Monday, 12 September 2011

A Post Summer Update

If I had followers, I would write that I am an atypical blogger.

Posts are becoming fewer and fewer, and my will to write is in constant negotiation with the doubt of doing it properly in another language. Not to mention that I have no comments whatsoever.

Then I happen to see the stats and it says that I had 7541 page views since starting this blog. And the most visited one is The Guestbook, with FIVE VIEWS and absolutely no comment. Not even SPAM.
The internet is taking the piss.

However, summer has passed. September is here, and the longing for the warmth of that sun, and the taste of the sea on the skin, is still lingering. I went around and about. In the previous post, Berlin. Then Paris.


Paris that sometimes looks evil and distant in her everlasting charm and little snobbery. 
Cecì n'èst pas la place pour toi.

Finally, our little beloved village in Southern Italy, Porto Cesareo. And the black notebook following me everywhere, gathering ideas, shears of dialogues, random pieces of a story. Yes, I am writing.






Some new projects were developed over the summer, and some other are coming.
All I can tell you is, bear with me. I'll stretch my legs and start running again.

Saturday, 6 August 2011

On the wrong side of the road: back to Berlin.

I have discovered the joys of traveling early in the morning to catch low cost flights.
Sleeping just a couple of hours, waking up at 3 am and observing the city going to sleep from a cab. Experiencing the sunrise from the train, everything dipped in a golden pond of light. Joining other travellers, single or in groups, everyone silently pondering their thoughts while they are wired in.
It wasn't my first time in Berlin, but it certainly was a first in terms of experiencing the city from another point of view.
Tourists go around by the underground to the main touristy attractions. Special guests who have the luck of having a friend with a spare bike available, go around pedalling and see much more.
I thought London was a bike-friendly city, but I had to reconsider: the broadness of Berlin's roads and liveable traffic allows you to cycle safe and sound. For pedestrians, though, it's another story.

I went to see my artist friend Silvia Iorio and her latest, successful exhibitions, to which I am dedicating a special post. Silvia likes to ride the bike on the pavement and on the wrong side of the road, especially doing the giant slalom among Germans and tourists alike. Moreover, not to squeeze in impossibly narrow passages is not an option. We spent the first half of my arrival day trying hard to find a haven for Ike (pictured), also known as The Travel Companion.
The poor little swallow was trailing along the concrete passageway that links Schonenfeld Airport to the train station, unable to stand or to fly. And then he ran into me and my inability to leave little and plumed things be, because-I-know-they-need-my-help. We left him in the Berlin's Zoo precinct after he vividly expressed his displeasure of being carried around in an unrequested human hand by leaving a pretty big souvenir on my trousers.
Fair enough. Next time I promise I will fight my Saint Francis syndrome, as I call it.
I hope he didn't hit the tigers' cage, though.

Silvia and I crossed the city far and wide, fluttering from an exhibition to the other and from a dinner to the next. From the Indian Embassy to the Jewish Museum, from Spanish paella to the amazing seafood linguine of Italian restaurant Da Papa', on Uhlandestrasse. We explored flea markets, tried to reach Potsdam but were stopped by our own hunger and preferred to visit a cafe', and actually crossed the Sony Centre on the bike during a presentation of The Green Lantern movie, where the red carpet was actually green.

Pictures are bitty and far from satisfactory, but here we go.








A special mention goes to the hideaway Tadshikische Teeshube, a beautiful tea house brought in Berlin straight from Tajikistan. In conclusion, there is only one recommendation I can give you about Berlin in summer: mind that cyclist!

The Bay Window Project: Catherine Bertola



THE BAY WINDOW PROJECT
Artists in a Frame 

curated by sybin 

CATHERINE BERTOLA > Home from Home
From Wednesday 10 August  

SybinQ Art Projects
The window on Cleveland Street
London W1T 6DP
t. 07913717999

The Bay Window Project: a window that becomes a container for contemporary art. Beyond the white-cube display, the artwork forcefully enters the private sphere of a flat to be seen by an extemporaneous, unaware public. The aim is to map the evolution of site-specific art in a non-institutional environment. 

