Meeting poetry: Precious Okoyomon

I’m going to Zurich for the weekend, visiting some friends.

I try to be a poet. Somehow I feel like I am one.

I am following a real one on Instagram (sentence I thought I would have never used, grumpy and sceptic as I am with these new “social” means, making you even less social than before).

I see on the same f@#g Instagram she is going to Zurich too. She is from New York.

I contact her immediately, maybe I have an occasion to meet your art..?

She replies yes! In few weeks. I am there for few days.

Then she says “well, we can hang out together then”.

OKAY.

We meet and greet. She is calm, sweet, with such a delicate voice. I love voices. I love delicate voices.

I would love my mind to be a recorder, like a proper one, able to keep every single word. I am just a human.

We have lunch together, we walk around during an unexpected sunny day.

I wasn’t expecting anything, but I am definitely impressed. Not by her words, or her aspect, or her shyness: rather by what she radiates. She IS poetry.

I talk more than her; it wasn’t my idea, actually the opposite; still I want to give her something too.

I met Precious Okoyomon, and this is our story.

 

Precious is a young and talented artist. Grown up between London and Lagos, she is currently living in New York. By connecting her daily writings – messages to friends, notes taken on the phone while walking in the streets – she has shaped her own style, still taking inspirations from the authors and artists who touch her soul. She is now introduced to Europe by the art guru Hans Ulrich Obrist, who fell immediately in love with her art. Currently she has her first solo exhibition in Zurich where she present her sculptures made with mixed materials and natural live elements –trees, mushrooms, plants that are constantly growing and blooming. Her three-dimensional poetry.

“My sculptures are a continuum with my poetry, it’s just a different form”.

The exhibition, A drop of Sun under the Earth, is open until the 20th of April  at the Schwarzescafè at Luma Westbau, the headquarter of a non-profit local foundation that supports emergent artists. If you have the chance, don’t miss it!

 

The beauty of Beauty

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Illustration of different ways of sitting, human beings

Do we sit on chairs and eat on tables for its proper function or is there also an aesthetic motivation behind it? And what is created to be functional should leave aesthetics out to maximize and focus on the function only? How do our senses work and why do they tend to conglomerate in the same idea of beauty? These are just few of the questions answered or simply addressed by Stefan Sagmeister and Jessica Walsh, creators of the exhibition Beauty, on show until the end of March in the MAK Museum, the Museum of Applied Arts in Vienna.

The location itself is an architectural masterpiece in the style of the Neo-Renaissance, offering a permanent collection from different artistic periods: Viennese design from the 20th century, a Baroque, Rococo and Classicism section, Art Nouveau, Empire Style, Asian art. Currently it is possible to visit a commemorative and comprehensive solo exhibition of the works from Koloman Moser, an eclectic Austrian artist died one century ago; and Chinese Whispers, an exhibition taking Chinese contemporary art to Vienna. But let’s go back to our (my) focus.

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The main hall of MAK; art installation “Two hundred and Seventy”, artist Nils Voelker

Beauty is an interactive, informative journey into the concept itself, how we define and perceive things. This topic links as well to my last post where I talked about the difficulty – even impossibility – to identify parameters in art and, therefore, quantify the value of an artwork. “Beauty is a combination of shape, color, form, composition, material and texture to please the aesthetic senses, especially the sight”: this blue neon sign welcomes you in the majestic entrance of the museum, where a huge installation made with Two Hundred and Seventy (that is its title too) plastic bags following a programmed choreography, giving the idea of a huge sailing ship floating upon everyone’s head.

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“For Plato beauty is a moral value. What is good is beautiful, and what is beautiful is good.”

I love the arrangement of the exhibition, which spreads all over the museum: in different rooms, up the stairs, even in the toilets. One area is dedicated to the exploration of our senses, how we tend to have the same unconscious parameters to identify beauty. A consistent part of Beauty is inevitably, referring to the background of the authors, about design, being architecture or interior, facing the relative importance of aesthetics, functionality and environmental sustainability.

