Very few people, in their tellings about the Spanish pavilion in this 54th Biennale in Venice, make reference to the two films that are shown in the pavilion. That’s why we thought that today, being the Biennale closed, was a good day to include here some information about them. So here they are:
The Deviant Majority, 34′, HD video, Dora García 2010
June 12
After three days of post-fordists artists on stage, supposed to propose an alternative, new and meaningful map of the Giardini and of theVenice Biennale in particular – and the concept of cultural event in general- but finally lost aimlessly in a discussion of why-I-do-not-get-paid-as-I-deserve-by-the-institution (forgetting that here the institution is famous for its absolute absence, and that we are not paid either, and that, if someone is supposed to pay them, is the person who invited them- Mr. Scotini, who perfectly knew from the very beginning the budget we had for this). Anyway, after a lot of post-fordist discussion, Marco Scotini’s No Order platform left the stage and Christian Marazzi took it, together with Federico Rahola. Continue reading ‘Christian Marazzi speaks with Federico Rahola’
June 5,
Here are the videos and One picture of “Parla, Petanca”, or “Habla Petanca”, or “Speak, Petanca”, the contribution of artists Christian Frosi and Diego Perrone to “The Inadequate”. Dora García substitutes the white ball in this petanca game played over the floor of The Inadequate.
After each shot, Frosi and Perrone take turns to whisper in Garcia’s ear press releases of different alternative art spaces all over Italy. Dissident art in your ear. The public keeps insisting this performance is interactive; it isn’t – unless you call memes migration, interaction.
What is a meme? http://en.wikipedia.org/wiki/Meme
To see the videos (very informative) please visit the following links:
Parla, petanca – at the Spanish pavilion, June 5, 54th Biennale de Venezia
GUESTS!!!! Discussing what is going on in the Biennale.
Ever wanted to know the inner workings and budgets of the Spanish pavilion in Venice? open and transparent information soon to come here in this blog.
June 9-10-11 , Spanish Pavilion, 54th International Art Exhibition – la Biennale di Venezia.
Every day from 10.00 a.m. till 1.00 p.m.
The event held on the occasion of the launch of the No Order. Art in a Post-Fordist Society magazine, published by Archive Books (Berlin) is a response to the invitation by Dora Garcia and the Spanish Pavilion to participate in the program The Inadequate/Lo Inadecuado designed for the 54th International Art Exhibition in Venice. Using the publishing project with the same title as a pretext, No Order summit will gather some of its contributors, with the aim to develop a platform for research and investigation on the creative industries, contemporary working conditions, processes of self-determination, self-representation and new forms of coalition of the workers in knowledge-based economy. Participants: Etcétera…, Angela Melitopoulos, Christian Marazzi, M9 Coordination, Florian Schneider, Marco Scotini, S.a.L.E. Docks, Société Réaliste.
As of today, we have a work of Emilio Prini in the pavilion. Luca Lopinto came to install it and to talk with me and some other people like Eva, Jan or Geoffrey, about Emilio Prini, fundamental, elegant, enigmatic artist. The Inadequate is most honoured and has become a bit better thanks to that… Continue reading ‘Emilio Prini’
Last Saturday June 4, we learnt that the first Monday of Biennale, Monday June 6, the Biennale was open. No news about it in the internet site, no information from the organizers (Biennale), no information from the commissioners (Aecid). We just did not know. I have to say, the exhibition structure of the Venice Biennale is much worse organized, or functioning, than an art center in the provinces of Spain. I have been in neighbourhood cultural centers in Valladolid that function in a far more efficient manner. This is chaos from beginning to end. Everything is made, and badly, for the four opening days. The other six months things are just left to rot. Continue reading ‘June 6: Day of avantgarde and embarrassment.’
June 4 and 5
As can clearly be seen in this slightly desolate blog of The Inadequate, things happen faster than they are told. Davide Savorani came June 4, and since then, as you see in the picture, has been working in the space of the Spanish Pavilion, in a low profile, silent and efficient manner. The same day Piergiorgio Giacchè was the protagonist of a two hour conversation around Carmelo Bene, full of anecdotes and humor: on theater, audiences, critics (Carmelo Bene famously never allowed critics who reviewed him negatively to enter again one of his plays- food for thought, I thought!), politics, Pasolini, and everything in general. Carmelo Bene never addressed the audience, he never played “horizontal”, but always “vertical”, direction heaven, not in vain he wrote a whole play about a flying priest. For Bene, the most interesting characteristic of St. Joseph, the flying priest, was his imbecility—he quips that Joseph was so stupid he didn’t even know the law of gravity- St Joseph he could not close his mouth, and thought escaped through it. Thought, according to Carmelo Bene, is what stops us from flying.
We have no picture of the conversation with Giacchè, so this one belong to Davide Savorani. The day after, June 4, Walter Siti came to converse on exclusion and Pier Paolo Pasolini, together with Barbara Casavecchia, Eva Fabbris, Vincenzo Latronico and myself. Again a two hour long conversation full of anecdotes and brilliancy. No translation (Italian) no amplification (get close to the speaker) and no recording (you had to be there or someone has to tell you about it). Walter Siti had a very specific view on Pasolini, a de-mystifying one, a petit bourgeois who needed to disappear in a different dimension at night to certify he was alive. Two great sentences by Pasolini: “Bourgeoisie is not a social class, is a disease, and I regularly try to cure myself from it” – translated from the Italian by me, hope is accurate- and: “I love reality, but I hate truth”.
Nanni Balestrini was the first conversation held in the Spanish Pavilion in Venice within the project The Inadequate. This is chapter 8 in the guide (/performanceguide/)
Nanni Balestrini spoke within the category of “Language”. He is a poet, first and foremost, an artist, a witness (as he says) of history, a writer, and certainly an inspiration for this project. The conversation was led by Marco Baravalle. People had to get very close to him as there is no translation, no amplification, and no recording of the conversation; it is a real conversation. This happened as well the day after the “official opening” and therefore it was the first real day of The Inadequate, without ministers (always welcome, but hard to concentrate with them) and without hysteric crowd, more or less.
We spoke how else, about “Vogliamo tutto” (We want everything), his portrait of a new type of working class young man in the Italy of the seventies, one who refused (an important word in this project) to comply with both the exigencies of the patrons, and with the ideology of the communist party, a partyless political figure of youth and revolt who simply could not accept a lifetime of alienating and idiotic work. But also, a book written in the first person, stream of consciousness modus, divided in paragraphs without chapters and without plot progression. About 10 people participated in the conversation.
Featuring: Real Artists Don’t Have Teeth,
The Essential Lenny Bruce, and
Best Regards From Charles Filch – and some of the collective reading of Antonio Moresco “Letters to No One”.
June 2
Collective reading by Italian artists (Simone Berti, Rossella Biscotti, Dafne Boggeri, Monica Bonvicini, Claire Fontaine, C.C. Donzella, Luca Francesconi, Motel Lucie, Giancarlo Norese, Adrian Paci, Giulia Piscitelli, Moira Ricci) of Lettere a nessuno (Letters to No One) by Antonio Moresco. Hosts: Barbara Casavecchia with Vincenzo Latronico