The second artist invited to exhibit in The Bay Window is CATHERINE BERTOLA. 

Bertola realises site-specific installations engaging with everyday debris, from dust to the delicate patterns found on blinds or net curtains that keep our domestic sphere private from the outside world. The debris speaks of a distant past, of untold and invisible stories of places and people. Her work is included in the Government Art Collection and it has been displayed widely in National Museums and abroad. 

For The Bay Window Project, Catherine presents the work Home from Home (Self-adhesive vinyl on glass, dimensions variable. Courtesy: The Artist, Workplace Gallery and Galerie M+R Fricke) 

In 2001, Catherine Bertola first installed Home from Home in the windows of three pubic houses; the Forth Hotel, Trent House and Newcastle Arms in Newcastle Upon Tyne. Net curtains are associated with suburbia and the home, not just used for decoration but also as a barrier between public and private – allowing the occupants to look out but preventing passers-by from looking in. In that instance, the installation brought a touch of intimacy to the hedonistic heart of the city. This year, the work was featured again in the group exhibition Cult of The Difficult, curated by MA Curating the Contemporary students at the London Metropolitan University in collaboration with the Government Art Collection.
Home from Home was installed in the Cass Gallery’s main window, creating a suspended screen that interrupted, in a way, the overall view of the show from the street. Drawing from the concept of copy and paste and associating it to the analysis of the same artwork in different contexts, Home from Home now reaches what could be its natural environment: a bay window.
The site-specificity of Bertola’s work is translated in an installation that may go unnoticed, sitting between the actual function of an ordinary blind and its status of artwork that has been collecting traces from different places. 

The display runs 10 – 31 August. 

Catherine Bertola (Born in 1976 in Rugby, UK) lives and works in Gateshead.
Selected Solo Shows: 2011 – To be forever known, Bronte Parsonage Museum, Haworth; 2010 - Scion, Beacon Art Project, Barrington Court, Somerset, UK; 2009 – Unseen By All But Me Alone, Workplace Gallery, Gateshead, UK; 2008 – Over the Teacups, M+R Fricke, Berlin, DE. Selected Group Shows: 2011 – Cult of the Difficult, Cass Gallery, London UK; Personal Tempest, Neue Galerie, Innsbruck, Austria; 2010 – Walls are talking: Wallpaper, Art and Culture, Whitworth Art Gallery, Manchester, UK; 2009 – Out of the Ordinary: Spectacular Craft, Millennium Gallery, Sheffield, UK. 


Will come next: RUSSEL CHATER in September

Further links: 

Previously in The Bay Window: Davide D'Elia > Tropical Aryballoi. If you have missed it, have a look at it.

Friday, 22 July 2011

Tanto di Cappello

Mai come ieri e' stato piu' frustrante per me il non avere una macchina fotografica.
E' estate, e in Inghilterra significa che comunque piove e fa fre-schi-no in paragone ai 40 gradi romani, ma significa anche che le compagnie organizzano feste aziendali per la delizia degli impiegati.
Se poi, come me, capita che lavori per un molto celebrato artista Inglese con la passione per le feste in grande stile, esce fuori una giornata come quella di ieri.

Dato che non posseggo immagini o particolari di immagini, provero' a pensare fuori dalla scatola e a darmi alla descrizione, stara' a voi riempire gli spazi vuoti con la vostra immaginazione.