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The evolution of the drinking glass, ca.1500 – 2000

In the past, aesthetic was the driving force when designing something new, getting less and less importance with the development of technology and market needs. During the 21st century in particular it almost disappeared  – and this is nicely shown right in front of the entrance, with representative piles of books showing the trend of the use of the word itself  in literature throughout the centuries – to get recognition back in the last decades.

Few experiments and considerations are proposed on the concept of beauty, leaving the clear evidence that beauty is unnecessary, yet we need it. We search for it, we recognize it spontaneously. Sometimes it is everywhere, sometimes, hard to find; still I think it needs to be educated, and put in the right context. We can as well think about the different ways to interpret it among times, cultures, society. Said all this, let’s leave some space to personal taste and sensibility. And when we have different opinions, still we will get the same feelings and pleasure. Then we can talk about it: but in the end, emotions are what brings us to the same point. Enjoy (and bring) beauty, enjoy this Beauty if you can!

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Can we overlook the aspect for the benefit of our environment? Different examples of ecological and fair trade items: the book Small is beautiful from the research economist Ernst Friedrich Schumacher, the Mango Wooden Radio, the DIY Cellphone, a simple refrigerator (Terracooler) and water purification system (Watercone, Wadi and Life Straw)

Why beauty matters? This is the contest Sagmeister and Walsh launched within the exhibition. Have a look at their Instagram page to take part in, send the most beautiful thing you’ve ever made or seen.

Roberta Sinatra and the algorithm of art

Back in my quiet little village in Italy I was reading my favourite newspaper, “Il corriere della Sera”, and I found an article that particularly got my attention: Roberta Sinatra, an Italian physicist, has found an algorithm to analyse fashions in the art market. In order to do so, she studied almost half million careers of artists worldwide during the last 35 years to determine whether there were some common factors responsible for the fortune (or not) of an artist.
Success in art, like in every human activity whose value depends on individual perception, is strongly influenced by other factors than talent only (that is, de facto, unquantifiable). Recognition and values are determined by a network of experts, collectors, art dealers and institutions that will determine the visibility and prestige of an artist.
From the study Roberta carried out, Quantifying reputation and success in art, published on Science, it emerged that talent alone is not sufficient to reach fame. The most important factor is geography, specifically referring to the network available for an artist. Given the role of the major institutions as art portfolios, the researchers have mapped the network around these cores, finding a dense community mainly located in Europe and North America with access to selected artists frequently exhibited, while more peripheral areas appeared isolated, showing little or no exchange outside their local network. Within these cores, a high correlation was found between their centrality and the economic value of the artworks exhibited.

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Coexhibition network: the map represents the existing connections among countries and institutions, with the cores identifying the the top institutions. (Image taken from the paper)

The beginning of the career, defined by the average prestige of the first five exhibits, is the stage determining the future development of an artist. Artists exhibiting in or connected to prestigious institutions since the beginning of their career had better chances to continue exhibiting and easier access to top institutions. On the other hand, artists starting from a low-initial reputation, i.e. in a peripheral network, had a high dropout rate, although an increasing access to the top institutions was shown for the ones who persisted.
For a deeper comprehension Roberta and colleagues tried to define how the reputation of an artist grows. With a probabilistic model they found out that reputation doesn’t depend on the current exhibit only; an average of 12 exhibits is what defines the “memory” of an artist, determining her/his advancement within the institutions and, therefore, an affirmed reputation.

I think that this study has confirmed with numbers what was already easy to expect (that is the reason about conducting a study, too…). It is unlikely that talent only is enough, in any field, to emerge, few lucky exceptions aside (read about the interview to the collectors John and Stuart Evans and their role in the art world). I also think, though, that the study has considered a period in between the traditional networking and the increasing diffusion and power of Internet and social media, and I believe this will be a new key factor to analyse while posing the same question again. On the other hand, the quantity of (more or less) artistic production has increased dramatically, leading to a higher concurrence in terms of visibility and, therefore, possibilities. Maybe this is just the result of sharing publicly what was hidden before in our drawers or timidly shown to our closest ones. Maybe this is motivating people to be more creative and free with their imagination. Maybe this is moving the conventional networks and spreading to new connections and expressions.

