L’inadeguato / Lo Inadecuado / The Inadequate
Progetto di Dora Garcia/ Padiglione spagnolo alla Biennale di Venezia 2011
Contributi al progetto di Dora Garcia, Francesco Matarrese e Cesare Pietroiusti
a cura di Mattia Pellegrini
Conversazione sul progetto
e-mail aprile-novembre 2011 Continue reading ‘NOT QUITE OVER YET- The Inadequate and L’Esilio. Matarrese, Pietroiusti, Pellegrini & Garcia’
Ha sido difícil escribir este post. Los últimos días han sido tan activos, y tan fríos (terriblemente fríos, observen el aspecto de la gente retratada en estas imágenes), la recogida y el embalado de los objetos tan agotador (gracias una vez más a Talía, Patricia y Enrique, sin los cuales, esto no hubiera sido nunca posible), y la resaca de Lo Inadecuado tan potente, que unos días han sido necesarios para volver en sí. Continue reading ‘Vaya con Dios, 27 de nov de 2011, 16h13, Venecia (END)’
Tomorrow: Francesco Matarrese and Davide Savorani conclude six months of inadequacy.
CLOSING WEEKEND AT THE INADEQUATE, SPANISH PAVILION, VENICE BIENNALE
All things, however eternal they might appear to us, have an end. So The Inadequate has an end as well as the project for the Spanish Pavilion in Venice. The Inadequate will keep on existing, however, in a different form: The Inadequate archive.
To mark this transition, from performance to archive, we have organized a series of events in the weekend 26-27 November. Continue reading ‘The end is near.’
Dora García, through Skype, sees the cushion embroidered with her face made by Andrea Lanini and shown to her by Cesare Pietroiusti. Talia Romero laughs at Dora’s comment: “Oh my God!”
In the Venice Biennale, that has never offered its exhibitors any calendar of opening days, programming, list of services or any information for that matter, there are certain days in which the Biennale was supposed to be closed, and, look, it has to be open. So there is no free day for anybody, and worse still, you have to improvise a program for that day, when your pavilion is largely performance-based.
Through conversation with William Holden (see /blog/?p=551), these days were baptized as “days of avantgarde and embarrassment”. and their program, “special avantgarde and embarrassment program”. Continue reading ‘Exile, Avantgarde, and embarrassment’
Paolo realiza a gran velocidad la performance “El mensajero”
Patricia Vera, Talía Romero & Mari Carmen Villoslada, at their desks with heating lamp, October 7.
Winter has come to Venice. When it was still summer, one day a visitor approached the young man performing “Instant Narrative” and gave him, as a present, an A3 white board with the words: “in realtà è il pubblico a esporsi all’opera, non l’opera al pubblico! – Gino De Dominicis” (Actually, it is the audience that is exposed to the art, and not the art to the audience!”) Continue reading ‘Real Time Subconscious: Franco Vaccari, The Artist Without Works and Gino De Dominicis.’
Jakob Tamm durante su interpretación del artista sin dientes, “Real Artists Don’t Have Teeth”
Me sigue viniendo a menudo a la memoria las líneas escritas por esa dama crítica de arte que escribió: “Si no tiene obras, quizás no debería hacer exposiciones”. ¿Qué diría frente al artista sin dientes?
“El público empieza a estar harto de manifiestos, pero a veces no queda más remedio que hacerlos, para evitar malentendidos”. Estas palabras de Raoul Hausmann, que cito de memoria, bien podrían introducir cada uno de estos posts. Continue reading ‘El artista sin obra, el artista sin dientes.’
Ten days with Charles Filch and The Toothless artist.
Yes, we open with a magnificent portrait of Christopher Walken, chosen by Charles Filch and Toothless Artist as their favorite actor. And mine too. It is also the cover of the new squire (Spain) – la revista para hombres interesantes.
Charles Filch has, once more, puzzled everyone. Continue reading ‘We love paradoxes and we are trying to survive.’
Saludos de Charles Filch, viernes 16 de Septiembre.
Para empezar, quiero que todos ustedes piensen en una mentira que les hayan contado.
¿Tienen ya esa mentira en mente? ¿Sabían, cuando se la estaban contando, que era mentira? ¿Sabía, el que se la contaba, que ustedes sabían que mentía? ¿Entendían ustedes por qué mentía? ¿Le han perdonado?