In barba al tempo, che devo dire ci ha graziati, la festa si e' svolta all'aperto, fuori Londra, in una proprieta' che conta ettari che la sottoscritta non e' in grado di quantificare, ed ha una chiesa sconsacrata che si erge nel suo centro. Gia' questo dovrebbe dare un indizio su chi mai possa essere questo artista. Hum.
La chiesa, nonostante sia completamente impacchettata da impalcature e teli grigi, e' di inconfondibile stile gotico. Le sue pareti sembrano delicate e friabili come quelle dei castelli di sabbia, il colore giallo poco acceso. La parte interna resa accessibile presenta candelabri accesi, antiche vetrate dipinte che occupano un quadrilatero centrale, pavimento sobrio con un inamovibile strato di polvere sabbiosa sopra, e stanze con vari tipi di intrattenimento, dal biliardino alla pista delle macchinette a un muro digitale per graffiti virtuali. Si notano le tracce dell'uso che di queste stanze si e' probabilmente fatto secoli fa: la biblioteca, il refettorio, il parlatorio. Fuori all'aperto c'e' un vero street artist, un writer, intento a spruzzare colore sapientemente su un pannello nero. Un altro pannello nero e' messo a disposizione degli ospiti.
I colori e i disegni di quest'ultimo si fanno decisamente la guerra tra loro. Ognuno lascia la sua traccia, che viene prontamente cancellata dalla persona successiva. Caos versus ordine.

Nel cortile principale c'e' un banchetto luculliano e la fila per prendere il cibo da varie stazioni: ovviamente la piu' gettonata e' quella Italiana, con salami, prosciutti, gloriose insalate, manzo e gamberoni alla piastra. Due giri di giostra, nel senso che ti riempi il piatto due volte, e gia' non ce la fai piu'. Tra samosa indiane e panzanella snaturata, sei pronta ad innaffiare il tutto per benino con Pimm's e prosecco. A proposito di giostre, dopo due scalinate che uniscono i terrazzamenti del prato c'e' un vero e proprio luna park: attrazioni spaccapolmoni e azzeravoce, zucchero filato, gelati, bancarelle che offrono premi in cambio di un centro, lettura dei Tarocchi, tiro al piattello con fucili al laser, macchinette a scontro. Sullo sfondo del paesaggio, chiesetta con cimitero annesso che non fa parte della tenuta.
Hai il tuo bel da fare per imparare i nomi delle attrazioni in Inglese, e a tutt'oggi ancora non li hai capiti o non te li ricordi. Ad esempio, le macchinette a scontro sono i "Dodgems".
Una giostra in particolare, con seggiolini a grappoli che roteavano fino all'inverosimile, era stata soprannominata "The Spider". Una tua collega ci ha non troppo felicemente lasciato meta' del pranzo e svariati cocktails, mentre a te, devi ammettere, ha fatto digerire.
Non essere una gran bevitrice ha sempre avuto i suoi vantaggi.
Continui a chiamare una giostra "The Ball", riferendoti a una malefica sfera metallica che veniva lanciata in aria con te dentro a 30 metri di altezza per mezzo di elastici, e continuava a sballonzolare su e giu' con un numero non ben identificato di giri su se stessa, e nessuno capisce.
Quello, in effetti, era un "Inverted Bungee Jumping".
Non capita tutti i giorni di poter provare quello che prova la pallina del flipper. Come non capita tutti i giorni di imbracciare un fucile che pesa un accidenti, ma spara proiettili digitali.

Strillare a pieni polmoni mentre vieni catapultata in aria e a testa in giu' e' un qualcosa che avevi forse dimenticato. Nonostante il troppo alcool gratuito in circolazione, quel tipo di giramento di testa e' qualcosa di meglio: adrenalina.
Alzi le braccia al vento, felice, e ti ricordi che uno dei tuoi piu' grandi desideri e' volare.
Ti ricordi anche che, quando la barra di sicurezza che ti regge al seggiolino si muove proprio mentre stai a testa in giu', quando eri una ragazzina tendenzialmente la ignoravi.
Adesso da brava donna matura pensi: "Oddio ti prego non farmi volare per davvero che non so atterrare!" Da spericolata a leggermente fifona, roba che se il bungee jumping non era "inverted", probabilmente col cavolo che ci salivi.

Bolle di sapone fluttuano a mezz'aria, alcune gigantesche.
Artiste del colore lavabile dipingono le facce di bambini e adulti.
Si vedono saette, fiori, Spiderman, mostri, fate e glitter.
Il padrone di casa e' in giro, indossa un berretto arancione e scarpe dello stesso colore del berretto.
Saluta gente, scambia grossi abbracci. Gran bella festa.
Il tiro alla fune: tirare con tutte le tue forze con altre dieci persone e scoprire che, nonostante il puntare i piedi e gli urli di guerra, non ce la fai. Tugs of war.