Whatever it is, I personally know the need of create, the calling that never stops: and I think that is the special flame that makes you an artist.

About techno and new (non-) models: I Hate Models

At the beginning it was daydreaming, then became an exclusive loneliness, and then put on the clothes of a witch. I’ve found I Hate Models (IHM) like many people nowadays found new music – through the (targeted) shuffle of Youtube – and it was love at first listening.

I Hate Models – Shades of night

I love techno music since when we were both babies. My love for music has no defined borders: yet, there has always been something magical, hypnotical, in the dark and deep sounds of the electronic beats. I think techno in the music world has many similarities with contemporary art in the artistic one: it may be perceived as a mix of noise and bass, monotonous and inharmonic for the ones who don’t follow it; but an attentive ear (partial self quote) can catch all the different tonalities, the beat with its overlapped metric levels, the modulated intensity of each component; and then the intensity, the melody, the beauty of a 130 bpm track. I listen to a lot of this shit: and when one year ago I ended up on Daydream, track from IHM debut EP Warehouse memories, I felt it as a revelation.

I Hate Models – Daydream

Techno is great for dancing: it is on the dancefloor that it can be played loud, reaching you with the whole spectrum of frequencies, giving you that hype that makes you feel unstoppable, happy and comforted. I am one of these fans who can also play it on a Tuesday morning while under the shower; still, I myself admit that certain tracks can result boring and repetitive outside the dancefloor.

IHM has revolutionised the whole scene. His tracks are pure magic, a condensate of the hardest beats with gloomy and charming melodies typical of the post-punk and dark wave of the 80’s, still with a unique touch. His music is an intimate journey where we can get lost and again found.

I Hate Models – Eternal loneliness

Last month he finally played here in Vienna, at a Techno Deluxe event in Grelle Forelle. It is a great experience to see him live: he doesn’t play his own tracks, yet the set is not focused on the reaction of the dancefloor; rather the music, finally, is the protagonist to which the crowd bows.

Little is known about him, as he prefers (or tries…) not to show himself (he covers his face with a bandana); what is evident is his talent, which has made him exponentially acquiring notoriety and reaching the biggest European festivals.

We needed this!

I Hate Models – Walpurgis night

Teresa Vittucci : all eyes on her

In these hard times of my life in which I have to start dealing with social networks and all the media I have for long time avoided, I get a (great) slap in my face out of this art performance that, again, something don’t-know-what told me to attend. We are back in Vienna, in WUK, acronym for Werkstätten- und Kulturhaus, the House of Workshops and Culture, a beautiful formerly industrial building offering space for concerts, exhibitions, education, rehearsals, intercultural connections. The event I am joining is “All eyes on” from Teresa Vittucci, organised by WUK performing arts, the space dedicated to everything that is in between –or involving all together– dance, theatre and performance. “All eyes on” is about the double nature of the human being, who can be either exhibitionist or voyeur. This duality, together with the definition of private and public, gets emphasised online, where now we do most of the actions we were normally carrying out in the real world: buying clothes, getting new friends, finding a job – and sex. Sex can be easily found on many different platforms, where anyone can watch and make a choice. And Teresa chooses one of this channels to bring her performance to a third level of perception of what is public and what is private: the stage.

