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.
More pulp than Tarantino, more heavy metal than Judas Priest, more camouflage than a ARH Tiger helicopter. Here you are Punkasila.
Art Monthly Australia published my review of the art fair ART/JOG12 with the title “Montmartre of the east” in the Summer Issue 2012/2013.
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I just moved to Melbourne and, of course, before even having a place to call home, I visited the National Gallery of Victoria.
I was particularly keen to see the exhibition “Rally: Contemporary Indonesian Art”, featuring Jompet Kuswidananto and Eko Nugroho.
Actually, the choice of just two artists to represent Indonesian art is interesting.
I’ve found the show very useful for my researches, as the Australian perception of what contemporary art in Indonesia is.
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.
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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The calm after the storm.
After escaping the Post-it Pandemonium, I moved to Parioli, Rome.
Before that I lived in Piazza Mancini, surrounded by post its that scream to be turned into book chapters all day long, and sometimes even in the night. In my new writing location I finally managed to organize all the information so i could archive the post its. I put a band to each stack divided by subject.
Of course, I’m still writing other post-its but now that the structure is done I’m doing just small bunches of them on few sheets and I’m adding the information time by time.
My book about Contemporary Art in Indonesia is shaping up.
The italian web magazine Artribune just published the interview I had in Berlin with the collector Erika Hoffmann in her home/museum.
Lucas Leo Catalano took some pictures that give you an idea of how it was there. Amazing, in one word. Supercool.
Here you are the link to the interview
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In the chaos of an art fair is usually quite difficult to find some art work that attracts you straightaway. So was at the Roma Road to Contemporary Art Fair at MACRO Testaccio.
Actually, there was an exception.
Coming from Sorrento, a picturesque town near Naples, I was quite influenced by all the traditions, all the sort of stuff coming from people. The “Popolo”.
I never stop questioning about it. What is the Popolo? Does the Popolo really exist nowadays? What are the features of the Popolo?
From Jorge Amado to Pasolini, I enjoy the subject, that eventually became the topic of my thesis at the Academy of Fine Arts.
There’s one thing that a particularly like about the Popolo. It is how they mix the religion and the sacred with everyday life and how they show it through the objects.
Angelo Formica, the exception in the art fair I was talking about, takes this concept to the extreme with his artworks.
The italian web magazine Art a Part of Cult(ure) just published the interview I had in Berlin with the curator Katerina Valdivia Bruch. The interview is part of my reportage about Indonesian Contemporary Art.
Here you are the link to the interview
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What’s up with your book?
Well, I just overcome the worst step of them all: ranking all the post-its I’ve made.
In the beginning writing all the information about Indonesian contemporary art on the post it notes sounded good.
I was reading essays, catalogues, articles and stuff about the topic and I would be able to write down the information I’ve just learned and all the references directly on the post its.Then I stuck them on the wall and that was that.
Sweet. And practical too.
After a while it became a mess, sort of yellow geographic map on the white sea of my wall. To find a single information was hell.
Yeah, it was the Post-it Pandemonium.