E la pioggerella che per almeno venti minuti viene a bagnare il prato verde, perfettamente falciato, martoriato da forse un centinaio di piedi, e che manda il classico odore dolciastro dell'erba. Qualcuno distribuisce impermeabili di plastica, sempre offerti dalla casa. Qualcun altro decide che e' il momento ideale per un tuffo in piscina dove gia' nuotano delfini di plastica e ciambelle rosa.
L'aria e' tiepida e la pioggia non interrompe nulla: fa fare una pausa prima dell'apertura delle danze.
Sei appena stata in bagno e sei sicura al 90% che quelli del loculo accanto stavano facendo roba.
Hai visto il direttore della Tate che gironzola da solo e hai una mezza idea di andargli a ricordare che ti ha visto una volta durante una conferenza alla Whitechapel Gallery. Quando hai raccolto il coraggio, lo vedi incollato al Blackberry che non alza piu' gli occhi. Decidi di aspettare e quando ti giri nuovamente e' sparito. Tipico.

E infine ballare al suono del rock, twist and shout, ritrovarti schiena a schiena con gente che non conosci facendo finta di andare sott'acqua, fare la mossa del can-can, vedere la tua serissima manager ubriaca come una cucuzza che cerca di mantenere un poco di dignita' e accenna qualche passetto di danza senza mollare mai il bicchiere mezzo vuoto.
E saltare, accompagnare agli urli di prima i canti di ora.
Abbracciare l'uomo che ami, che per fortuna e' tuo marito e se la sta divertendo pure lui. Gli sei infinitamente grata perche' ha acconsentito a salire con te sulla "palla malefica" e ci ha quasi rimesso il suo equilibrio psico-fisico.

Infine, un pullman, anzi due, verso casa.
E prima di ripartire, le corse in un campo di quei fili d'erba alti che si mettono in bocca, con il sole che finalmente fa capolino. Non hai mai capito perche' fa tanto contadino mettersi cotali fili d'erba in bocca e ruminare, ma sorridi pensando che tutto il mondo e' paese.
Sparire nell'erba alta buttandosi per terra, rotolare lasciando tracce.
Un bacio rubato all'ombra degli steli.
Il prurito che ti rimane sulle braccia e le ultime foto con le colleghe allegrotte, quelle che non ti spieghi come fanno a stare ancora in piedi. Una e' Danese, l'altra Australiana.
Questo per smentire i luoghi comuni sugli Inglesi.
Sul pullman la festa continua, si fanno le gare virtuali con il pullman compagno e ogni volta che ci si supera volano gestacci, urla, sederi all'aria spalmati sui vetri.
Roba che una cosa del genere non te la ricordi nemmeno in gita scolastica.
Radio a tutto volume e scopri che, se pensavi di non sapere le parole di una canzone perche' non sei madrelingua Inglese, non sei la sola.
Un'altra dura prova per le tue corde vocali martoriate.

Insomma, una giornata cosi.
Che ti fa pensare che si, se ne possono dire tante sugli Inglesi, ma per i festoni distruttivi ben riusciti bisogna proprio lasciarli perdere.
Tanto di cappello.

Wednesday, 13 July 2011

Where Is My Mind



I have been away.
And I don't mean away from town, or the country. Well, of course I had been pretty busy in the last two months, with the end of the MA Curating, the last co-curated show, the last bits, the last moment of blissful ignorance of the aftermath, when you have to ask yourself: "And now what?"