The audience starts to enter when she is already there, kneeling in the centre of a fully lighted mirrored platform, wearing a very red pullover on a very transparent bodysuit. She may not look like the typical girl someone would search online just for sexy fun; but the online chat she is connected with seems to appreciate. On the right of the stage, a screen shows what the chat users see through the webcam Teresa is connected to, while on the left a second screen shows the messages she receives.
She is acting like a sort of doll, somewhere in between a state of trance…and dumbness. I really don’t know what to expect. Then, she starts to sing. “Never thought I’ve found someone like youuu”. Neither did I. The song keeps going on, some people laugh. I genuinely wonder why. Then another song, this time something more amusing, although in the meanwhile she has opened the bodysuit from the bottom and started to show her hairy vagina. And many other situations follow: she is interacting with the audience, even sharing a lasagna with us; she is playing with the chat users, talking to them, asking them how do they like her, what do they like about her. The guys are nice. They enjoy the atypical and almost violent performance in its artistic sexiness, they even ask about the audience. They don’t seem astonished by what they see; rather curious and impressed. In this double role of performer for the chat and the live audience, Teresa becomes the exhibitionist, having us in the role of voyeurs.

…And everything starts to change, in my stomach, in my brain. The undefined sensation I felt before gets a shape, becomes now a clear vision: and this is not strictly coming out of the performance in this features; rather what I get now so strong and powerful out of it. And I think about these lonely people, who are apparently looking more for company or entertainment than sex; about the human fragility hidden behind a screen; about her strength in being so exposed; about the slight embarrassement in the audience mixed with laughters and –maybe- considerations. This hits me like…little tears in my eyes.

“There is something special happening here, now, between us. We all know it, we all feel it. Although we cannot describe it. And if we could, the explanation would probably ruin it”.

 

Head image: extract from the performance, pic from WUK

P.s. (which is actually a preface): I should explain that before any performance or art event I don’t like to read carefully what it will be about; and the reason is that I don’t want to be influenced nor to have already a view or opinion. But then, after it, I put together the pieces of what I caught and what was the real intention of the author.

 

Vienna Contemporary 2018 Second part

As I already mentioned in the first part of the post about Vienna Contemporary, the countries present are mainly from Central- and Eastern Europe; still, few galleries come also from Korea, China, Northern Europe. A special focus is dedicated to Armenia after the recent Velvet Revolution, which took place in April and May 2018 and has revolutionised as well the national perception of art, creating a new dimension of artistic language that just until recent times has been the only way to protest.

What literally surprises me is when I see the name next to three drawings: Kostya Novoselov. And when I start reading the caption my supposition gets confirmed: he is the Konstantin Novoselov who won the Nobel Prize in Physics in 2010 for having succeeded in isolating a single layer of graphite, the exceptional graphene (and since I am a scientist too I like to show you the structure of both: the Art of Nature).

The three drawings are realised with the same material he has studied so extensively: graphene ink (and Chinese ink) on rice paper. I find this simply amazing.

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Kostya Novoselov, New music, 2018

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The molecular structure of graphene (a) and graphite (b) (fig. by Rory Brown taken from here)

And a huge Carrara marble from the artist Thom Puckey represents a naked woman walking on her knees and one hand while holding a gun and hiding a knife behind the back. I find impressive the contraposition between the use of such a classic and noble material to picture, in my opinion, what is probably one of the most controversial topics at the moment: the subordination of women, the social vulnerability that puts them –us – on a constant alert and defensive mode; and still the awareness and the strength to react in any possible way –with any possible means.

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Annie Gentils Gallery – Antwerp (BE); artist: Thom Puckey

An interesting and varied collection of artworks is displayed by the H.A.N. Gallery from Seoul: a frame with overlaid grids that recreate a picture in black and white (Seungmo Park); a futuristic light installation (Susanne Rottenbacher); and some metal elephants whose legs recall the visionary animals of Dalì (Wook-Jang Cheung).

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Gallery H.A.N. – Seoul (KR); various artists

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Gallery H.A.N. – Seoul (KR); various artists

The Trafo Gallery, which I already mentioned in the first part of this post, offers as well some futuristic art, representing Michal Cimala with his robotic lit mannequins; while the Tobe Gallery exhibits some portrait photography in which the light (or better the darkness) and the subjects remind in a way the portrait paintings from the Renaissance, giving a timeless allure to the picture.

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Tobe Gallery – Budapest (RM); artist: László Mészáros

At the booth of the Bechter Kastowsky Galerie the artworks acquire new dimensionality by hanging one on the other and getting complete by the wallpainting.

