How to avoid disappearing

I sit and listen to music.
Nothing more, nothing less.
Nothing
else.
I am wasting my time

because I technically do
nothing.

Tick tock tick tock
Time is running and you are not producing
Tick tock tick tock
Time is passing and you are still unmoved
Wear your coat, get a job,
stop being absurd
about live for love.

I am totally with you,
I need my dream to come true.
Reality is tough, though,
Even worse than silence
in ropes, even
if I change,
I can’t change.
Even if I change,
why do I?
To conformize?
Why do I?

  • Modify my shape
  • Shape my body
  • Get healthier, more active
  • Stop compromising

 

I sit and listen to music.


 

This time it’s an homage to Lana Del Rey and her beautiful “How to disappear” (here in the first live version).

The lightness of being me (A candle holder)

I give you my spine
Oh, so divine
in the falling day
reminding the gates
I dare a gun
pointed at you
only to feel the fun
of beating the truth.
A stop-motion capture
for this lonely rapture
Breaking the law
of Mother, that haw
Thrilling restraints
for all the cocaine
for all the pills
down the hills.
Please make a sound
the magnet inverted,
now am assertive.

Foscolo remembrances

Eternal loneliness in a vortex of life
you want the middle, you stand in line,
grasping parts and hearts
blasting hearts in parts
hiding with no seek
and still trying to find the bricks,
is it a mess, or the mess is fix?

Come to me sweet sensation
I need your careless inclination,
a pathway juggling on the crest,
I have you on my right,
I need you on my left.

The eternal nothingless:
for reason is a massacre;
or the only way to feel
free.

 


This poem was inspired by the track “Eternal loneliness” from I Hate Models.

I crash on you like (L’hostage)

I crash on you like porcelain
on the ground. I fall to pieces,
each of them with a story to tell.
Where to begin?
The monster with hundreds eyes?
The meal I ate yesterday?
A carillon plays in my head,
constantly, repeatedly.
I lose myself in it
I lose myself in you.
Magical mantra
Tangible tantra.
And then you take me down to Earth, and
I can just feel alien to the earth
you want to share.
And then I close my eyes
And the only thing I can see
is the light pale through my skin.
I crash on you like a car crash dummy on the dashboard:
low damage, epic impact.

Prayer for rain

Little Lilith smelling honey
come adorn our empty noses
they could be filled with roses
but they fancy only money.
Come and shine my little honey
put a barricade, haste and wonders
we want be something besonders
come and save the little donee.


Besonders: from German, particularly, especially, expressly 

Following the body

Feeling feels somehow different now:
I don’t know if I can
– oh, sure do I; but
I mean if I really can –
translate the buzzes in my brain;
anyone gets an analyst nowadays
I am still waiting for mine to take
my dirty laundry, to wash it,
my dirty dishes, to lick it,
even though reluctant I fight
against my own unwillingness.

I cry for the dolphins
– is it egoism too?
I may be a folded pine
when the water’s so blue
caught in rifles of chloride:
like the last requested smile
on the pond,
before you
drown and, finally
get lost
freed by submission

Eh?

Don’t get lost

Submission is freeing me?
No, I don’t think so
I may be apologetic…
But no, I don’t think so –
I just look at the stars
– so far, so true –
they are alcohol and dope
I am far, if I can feel them too
so near, so bright,
yet dark as night
– that’s their meaning of existence:
feeling disconnected
to everything connected.


The title is an homage to Zanias, from the music track “Follow the body”, To the core EP, 2016. This record and her whole production are amazing, by the way.

The eclectic rock of Verdena: 20 years anniversary (and still I want more)

There’s a band, who wanted to be (the) Verbena but someone else got the name first, and so became Verdena, not the divine plant anymore, just the name of the best rock band I’ve gotten to know. With a lot of personal affection in it, yes.

Attonito, Wow, 2011

They started playing in 1995 in an old henhouse, just teenagers, two brothers and, couple of years later, a bassist. They started taking great inspiration from the grunge of Nirvana, publishing the first album, Verdena, in 1999, with the independent Italian Black Out, label born from the idea of promoting underground music with the means of a major, the owner Universal (and despite how it sounds, I would say it worked, considering also the other names supported).
Since their debut, and even before with their demo tapes, it is clear that Verdena have something special, a sound that is hard, melodic, complex, full of references from the greatest of rock, yet fresh and distinctive.

Il Gulliver, Requiem, 2007

Verdena grew up with me (or viceversa): I discovered them with their third album, Il suicidio dei samurai, and immediately started to listen to everything from their past. The result became an ongoing addiction.

Logorrea, Il suicidio dei samurai, 2004

Their cultural background is impressive but not surprising: they are big fans of the Beatles (that, ahem, I personally don’t like… yes I know, but), Interpol, Nirvana, Flaming Lips, to cite some. And every album expresses a new side, or maturity, of their sound, always carrying their timber, yet always unexpected and magnificent. When you think they have released their best album, the next one will change your mind.

