Naima Morelli

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Tag "italy"

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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Since no one cares about the 55th Venice Biennale anymore, I feel like sharing my definitive thoughts about my favourite pavilion, without anyone there to contradict me.
So, chart lovers, my favourite pavilion was the Indonesian one, curated by Rifky Effendy.
In no other pavilion the installations of different artists work so perfectly together. The show almost looked like one single artist and yet it encapsulated such a richness of discourses.

If you were at the Venice Biennale in October, you would have seen me wandering in the Arsenal looking for the Indonesian Pavillion.
I actually overshot the main entrance, so I came in by the back door.
It was dark inside, and there was a soft music that I didn’t notice in the first place. The music though ended up being a background noise influencing the entire experience of the pavilion.
The soundscape was actually by Solo composer Rahayu Supanggah, the guy who reinvented traditional Indonesian music. For the Biennale’s composition he was inspired by the theme of the pavilion, which was “Sankti”.
As the press release stated, Sankti is a sanskrit word that refers to the primordial cosmic energy and the personification of the divine, feminine creative energy, as well as indicating change and liberation.

The first dark-metal work I encountered immediately struck me with his expressive power.
A group of man wearing a Muslim hat were sitting at a table. One man was laying with his head on the table, like someone who had been shot or something. One man was pointing his finger to another gentleman, who looked baffled. If you looked better at these two figures and you would notice that their legs where stretched under the table so to touch each other.
But the figure that really stood out was a matriarch in traditional clothes, upright at the end of the table. She was bringing a hand at his chest like saying: “Who, me?”
A weird lamp was falling from the ceiling, almost touching the table. It was shaped like something between an octopus and a tropical fruit.

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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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long1

Leave a trace. Recall a feeling. Mark our own path. These are the key needs of a human being.
Among the centuries men modified things all around them, sometimes without utility, just to fight the sense of loss. Basically, this is the reason why the Art started.
This urgency of conservation could show itself as a quick sketch of a bison in Lascaux Caves, or a line “Anna was here” in your school bathroom.
Many contemporary artists work on that concept as well. We can say without any doubt that Richard Long is one of them.

In a private visit to Locarn O’Neill gallery’s last exhibition with a friend of mine, we were struck by the work in the Locarn’s showcase, in the window display between Via Orti d’Alibert and Via della Lungara.
This display is a secondary space where the Locarn Gallery gives a preview of the main attraction in the primary space. The showcase was of a circle of stones pieces, perfectly in line with Long’s way of working. Land Art and other stories like that.

The installation’s name was “Trastevere Spring Circle”, a name that thrilled my friend Mira, who has an obsession with aliens and crop field circles. “This Richard Long… I never heard of him, but maybe he could be one of the Messengers”
“Who are these Messengers?” I asked her
She stared at me, stunned by my ignorance.

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susan

I found this big collage on canvas hidden behind a bookcase in Joseph Meo’s studio in Massa Lubrense.
It’s an artwork of Joseph Meo’s early production, the date it’s 1986.
With stubborn, laborious persuasion I conviced the artist to give it to me. Now it’s one of the favourite pieces of my personal collection.
Let aside the impressing collage technique, the subject itself is very charming. That rebelious woman in leather jacket has something berlinesque and
reminds me to the Marianne Faithfull of the Broken English period.

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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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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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1

I recently visited the studio of the Australian artist Mark Hilton in Melbourne.
He just moved from his old studio in Fitzroy to a new one in Abbotsford, so unfortunately he did’t have many past works to show me.
Anyways the one he was currently working on was complex enough to monopolize my attention.

The project is a continuation of  “Hunting Where The Ducks Are”, a series of high reliefs depicting the darkest issues of contemporary society.
Every piece was shaped like a letter. In the end they will form the sentence:”Don’t Worry”.
In this work there is a striking contrast between appearance and truth, something in which Mark has always been interested.
Some of the scenes represented on the high reliefs are inspired to current affairs, like often happen in the previous production of the artist, other ones are drawn from the artist’s personal memories. There is no narrative connection between the pieces, although we can find a train as recurrent element.

The aesthetic look of the artwork is inspired by the decoration of the doors of the Duomo in Milan, where the artists had a residency in 2007.

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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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for1

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.

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katerina

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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