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Bechter Kastowsky Galerie – Vienna (AT); artist: Philip Patkowitsch

These are just few examples I found interesting to mention, mainly to show the variety of the selections made for introducing what is going on in and around the European art world. I hope I did stimulate your curiosity, and maybe we’ll see each other there next year!

For galleries and artists out there, the call for 2019 is now open. Have fun with art!

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Artelier Contemporary – Graz (AT); artist: Sonja Gangl, O.R.G.A.S.M. #2

 

Vienna Contemporary 2018

Two weeks ago Vienna was hit by a great number of artists, collectors, gallerists, or simply art lovers thanks to two big events dedicated to contemporary art: Parallel and Vienna Contemporary. Due to time restrictions I decided to visit the latter since, well, I don´t like to be redundant but, I kind of ran into it…

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Marx Halle, entrance of Vienna Contemporary; artist: Golif

Vienna Contemporary is an international art fair born from an idea of Christina Steinbrecher-Pfandt in 2015, to gather more and less famous artists coming mainly from Austria, but also Central- and Eastern Europe.

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Bechter Kastowsky galerie – Vienna (AT); artist: Philip Patkowitsch

I feel excited by the opportunity of visiting it, and very curious about the selection. I start walking around, being impressed by the size of the exhibition –120 galleries and 500 artists– and the variety of styles, techniques, and people. It is very interesting to find connections among the galleries coming from the same country, in terms of colours, materials, forms, arrangements. And together with the exhibition there is also place for open discussions and interviews. I am happily lost looking around when I realize the first talk is starting. (Now I really don´t want to write a journalistic article about it, even if that´s what it may result in the end; but I do find worth to mention some interesting things I have listened to).

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Artload – “A-live” interview series at Vienna Contemporary; curator and moderator: Vivian Gandelsman, guests: Stuart and John Evans

The talk I attend is with Stuart and John Evans, a father-and-son couple of art collectors, who present themselves and their role in the art world.

A collector has a crucial part in supporting artists, helping them getting into the market, introducing them to galleries or sometimes even financing them; and as well their attentive eye and –most of all– their passion for art make them a touchstone for newcomers, whether gallerists or new collectors. This, of course, requires a constant dedication. For the last ten years, in particular, they have been searching for new art from Latin America and started to build a new collection.

While listening to them describing their recent travels to Brazil, exploring different little shops and ateliers, I can shape a very nice picture in my head: the talented hidden artist discovered by the resolute and fond seeker. And this is what I like to imagine in an ideal world: that anywhere you are, any background or environment you have around, if you are talented you will emerge. Well, collectors make it happen! And not only because they can afford to buy expensive pieces – on the contrary, often it is thanks to them if the quotations of an artist arise. But the first, main reason moving them is the deep love for art. Stuart Evans uses a beautiful sentence while talking about his background:

“Art is transformative, but when you commit it rewards you.”

Probably you can apply it to anything, sure; we are still talking about human intellect, and human intellect has multiple directions but the same modus operandi, in the end.

I keep looking around with one big question buzzing in my head, the one I didn´t dare to ask at the open discussion: how can you tell whether a craft/hand work is actually an art work? I look around and I see so many different works: some are beautiful, some are very well done, some are…a big question mark. The answer, though, comes by itself while imagining all the different stories behind any single brush stroke, behind the lens, behind every concept; some may like it, some may not; still, certainly there is a story worth to be told.

(to be continued…)

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Trafo Gallery – Prague (CZ); artist: Michal Cimala

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Vienna Contemporary – partial overview

 

Lucio and Duilio Forte, the architects of imagination

Today I would like to introduce you a very talented artist and friend I got to know already some years ago: Lucio Lars Forte. This time we move to Milan, more specifically in a peripheral area where open fields give a greener feeling of the city.

Lucio is Italian with Swedish origins; he studied architecture and from there started to develop his own, unique style, mixing different techniques and materials, joining architecture with painting and comics, another great passion of him.