Puzzle, Endkadenz vol. 1, 2015

So, what happened? Verdena, the first album, was grunge. Clearly. They were just 18, with introverted personalities, rebel: Kurt was the muse, their first inspiration. Solo un grande sasso (Just a big stone), the second album, is a new story: psychedelic and ambitious, with long complex tracks. The dark melancholy started with the second album gets emphasized in the third, Il suicidio dei samurai (The suicide of the Samurai), and almost disappears with Requiem, despite the title, that brings back their grunge but grown-up attitude. Then the double album Wow, Endkadenz Vol. 1 and Vol. 2… I prefer to leave (personal) descriptions aside and suggest you some tracks to listen to and get your personal idea.

Sotto prescrizione del dott. Huxley, Requiem, 2007

Since when I moved abroad, I’ve started to realize that, aside from the main genre, every country, even the closest ones (Austria and Italy, where I live and where I was born, for example), has a personal way to translate it, that implies that culture too. In my case, I am a big fan of the (old) Italian songwriters, I like that mix of tradition and sperimentation, that being politically engaged, poetic, idealistic; that decadent yet still brilliant flair of a brilliant yet decadent country. Lucio Battisti, Franco Battiato, Fabrizio De André, Rino Gaetano to cite a few. But I can also try (hard) to see it from an external point of view and understand that, together with the (indisputable) beauty of an execution, the emotional involvement plays a key role. That’s the best part of art. 

Fuoco amico 2 (pela i miei tratti), Endkadenz Vol. 2, 2015

 

 

Head image taken from rollingstone.it

Kunst am Kanal – Art into the (Danube) flow

As you may know, Vienna is a city that developed in the proximity of the Danube. A former arm of it, the Donaukanal (Danube Canal) delimits the city centre, and it is a cozy urban yet green place to hang out, especially during summer. Along its path there are free areas for making graffiti, public vegetables gardens, outdoor exhibitions, many small and bigger bars, and the most interesting clubs (for example Grelle Forelle, which I mentioned more than once previously). And many different music and art events take place here, free events where people can gather in a chill setting.

Couple of weeks ago it was Kunst am Kanal, Art on the Canal, organized by the club Das Werk in cooperation with its two art ateliers, Lichtbogen 334, the nest of the visual artists from the collective 4youreye projectionArt, and Dachsbau, a co-working space for artists to rent and exhibit their work. Das Werk means “the factory”, but also “the art work”, and that’s what this club promotes aside from music.

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Dachsbau and Lichtbogen 334, side on the Kanal

Contemporary art can be easily seen as snobbish, due to its hermetic messages and aesthetics, the high prices and the steered value, not necessarily based on pure talent (see my post about Roberta Sinatra and her study that analyses the trends in the art business). It’s the underground facet, instead, that can offer a glimpse of closeness to a wider audience and become part of a bigger context, integrating into the surrounding of music, drinks and good vibes. The final result is not individual anymore, rather a sum of different contributions, styles, perceptions, points of view; and the location, even if the same one, acquires each time a new unique appearance.

Moreover, these events can also give the possibility to minor and free-time artists, or simply creative talents, to express themselves: collaborations and projects can bloom, most likely not for decorating a fancy loft, rather for creating a collective experience.

Noemi
Noemi Kiss, Galerie Helmut, Das Werk (pic by Noemi Kiss)

The new huge graffiti of two hands exposing the teeth of a ferocious dog was mapped by the visualists collective 4youreye for projecting colourful visuals that gave a whole different feeling of it; at Werk a new exhibition space offered a solo from Noémi Kiss, an architect and philosopher (and woman that I deeply admire) who rose in the last six years as conceptual artist, using simple and poor materials (concrete, carpets as example) to give them new shape and purpose. In this occasion she presented five different reinterpretations of three-dimensionality recreated on beautiful antique Persian carpets hung on the walls, creating a door –or a window– for the viewer to look into.
And then much more is offered, involving all different forms of performative arts, and the music: live concerts during the daylight, dj sets at night, offering a wide range of styles and sound.

Eckhart Derschmidt
Kunst am Kanal 2019 (pic from Facebook by Eckhart Derschmidt)

A special paragraph deserves Lichtbogen 334, with its dark ambience particularly fitting to the projections introduced: a “digital mirror” altering colours and movement, that I already mentioned in the post about the Playground Festival; a panel with two plaster cast faces emerging out of it, one happy one sad, lightened by changing shapes and patterns; two lysergic skulls decorating the shutters that divide the exposition space from the storage for the 4youreye equipment.

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Haselbusch, Lichtbogen 334

The Kunst am Kanal festival takes place once a year, but still there are many other events where lights, colours and moods mix together to create the special atmosphere that characterises this part of the Kanal. All this arty melting pot just opposite to the District Heating Plant designed by Friedensreich Hundertwasser, a famous Austrian artist I will definitely talk about, and just adjacent to a complex of buildings ideated by Zaha Hadid, uncompleted due to financial cuts and changes that – rumors say – made the architect not satisfied anymore with the project to the point that she wanted her name dissociated from it. Still, these buildings are masterpieces here for us to admire and, thanks to these occasions, to rediscover in a different light.

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District Heating Plant, Friedensreich Hundertwasser
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Zaha-Hadid-Haus, part of the building complex