The Stars, Like Dust- a headline a day
Marisa Tomei: “We cannot let this happen in London”, September 1
It is curious to see how a work takes a life of its own. This is what has happened to The Inadequate. Continue reading ‘The Stars, Like Dust (Do not resuscitate)’
As if guessing the second part dedicated to him was going to be posted now, a new letter from Aldo Piromalli arrived today at the pavilion.
What brings me to the second part of my musings. The presence of Aldo Piromalli in the pavilion is due to the invitation he received from The Museum Of Italian Art In Exile. His presence in the archive The Inadequate was formatted, since the very beginning, as letters sent to the pavilion. But what I did not know then is that this was the main form of distribution of his work.
Once, a young lady came to me in the pavilion, she was Giulia Girardello. She explained to me she had been the person mediating between the pavilion and Aldo Piromalli, so as to make this contribution possible. She had got to know Aldo in another very, very special place: The Museo Casabianca in Malo. Continue reading ‘Aldo Piromalli once insulted the audience. Part II: The Dead Letter Office?’
Chapter 45 of the performance “The Inadequate” reads:
“45 ALDO PIROMALLI’S LETTERS
Timing: random
The artist Aldo Piromalli might randomly send a series of letters to the Spanish Pavilion, addressed to The Inadequate.
Aldo Piromalli (Rome, 1946) is a poet and an artist. He wrote his first poem at the age of nine and soon became one of the protagonists of the Roman beat scene of the sixties. In 1971 he was sentenced to prison for marihuana use and, once released, left Italy and established himself in Amsterdam. He is the author of the graphic novel Psychiatry, or Death of the Soul (1977).” Continue reading ‘Aldo Piromalli once insulted the audience. Part I’
la performance Rezos, interpretada por Alba dal Collo
Querida Dora,
Primer día de Bienal sin la artista. Abrimos esta mañana, como de costumbre, las puertas del pabellón español, todo preparado y empiezan a entrar los primeros visitantes.
La performance Prayers comienza, una turista francesa dice a gritos: Mais qu’est-ce que c’est cette idiote? Yo, una de las guardasalas del pabellón me quedo impresionada por semejante falta de respeto y me quedo observando a ver cómo prosigue su visita… 4 segundos en dar la vuelta al P…llón. Pero antes de salir, se acerca a mí y me dice: C´est nul! Continue reading ‘Querida Dora…: le public nous insulte. por Talía Romero.’
The gesture of inverted commas as protection against the anger of the audience. Image: Michelangelo Miccolis and Francesco Paolo Ferrara in “The Artists Without Works, A Guided Tour Around Nothing”
“If you are an artist without works, maybe you should not make exhibitions”, a lady art critic told me. Well, I don’t, I thought, or rather, it depends what you mean by exhibitions; but I admit, her logic is spotless.
“If you insult the audience, then you will keep people out of the museums!” the same critic told me. Mmmmmmmmmmmm – I thought.
These are the insults the artist without works addresses to the audience: Continue reading ‘Yes, we insult the audience.’
Al concluir su conferencia sobre el spaghetti western, seguida de cerca de modo algo perplejo por el cónsul honorario de España en Venecia, Charles Filch se dirige, a modo de despedida, a su público:
– Y antes de terminar, señoras y señores, permítanme que les pregunte lo siguiente: ¿Quién de entre ustedes prefiere el apérol spritz como aperitivo? Continue reading ‘¿Quién de entre ustedes prefiere el apérol spritz como aperitivo?’
SHIPWRECK/ This post is in English
The group of four young Italians stared for a long while to the written notes placed at the border of the stage, at the Spanish pavilion in Venice, to inform the public about what was to come.
-” There is an open discussion, we can take a seat and participate.”
– “Bfff, Why bother? it is intellectual bullshit.”
Intellectual bullshit. My dear public, the dear public thinks this is intellectual bullshit no doubt. Continue reading ‘Shipwreck – a discussion with Charles Filch’
Este post es en español.
Ayer domingo tuvo lugar la hasta ahora más fructífera discusión abierta “Saludos de Charles Filch” en el pabellón español en la Bienal de Venecia. Muchos participaron, muchos otros observaron desde fuera del escenario, otros muchos pasaron de largo aunque muy pocos pudieron ignorar la muy apasionada discusión dirigida por Charles Filch. Todo fue descrito por Narrativa Instantánea. Continue reading ‘Best Regards Open Discussion/ Mis Mejores Saludos, discusión abierta’
Best Regards From Charles Filch: A ballet of the mind
Recuerdos de Charles Filch: un ballet de la mente
Charles Filch was assisted by: Mari Carmen, guard of the Spanish pavilion. Text prompts designed by: Dora García
I try to give here an account as precise as possible of the complex work created by Charles Filch for the Spanish Pavilion in the Venice Biennale. Continue reading ‘A ballet of the mind’
English below
Charles Filch ha en efecto llegado a Venecia , y desde hace días no puedo hacer otra cosa que fotocopias, carteles, encontrar sistemas de audio, micrófonos, repartir volantes, pegar pósteres por la calle… todo para abastecer el torrente creativo de Filch, que ha llegado dispuesto a de una vez por todas comprender en qué consiste este asunto del P…llón y de la B…nnale. Continue reading ‘Charles Filch is here/ Charles Filch está aquí’