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Sistema indipendente (Independent system), 2014, watercolor, Indian ink, glue on paper (48 x 98 x 3 cm)      – …now the base lives in an independent system… We can go      -Where to?

Together with his brother, Duilio Forte, as well an affirmed artist, he shares an old industrial plant renovated as studio atelier: Orygma, his own space, and AtelierFORTE. The latter serves as (but is not limited to) atelier and showroom; and everything about and inside this building complex is pure and mesmerizing art, thanks to the creations, sculptures and design elements from Duilio. Here is a video he made to present his atelier and works he created, truly worth to see.

Tipp Tapp, Duilio Forte 2018

I had the great possibility to visit the whole structure on different occasions, thanks to the warm and friendly environment present at every exhibition that Lucio organizes.

I ended up in this bucolic place after having read about a collective exhibition called Sottosuolo (Subsoil in English): just few but beautifully written words to introduce the overall concept of the selected works. I could see from the map that the place was reachable after a long way with the bus from the city centre; but careless I decided to go there. And finally, after many glossy and snobbish vernissages in the centre of the city, I could find an authentic one, a celebration of art with music, wine and people willing to interact with each other.

This is how the atelier may look like, in my opinion (and Lucio seems to confirm the inspiration).

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Lucio Forte 2009, oil on canvas (70 x 120 cm)

When I ask him how he would like to be presented, he tells me about immortality (modest!). He defines himself as an “architect deep inside the soul”, explaining that with his art he wants to create suggestions: illusionary maybe, but what gives us the opportunity to live more lives just by using the limitless power of imagination. Then, finally, we can reach immortality.

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Uomo giallo (Yellow man), 2015, oil, tempera on canvas (50 x 70 x 1 cm)

And science fiction offers a great setting for a new idea of immortality, by mixing science – the knowledge acquired by testing and proving – with its opposite and origin at the same time –fantasy. Then, everything becomes possible.

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Sottosuolo (Subsoil), 2013, oil on canvas (80 x 60 x 2 cm) from my personal collection

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Lipstick (Lipstick), 2012, mixed media on panel (78 x 70 x 2 cm)

Currently Lucio is starting a new project, Subcity Art Gallery, “a new underground  reality in the local artistic scene” where small-format selected artworks can be found at an accessible market. For the ones who may have the chance, don’t miss the opening on the 20th of September!

 

All the artworks with description and availability can be found on Artsper.

Head image: Lucio Forte 2009, mixed media on paper (21 x 30 cm)

Playground Festival AV 2018 – Vienna

I would like to start my first post, introduction aside, talking about one of the most recent events I attended: the Playground Festival AV in Vienna. AV stands for Audiovisuals, and it’s the concept of the whole festival: gathering artists from different countries and with different backgrounds to show and share their artwork, whether it’s a painting, a video, a music production, or a mix of these. The location this year is new and couldn’t have fit better to the festival: the Creau, a quiet area close to the Danube formerly used as a stable. A long dark corridor with horse boxes on both sides offers the exhibition itself, where each artist in his own box presents his ideas, having his own space to curate. Art is confined, still it mixes together, due to the numerous lights and sounds coming out from every direction.

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The stable (pic by Henrich Fisher)

And a great variety of styles and techniques combines in an atmosphere blinking at the future with a contemporary dark humour. Because this is the feeling, an abandoned place filled with colourful, obsessive and playful creativity. Then we can see (in a scattered order) a plastic wrap sea horse trapped in a metal cage, getting its shape only when air is pumped in with a creepy sound that reminds that of a drill (Kristoffer Stefan, Jan Lauth); five balloons in the dark with the faces of some world leaders projected on them lightened by winking lights (Andreas Muk Haider); a frame in which mirroring ourselves in a slow-motion distortion of the image (A: Nego Yokte, V: Dornwittchen); a live-painting on PVC panels using poor materials and tools that gain a different effect and colours depending on the light put in the background (Werner Ellend); and many other installations and interactive platforms. It’s fascinating to see all these different approaches, and messages, as well as the interaction of the visitors with it. This is a playground, and everyone seems to enjoy being child again.

