Naima Morelli

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Tag "gallery"

Alberto

If you think that in the eighties in Italy there were just Loredana Bertè, Donatella Rettore and the Diaframma to dress weirdly, you are wrong. The eighties in Italy were truly rad. (If you are not Italian there are good chances you never hear of Loredana Bertè, Donatella Rettore and especially the Diaframma).

Anyways, if you have any doubt about the radness of the eighties in Italy, you should check st. foto libreria galleria, ironically just two steps away from the Vatican. You will be surprised to know that all the people looking at you from the pictures on the wall were actually everyday roman people, except that by night they transformed into dark eighties rockers.

The photographic work of Dino Ignani is anthropological. The portraits are almost segnaletic pictures, with a neutral background and no particular choice of light or pose.
He was “archiving” the underground dark scene of Rome. All these young people were photographed in roman discos and they dressed up for the occasion.

“It was startling to see all these people coming at the opening of the exhibition” said curator Paola Paleari ” you can tell that there were the same people of the pictures, but they look cleaned up from that dark look and even their attitude was different”.

It was an interesting choice from the st gallery to cover this less-known period of the Italian recent history, focusing on that particular community. For some it would be nostalgia, for some others even inspirational. Eighties are back.

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Rome

We have seen plenty of celebrations of the sea. The only subject that is as hackneyed as the sea is the sky. And love.
But really, to be innovative is not to talk about a new subject for the first time. To be innovative is to be able of talking about a corny subject in a new, or personal or moving way.
If you are a musician, go ask Ivano Fossati about it. If you are a painter, ask Piero Guccione. If you are a photographer, do what Monitor Gallery did. Go ask Antonio Rovaldi.

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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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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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04

My understanding of Melbourne so far it that everything is about the lanes. The graffiti, the social life, the art exhibitions.
A week ago I was searching for this Trink Tank gallery and, guess what, I ended up in a blind alley. In a blind lane to be precise.

I asked a bunch of people in front of a bar if they know where this Trink Tank gallery was.
A guy with a chef hat smirked:”You just passed it. It’s there!” and he  guided me without fail to a shrine in the wall.
Inside the small shrine, like a Neapolitan Madonna, there was Marc Standing’s artwork “The Duchess Of Avon”.
I read the press release that you could take off from a stack of papers. Apparently the shape of the statuette was from a 1970s Avon perfume bottle, which ironically contained Sweet Honesty perfume: “Her tribal painted face is a stark contrast to her Eurocentric bridal ensemble. Coloured thread emanates from her bouquet, enfolding her in an almost suffocating embrace. However, her stoic stance is one of pride and reverence.'” stated the press release.

“So… that’s it!”
“Yeeee!” said proudly the guy “This is the gallery!”

Australia. You can have huge streets, kilometers of nothing just outside the city, the broadest spaces ever and at the same time, in a shady lane in Melbourne, the Trink Tank gallery, probably the one of the world’s smallest gallery.

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artapart

It’s been two years since my collaboration with Art a Part of cult(ure) began. My first article was about the japanese artist Masachi Echigo, you can read it here.

I’ve met Art a Part director Barbara Martusciello in a gallery in Piazza di Spagna, she was doing an interesting series of lectures about contemporary art.
At that time I already wrote for the magazine Arskey and the webmagazine Teknemedia, but I wasn’t very happy with them because they give me sort of limitations of style and criticize the artists was totally forbidden.

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