My mind has been kidnapped by old dreams that I thought were forgotten.
Well, more than forgotten, I would say archived. Transformed. Grown into grown-up dreams. But no.
In your head, you always have this idea of "growing up".
What it really means, still is a mystery to me. A friend who lately passed away once advised me not to wallow in fantasy, but keep my feet on the ground. This was because, if you'd known me a good fifteen years ago, you could tell my head was up in the clouds. Way up.
They called it the Peter Pan Syndrome.
They called me the eternal child and casted me aside, sometimes.
Because a child can't really think straight: he - or she - is all instincts. It's all black or all white, everything is beautiful or the whole thing is ugly.
A child loves or hates completely; sees the world, the beauty in it, with different eyes.
I have never understood why people force you to forget that kind of beauty by advising you to keep it real.

Well, after a sort of daydreaming I am not entirely sure I have awoken from, I think I know.
Dreams can seduce you and take you away. And when you're there, it can happen that you don't want to come back. It can happen that, by pursuing that beauty, you touch the bottom of this longing, and forget what is really around you.
Your dreams can consume you, especially if you don't dream of cars, homes or the perfect family.
These things are feasible, with a little luck.
Other dreams are different. Coming back to the real world, I would call them ideas.
Like when you say, for example, 'I want to be a pop star'. You know it's not going to happen. Well, someone succeeds of course, but only a few. And then it is not what it seemed.
So, you decide on principle that you will never become a pop star, but that idea is always there, teasing you. A dismissed dream.
All you can do is dancing in front of the mirror when you're home alone. Right?

Now, this is not my case (although I did want to become a pop star at some point. Ouch), but if there was something that I ever wanted to do, is writing. Although I have never been constant at it.
It is not like the fire of art, making people filling up entire painting books, canvases, or walls to quench their thirst. I write when I feel like it, otherwise I don't.
And now I have discovered English, this amazing language. A whole world enclosed in just one sentence. An unexplored potential laying before me, despite the limits of not being a native.
There are stories in my head, embryonic characters shouting at me to let them come to life.
So forceful they are, I am almost afraid they are going to destroy me. Will they make me loose my way, my other purposes?
Shall I answer their call, or let them float in the limbo for another good fifteen years, before I find the courage to, at least, try?

Courage. That's all it takes. Courage of one's ideas.
Why don't you listen to your dreams?
I thought I had plenty of courage, but I was wrong.

My friend, I think your advice of keeping the feet on the ground was good...but you, yourself, didn't buy it.

Tuesday, 12 July 2011

Silence is Gold: How To Disrupt A Performance

I must admit I don't know much about contemporary dance.
Therefore, when G. handed me two tickets to go and see Rosas Danst Rosas that a colleague had generously passed on to him because she couldn't go, I just went all ??
A Google search revealed it to be a choreography based on austere, pure dance minimalism, devised by the Belgian Anne Teresa de Keersmaeker. The review I bumped into gives a meticulous description of the dance, including the fact that nothing really happens for the first twenty minutes and, half-way through it, there are quite a few exasperate walk-outs. Ouch. That did put me off a bit, but then You Tube overturned the situation by showing me this:



That's when I got all excited about it.
It reminded me of what I studied during my university days, when I took two modules of History of Theatre and got fascinated by the Odin Teatret and...hum, that other guy, Russian perhaps, who turned the actor into a machine. I think this very same thing of forgetting the name happened at the exam, too, and the lovely Professor gave me a 29/30 mark (30 being the maximum in the Italian marking system. Come ON! How mean is that?) Anyway, on show day we turn up at the Sadler's Wells, which by the way was full, with curiosity and great expectations. When the lights go down four women walk in and lay on the floor. As predicted by the article, nothing happens. Not a sound, with the exception of the women's sudden breathing and coordinated, identical and repetitive movements.

The silence engulfs everything, as thick as a blanket. It's total, and gripping.
And then, surely as breathing, here it begins the coughing.
One cough from the right hand side of the stalls. A second cough answers from the other side. This prompts a third, then a fourth.
The four women do another quick sequence, breaking the silence with their breath, and the cough stops. Then, back to immobility and to it's-oh-so-quiet-it's-oh-so-still.
And someone coughs. Just once. It's a performance within a performance.

