Naima Morelli

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December, 2012 Monthly archive

alain3

“Ogni foto è un’esperienza.” conclude con accento francese, capello bizzarro, faccia gentile Alain Fleischer.
Prima di questa conclusione c’è ovviamente tutto il lavoro in mostra da Limen OttoNoveCinque, fotografie ad un primo sguardo cariche di mistero e quasi indecifrabili.

Il ciclo fotografico principale “Happy Days”, consiste in grandi stampe dove provare a descrivere il soggetto è già avventurarsi in un sogno surrealista: una cornice per terra, una proiezione di protagoniste femminili da quadri dell’antichità, un giocattolo a motore raddoppiato che sembra agitare la scena.
Gli effetti di sovrapposizione e illusione farebbero pensare ad un banale utilizzo di Photoshop: niente di più sbagliato. A differenza di quanto si possa credere, è solo questione di una grandissima abilità tecnica. Non di meno il processo con cui sono stati presi questi scatti è parte del simbolismo delle opere.
Spiega l’artista che si tratta della creazione di un collegamento del mondo adulto con quello infantile: “Gli adulti attaccano i quadri sempre alle pareti, i bambini giocano per terra. Ecco che proiettando un’immagine dall’alto, emerge questa impalpabile relazione.”
E si ci potrebbe inoltrare ancora più addentro a queste Correspondaces, in un gioco di rimandi infiniti.
« E’ la dimostrazione del potere della fotografia di catturare l’impalpabile ; io non ho mai visto queste immagini, esse esistono solo in quanto sono state fotografate. Questo giocattolo lo vediamo multiplo solo per via dei tempi di esposizione, così come questa proiezione che sembra scivolare fuori dal suo frame. »
Si avverte molta nostalgia in questi scatti, una suggestione malinconica come se l’artista volesse ricomporre il passato attraverso frammenti di luce.
Carpisco brani di discorso di un fruitore dalla fluente chioma rossa vicino a me : « … un ES invisibile che genera un superio etereo…»
« Prego? »

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artapart

It’s been two years since my collaboration with Art a Part of cult(ure) began. My first article was about the japanese artist Masachi Echigo, you can read it here.

I’ve met Art a Part director Barbara Martusciello in a gallery in Piazza di Spagna, she was doing an interesting series of lectures about contemporary art.
At that time I already wrote for the magazine Arskey and the webmagazine Teknemedia, but I wasn’t very happy with them because they give me sort of limitations of style and criticize the artists was totally forbidden.

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14m3y4x

Angki Purbandono in one of the artists from Indonesia that take the photography further and stimulate the discussion around it.
He was one of the founder of MES56 and a very appreciate international artist.

Before meeting him I thought his photography was all about aestetic
values. I found out that is not completely true.
Actually, to make people look at something from everyday life in a
different way is already a conceptual act.

Defamiliarisation of common objects, weird associations of items,
giantisation of small findings. Through Angki’s swiftian attitude one can
discover that the Beauty and the Strange are not so far from what we
experience in our daily life.

I’ve seen Angki’s scanner. It’s a normal scanner, not pretentious at all.
I asked Angki when and why he started using a scanner instead of a
camera:

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Most of Agung Kurniawan’s artworks are based on memory. In his famous charcoal work “Very Very Happy Victims” , part of Singapore Art Museum’s collection, he uses a raw irony to depict the situation under Suharto regime, from ’67 to ’98.

He explained me the genesis of this work during my visit to Kedai Kebun Forum:

“I made Very Very Happy Victims in 1995.  I was still a young an angry artist. It was a portrait of  myself and the society at that time because at that time Indonesia economy was one of the best in Asia. At the same time we lived in a kind of fascist regime. Everything was controlled by the government. Indonesia was the copycat of Orwell’s book 1984.
I asked my friends if they feel ok and they reply “Yes, I feel happy, I can eat at McDonalds, school is not expensive, I can have very cheap prize” . So I portrait my generation that felt very happy even though was oppressed by the government. This is the reason why I called it “Very Very happy Victims”. We were happy because we didn’t realize we were victims. If we realize it we can fight, that’s the idea. ”

More about Agung activities on: kedaikebun.com

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 Looking at the sheets of my Indonesian reportage stained with Java tea I really start missing Yogyakarta.

In these days I’m in my hometown Sorrento surrounded by mandarini’s smell, writing the first draft of my book about Contemporary Art in Indonesia.
I’m trying to recollect the memories of these days in Yogya, from the amazing studio of Heri Dono to the taste of the Pisang Goreng, the fried banana with melted javanese sugar and chocolate.

We don’t have original Java tea here in Sorrento; I’ve to content myself with the Lipton version.
Whatever, tea is tea. As Proust teaches: “As long as you have a madeleine, a pancake or a fried banana to be dipped in tea, you could recollect memories”, or something like it.
I feel like adding to Proust’s statement that all the contemporary art starts from a substantial breakfast. Definitively I’m on the good track.
Actually, can I have extra chocolate on my Pisang Goreng?

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