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Moment of silence, Andreas Muk Haider (pic by me)

And there’s the music. Electronic, experimental, presented as a show with djs in lab coats and a fluorescent dance choreography (Soundpharmacy) or accompanied by visuals, sometimes acid and disturbing, other times dreamy and eclectic. The Rondelle, the second area of the festival, is the perfect location for showing movies extracts and performances: rounded shaped as its name recalls, it reminds of a circus tent and offers a great space for images to be projected all around and rotate above the spectator, forced to keep the nose up as enchanting is the view. And many big matrasses lay on the floor to offer a better perspective for the eye and a more comfortable view. Here the performances from Sirio AV (first project from Dario Jurilli and Simone Andalfato), Das Stadtkind feat. Dornwittchen, and Polymer, gave a different dimension to music with the use of visuals dancing together with the beat.

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The Rondelle (pic by Henrich Fisher)

In this fascinating context I got to know (or simply approached) Oli Sorenson, an artist performing during the opening day of the festival: Canadian born, artistically grown up and developed in London, with his artwork, Video Pistoletto, he literally breaks the conventions by chiselling LCD screens. At first sight his box looks similar to the others: three LCD screens hung on the wall in the dark, presenting thick black and white stripes having different orientations with respect to each other; the room is dark and empty, apart from a huge nail – a chisel – and a hammer. It’s when I am in the Rondelle that I start hearing people say “he is breaking the screens! That’s so cool!”. And, sceptic as I am (yes, me too), but curious as a cat I run inside: and what I see is just great. Short delicate but precise hammer blows break the first layer of the screen, letting the crystals mixing and giving life to new colours and shapes.

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Video Pistoletto – before and after (pic by Oli Sorenson)

Here’s the interview he granted me, after I told him about my idea of starting a blog.

What is your background?

Wow that’s a tough question, where to start? I’m basically Canadian, but my dad travelled all the time with his work so I was born in Los Angeles. I did most of my art education in Montreal, then I moved to London in 1999, where I got my big break as a VJ, collaborating with pretty big music acts like Leftfield, Above & Beyond, M.I.A. as well as a club residency at Ministry of Sound. I was always a fan of visual arts and got my foot in the doors with exhibition projects by producing AV performances that suited evening programs in museums like Late at Tate and the AV Social nights at the British Film Institute. So I did a few of these across the UK and Europe, and got to meet a number of artists that were also doing both club visuals and art exhibitions like Quayola, Zan Lyon and Micha Klein. With their influence I convinced myself that I could make the transition from club performances to art exhibitions, and initially started with mapping works, projecting videos of 2D patterns onto 3D objects. Eventually I found that projecting really minimal patterns worked best, which resembled Daniel Buren’s art, so I called this series Mapping Buren.

How did this idea for Video Pistoletto come to your mind?

After the Mapping Buren series, I noticed how much sampling was an important process in my work. I wasn’t trying to challenge the rules of copyright, but on the other hand I became really obsessed with the overwhelming volumes of cultural content that everyone had access to, either online, in print form or elsewhere. And in a way this de-motivated me to try and produce anything new of my own. Instead I was fascinated with the idea of reviewing and amending other people’s creative output. I love the basic principles of Arte Povera for example, but I thought so much was lacking in this movement, and felt the urge to upgrade it to a twenty-first century discourse and make it relevant again. So I borrowed Michelangelo Pistoletto’s gesture of hitting mirrors with a mallet and redirected it towards Liquid Crystal Display (LCD) TV screens.

What would you like to communicate with this project?