Now, with the exception of those who maybe are allergic, phthisical or actually caught a cough, have you ever wondered about the complexity of this phenomenon?
Silence is an issue. It kind of leaves you alone with your thoughts, which may be too noisy, and may crush you down. To me, the cough that breaks the silence is like one of those miniature sorghum brooms used to protect houses from evil spirits; brush it away.
That's the only explanation I have, for there must be a reason why silence is gold. For example, hadn't the silence being so gripping, I wouldn't have thought of this whole post.
It contains neither pearls of wisdom nor philosophical truths, but not all thoughts bring up evil spirits.

Back to the show, suddenly a very mechanical music begins, and the silence issue is archived.
One hour and forty minutes of five different, but identical movement sequences. An intense work for the dancers, and also for those who watch. 

Monday, 20 June 2011

The Bay Window Project: Davide D'Elia


THE BAY WINDOW PROJECT
Artists in a Frame

curated by sybin

DAVIDE D’ELIA > Tropical Aryballoi
From Wednesday 22 June

SybinQ Art Projects
The window on Cleveland Street
London W1T 6DP

Back again after the success of last year, The Bay Window Project continues to be an opportunity for young and established artists to create a site-specific work in uncommon settings. Beyond the white-cube display, the artwork forcefully enters the private sphere of a flat to be seen by an extemporaneous, unaware public. The aim is to map the evolution of site-specific art in a non-institutional environment.

The first 2011 artist invited to exhibit in The Bay Window is DAVIDE D’ELIA.

Davide D’Elia produces works that often re-value modern aesthetic graphic terminology by presenting itself beyond object and objectivity. He very much focuses on the vocabulary of the neglected and the degraded. By for example artificially creating the conditions for mould to grow, he bends the flow of time to his needs and questions the viewer about the process behind it. This creates what he had decided to be an object of art out of the spontaneous hands of nature.

For The Bay Window Project, Davide presents the work Tropical Aryballoi, 2011 (Living Still Life: Perforated vinyl, table, plant, magazines, books, candles, glass, stones, plywood, light. Dimensions variable.)

When Davide D’Elia first surveyed the bay window, all we were talking about was the way he works with mould, creating the conditions for it to grow spontaneously. For all the duration of the process, which requires high humidity condition and a meticulous chemical practice, he likes to live the environment he is going to contaminate, disrupting its normal function, violating the immaculate white gallery walls and leaving baffled visitors wondering about effective methods to efface mould. Being related with a different kind of environment – that is, the private dimension of an already inhabited flat, D’Elia had chosen a different kind of process; the negotiation with both the curator and the occasional viewer from the street. The fact that he couldn’t live the environment he was going to intervene into, led him to invent a parallel space based on the effects of warm and cold light, daylight and darkness.
As Davide observes, “the light in which we live conditions our mood, our perception of things and our domestic rites. The light we project outside through windows, be it warm or cold, reveals the DNA of our modus vivendi. Our micro-domestic world relates with the outside by transmitting signals, both territorial and individual, to passers by who can decide to receive, or ignore, such signals.” Playing around with the few elements available to him – a plant, a table with elements on it, old vertical blinds and bits and pieces of ordinary life’s accumulation, he created Tropical Aryballoi, a two-faced container that changes at the change of light, revealing itself only to the most diligent of spectator. Tropical Aryballoi is a living still life, always the same but in fact ever-changing.

The display runs 22 June – 13 July.

The artist wishes to thank photographer Serena Andreini for her kind assistance. For further information please visit www.davidedelia.com

Davide D’Elia (Born in 1973 near Salerno, Italy) lives and works between Rome and London. Selected Shows: 2011 - Strange cross, Ex elettrofonica, Rome (IT); 2010 - Yesterday I distractedly called upon my mind memories not mine…I was by them enlivened, Ex elettrofonica, Rome (IT); 2009 - Beyond Existence, Cordy House, London (UK); 2009 – 3500 Square Centimeters, 27th Biennal Graphic Art, Lujbljana (SL). 2008 - Every other day, Zico House, Beirut (RL).



Will Come Next: CATHERINE BERTOLA in July.