artć + societate / arts + society #38, 2011 20 lei / 11 €, 14 USD - idea

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60 Little Girls, 2006, installation, courtesy: Lucie Fontaine will understand that the spirit is quite similar. These artists – Reena Spaulings included – share a rather cynical and conceptual approach to art making, which makes it quite similar to an ideology. I do the opposite in my space, inviting artists whose works of art are very different from mine. Since opening the space, I wanted to invite artists whose work is almost artisanal, expressing domesticity and craftsmanship. ¬ Give us some examples. √ The way Riccardo Beretta – who also created a font called Font- Aine – works with inlaid wood is definitely artisanal. Mauro Vignando’s abstract paintings made with cleaning products from his house are definitely domestic. The way Cleo Fariselli, Mauro Bonacina and Alessandro Roma make their work is anything but cynical. ¬ I saw images of your solo show at T293 in Naples, the puppet theater. That was quite artisanal. √ My show at T293 was a puppet theater featuring iconic figures from the field of art who were hanging out in Naples in 1970s, such as Andy Warhol, Joseph Beuys, Marina Abramovic ’, Joseph Kosuth and Hermann Nitsch. The idea was to create stories in which they were interacting with local figures like dealers Lucio Amelio and Lia Rumma, collector Ernesto Esposito and art critic Achille Bonito Oliva with no prefixed narrative or timeframe. It was very ironic and deeply conceptual and, in fact, on the website of the gallery I wanted to publish only a diptych made by two images found online: Marina Abramovic ’’s Drago Head from 1993, in which a snake moves around her body and a still from Britney Spears performance at the 2001 Video Music Award where she performed with a snake. And this is something none of the artists in my entourage would ever think about. Then, of course, it was artisanal because unlike Claire Fontaine, I refuse my work to be made through production. My employees made those puppets and you can see they are kind of clumsy. But I would not use that angle of the work as a way to define it as artisanal although I like the misunderstanding of it. ¬ That makes sense. It’s funny because you are French, but have this obsession with Italy. What made you to open a space in Milan – Italy’s most difficult and hostile city – whose mission is to only work with Italian artists? √ My passion for Italian art started before I decided to open the space. Italy is an interesting country. Like few others – Israel is probably a good example – Italy is a very young country, but represents a very strong and long history. The scope of visual art makes it very easy to explain: Italy is only 150 years old, but is associated with art from Roman coins to Renaissance masterpieces from Lucio Fontana to Arte Povera. At the same time, or maybe because of that, I noticed that lately Italy is no longer a place for contemporary art. The system doesn’t function. Artists have to leave. In other words, Italy is not established in the same sense as the United States or the United Kingdom, nor is she self-protective the way Germany or France are, where public money supports the system. At the same time, Italy is not exotic like Central Europe, China or Latin America. Being in the middle makes everything problematic and that’s why I wanted to start the space. ¬ I agree that Italy is a country in danger. You can see it from the political situation. This said, Italians are very patriotic. Why should a French open a space in Italy working only with Italian artists? √ You made me think of Winston Churchill, who once said that Italians lose wars like soccer matches and soccer matches like wars. Aside from the joke, I wanted to bring to Italy a similar model to what we see in New York and Paris – note the parallel with Reena Spaulings and Claire Fontaine – and in some other initiatives inspired by the exotic, or let’s say emerging countries. I am talking about projects like Kurimanzutto in Mexico City, A Gentil Carioca in Rio de Janeiro, Plan B in Cluj, hunt kastner artworks in Prague, Foksal Gallery Foundation or Raster in Warsaw and Vitamin Creative Space in Guangzhou. Those spaces all made themselves known abroad because they are working almost exclusively with artists from
Ricordati che devi morire [memento mori – mo me lo segno], 2005, installation, courtesy: Lucie Fontaine Sant’Antonio dalla Barba Bianca, 2007, installation, courtesy: The Promenade Gallery, Vlora, Albania, courtesy: Lucie Fontaine scena 61
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Aspirafliile celor care ar vrea sæ
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insert 138 Navid Nuur: ‘Untitled
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Ecosofia, „noua paradigmæ etico-
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Cele trei ecologii* Félix Guattari
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Page 46 and 47: 44 Matei Bejenaru Songs for a Bette
Page 48 and 49: Andrea Hajtajer Give Me Beauty Give
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Page 52 and 53: Dan Acostioaei What Goes Around, vi
Page 54 and 55: Florin Bobu 3 Real Birdhouses, view
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Page 60 and 61: Employer/Employee, 2010, installati
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lui performativ de sens este sæ fi
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„regimului comunist din România
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Corul de plîngeri din Tokio Nu-fli
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Corul de plîngeri din Helsinki Nu
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Îngrædiri øi bunuri comune: din
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coca pentru export; sau prostituîn
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ea echilibrului nostru corporal øi
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Marius Babias (ed.): European Influ
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artć + societate / arts + society #38, 2011 20 lei / 11 €, 14 USD - idea

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