Once I noticed how much cultural content was abundant everywhere, I realised how much Pistoletto’s solution – to create from destructive actions – was relevant to me and the highly consumer environment I was immersed in. I became aware of how much the consumption of new products, especially technological ones, were dependant on the destruction of older ones. I wanted to encapsulate this idea into an artwork. Also the premise of Arte Povera was to work with poor materials, so in this line of thought, what better material to work with than electronic goods, which are engineered with planned obsolescence to become obsolete after only a few years? By breaking the screen surfaces of aging LCD TVs, I was in part accelerating their fall into obsolescence, but ironically I was also turning them into artworks, so adding value to these objects. What’s strange about televisions in general is that, as objects, they are meant to be ignored. One rarely pays attention to the TV itself, but only to what is broadcast through electronic signals. When the TVs get broken however, this is one of the only moment when viewers really look at their TV as an object, rather than only look through it to the mediated content. To make this process more engaging, I try to break the LCD screens in very seductive ways, so that viewers become very conscious of their gaze, their act of looking at something.

VP_7027

Video Pistoletto – detail of screen 02 (pic by Oli Sorenson)

What are your next projects?

I’m revisiting a film remix series I started a while ago, but now I’m applying the same method to the entire James Bond film franchise. The series is called No More Heroes, and in a nutshell, I take away every frame of the movie where I can see or hear the main protagonist, so in this case, Sean Connery, Roger Moore or any other actor that played James Bond. This way I try to point out the redundant narrative templates within mainstream cinema, and surprisingly, when I play back all the 24 films simultaneously in a huge mosaic of videos, very similar events happen in every film, involving either a sexy lady, some kind of gadget weapon, an evil henchman or an explosion. The James Bond films are surprisingly homogenous and formulaic in their storytelling. Also this process of erasing highlights the central position of Caucasian men assuming the role of heroes. Once the leading roles are removed from such films, I hope the viewers will notice that the remaining characters manifest a much greater diversity of gender, age and ethnicity. I’m screening this piece on August 17 and 18 at Art Mur gallery in Berlin. Everyone is welcome, it’s a free event!


Still, too many were the artists I would dedicate some words too… but I am also sure I will soon have the occasion for doing it!

Find more information about the festival, venue and artists on the official page of Playground AV 2018. The pictures are taken from the official Facebook page of Playground AV 2018 and from the official website of Oli Sorenson.

Prelude

The first common reactions people have towards a contemporary artwork are “I could have done it myself”, “Is this really called art?”, and so on. Scepticism and lack of beauty are often the strongest impression hitting the audience. While in the past there was usually a trend, a movement defining a specific style, or theme, or function, nowadays it gets harder and harder to distinguish between art and trash, sometimes forgetting that art is, de facto, the mirror of the times we live in, and that most often also the greatest artists had to deal with critics from their contemporaries. Yet, still a lot is produced, still art is a fundamental part of our lives, to shape minds and souls, to give colour and thrill.

Together with the love for literature and writing, art has always been an integral component in my life. I started to develop a strong passion from the scholastic books, and then kept myself updated by reading, visiting museums, exhibitions, attending smaller vernissages to get to know also what is on the emerging edge. Meanwhile I took a different approach to expressing my creative side by choosing to become a chemist, the art of mixing and transforming matter, of separating and identifying compounds.

Italian born, for two years I have lived in the magnificent city of Vienna, which from the very beginning on has taken my heart and soul. As you may know, Vienna has been for long time the centre of the European culture, attracting a wide and varied collection of artists and intellectuals; and this is still completely reflected in its spirit and atmosphere, a sense of majesty and decadence that is almost touchable. I started to explore the local artistic scene, and found a plenitude of totally new dimensions of making art among the classical and modern allure of its architecture.

Along this personal journey I have felt extremely lucky to have got to know many intellectual, open minded, creative artists who have opened their work and philosophy to me. With this blog I would like to collect the most memorable conversations, to share my impressions and opinions about different topics and trends in art, presenting it as a simple enthusiast, creating an open space for discussion free from prejudices and clichés.

Art is for everyone, it just needs an attentive and sensitive eye to be caught and a brave-enough mind to be created.

 

Image: Salvador Dalì, Living Still Life, 1956