time to draw, between school and homework.
I drew and thinking and building the stories during school time and I realized it after homework.

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In October I went to Sicily for the first time and I didn’t miss the opportunity to visit the stunning Palermo.
I had two wonderful guides to show me around, Maria Rita Mastropaolo, writer for the web magazine Prisky (link), and Ciro Cangialosi, an incredible comic books artist (link).
We visited Palazzo Riso, an ancient building turned into Contemporary Art Museum, which displayed works by the most important contemporary Sicilian artist, like Carla Accardi, Pietro Consagra, Salvo, Antonio Sanfilippo, Emilio Isgro’ and also younger Sicilian artists such as Croce Taravella, Alessandro Bazan and Laboratorio Saccardi.

There was a Boltanski’s exhibition going on that was quite impressive. It was related to memory and in some way to a profound sensation of human tragedy, like most  of his work. The clothes hanging from the wall and surrounded by lights seemed to be presences that were no more into the body, but they were flowing around what was left of the body itself. 

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