I have just came back from two weeks in Paris. It has been an incredible time. I was there for the Art Paris Art Fair and the exhibition Secret Archipelago at the Palais De Tokyo – yet again on a reporting mission for Art a Part of Cult(ure), the Italian magazine I write for. My boss at Art a Part is the M to my Bond, the Charlie to my Angels, the Xavier to my X-Men, well, you get my drift! In Paris I’ve met with a number of interesting people and had chats with artists I wanted to talk to from a long time, including Eddie Hara and Richard Streitmatter-Tran.
The first week has been a whirlwind of interviews. I already knew what it means to do three interviews in a day – I did it before, and it was crazy! But five interviews in a day? That’s don’t-try-this-at-home insane! Luckily enough, I generally feel energized by working under pressure. Plus, all the artists and gallerists I talked with have been super nice. I can’t wait to share their interviews with you! In this situation it also helped to have the most amazing sidekick a journalist can ever had, a gorgeous Sorrentinian gal called Marta, who also hosted me in Paris. We jumped from metro to metro chatting endlessly about everything from Catilina (ancient republican Rome anyone?) to haircuts, all that while chewing a pan au chocolat (aux amandes, aux pistaches…) and rushing to the next interview.
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Published! Why satire should come of age on Global Comment
Global Comment has just published my article titled “It’s not just a cartoon: why satire should come of age”. Writing for Global Comment gives me the chance to get a little bit out of my comfort zone, writing about topics not necessarily related to contemporary art and – like in this case – making reflections and drawing connections to the news of the day.
In this piece I’m referring to the parallel upheavals caused by Charlie Hebdo’s cartoon on the earthquake in Italy and The Australian’s cartoon of the Aboriginal dad. While coming from different contexts, both caused a stir. I’m looking at why this happened, and how satire should take into consideration in a modern, more complex world.
Here is the link to the piece