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    Artist of the month
    GIULIA CENCI
    [=== GIULIA = CENCI ===]
    NEWSLETTER SEPTEMBER 2018
        [== LINK ==]

    Giulia Cenci, studio view, halfweg 2018
    photo credit Katherina Heil

    THE BLANK CONTEMPORARY ART
    99 WORDS WITH GIULIA CENCI

    There are pieces of this and pieces of that, but none of it fits together. And yet, very strangely, at the limit of all this chaos, everything begins to fuse again. A pulverized apple and a pulverized orange are finally the same thing, aren’t they? You can’t tell the difference between a good dress and a bad dress if they’re both turn to shreds, can you? At a certain point, things disintegrate into muck, or dust, or scraps, and what you have is something new, some particle or agglomeration of matter that cannot be identified. It is a clump, a mote, a fragment of the world that as no place: a cipher of it-ness.

    Paul Auster, In the Country of Last Things.

     

    DRIANT ZENELI
    [=== DRIANT ==== ZENELI =]
    NEWSLETTER APRIL 2018
        [== LINK ==]

    Driant Zeneli
    And Then I Found some Meteorites in My Room
    video installation, 22’00” min, live streaming of ISS and sound performance by DJ Sulejmani
    Photo credit Andis Rado, Courtesy The Artist and Bazament Art Space Tirane – 2018

    THE BLANK CONTEMPORARY ART 
    99 WORDS WITH DRIANT ZENELI 

    “Why are you interested in the space?” Flora asked me.
    “I am curious of those who observe it. I would like to know what there is in the space between your father Bujar, 158 height at Metallurgjik, and the maximum height of the International Space Station (ISS), located 400.00 km far from the terrestrial surface…”
    “What is the ISS?”
    “The International Space Station functions as a laboratory where experiments are made in condition of microgravity in the law terrestrial orbit. Dedicated to scientific research and managed as a joint project between five different space stations.”
    And then Flora’s father, Bujar, asked me with a low voice:
    “So what it the sense of all this?”
    “The attempt is to create a space in which the work can share with the public a physical as well as a mental dimension. The interview about your perception of space that you gave to Fatmira Nikolli at Metallurgjik, will resonate with the transmission of the streamed images from the International Space Station (ISS), 400.00 km away from the earth surface. Everything will then be catalyzed by the sounds mixed by your daughter Flora (DJ Sulejmani) during the opening of the exhibition. In this way, the public will not only participate, but it will be an integral part of the artwork, as we are all part of the solar system”.

    January – Mealurgjik Elbsan – 2018
    And Then I Found Some Meteorites in my Room
    from the diary of Driant Zeneli

    JONAS MEKAS
    [= JONAS == MEKAS ==]
    NEWSLETTER MARCH 2018
        [== LINK ==]

    Jonas Mekas, The Internet Saga curated by Francesco Urbano Ragazzi, installation view, Venice, 2015
    photo credit: Giulio Favotto

    THE BLANK CONTEMPORARY ART 
    99 WORDS WITH JONAS MEKAS

    The first word that comes to our mind when we think about Jonas Mekas is “inexhaustible”.
    Inexhaustible as his work. Like the narrations of it that can be made.
    Like the invention of Film Culture, the New American Cinema, the Anthology Film Archives, the film diaries.
    Like shooting, editing and publishing online a movie a day every day in 2007. Like jonasmekas.com.
    Like painting flowers on large white papers the night before an opening. Like telling us “It’s challenging enough to say yes” and to reaffirm it again and again.
    Inexhaustible, even more than eternal.

    Francesco Urbano Ragazzi, curatorial duo

    HANNE LIPPARD
    [= HANNE == LIPPARD ==]
    NEWSLETTER FEBRUARY 2018
        [== LINK ==]

    Performance, Mid-afternoon Slump, Coast Contemporary, Kunsthalle Stavanger Cabin, Hurtigruten, 2017 NO
    photo credit Maya Økland

    THE BLANK CONTEMPORARY ART 
    99 WORDS WITH HANNE LIPPARD

    The more I speak the more I disperse of it. The more I disperse of it the more it becomes another story, a story not belonging to me. This way, it goes away, another way, any way. The more I speak the less I hear. The more I speak the less I am here. Nothing but a voice. Nothing but a pleasant feeling until you start feeling your knees again, remembering that they are also part of your body, a pair of functional limbs doing their best to act as a support for your voice, like a tripod supporting a speaker.

    JOSH TONSFELDT
    [== JOSH ==== TONSFELDT ==]
    NEWSLETTER JANUARY 2018
        [== LINK ==]

    JOSH TONSFELDT | RAINDROPS, TAXI | DIGITAL PHOTOGRAPH, 2017
    Courtesy the artist, Simon Preston Gallery and Raucci Santamaria

    THE BLANK CONTEMPORARY ART
    99 WORDS WITH JOSH TONSFELDT

    Hi The Blank,
    I apologize for being so late after your deadline, and hope this still comes in time for the newsletter. I’m attaching a picture we can share – rain reflecting on the face of an iPad that’s resting in my son’s lap as he sleeps in a taxi.
    As I try to think of what else to tell you, my attention drifts between considering the image, then back to this email window, occasionally checking for new messages and culling old ones. I’m left thinking of the other side of this message, where these words might briefly appear on other screens and windows, within a similar cycle of glances and momentary awareness.

    OSCAR SANTILLÁN
    [=== OSCAR ==== SANTILL ===== N ==]
    NEWSLETTER DECEMBER 2017
        [== LINK ==]

    OSCAR SANTILLÁN | HAIR OF SAINT CATERINA VOLPICELLI FOUND IN AN ENVELOPE, 2016
    photo credit Vibeke Mascini

    THE BLANK CONTEMPORARY ART
    99 WORDS WITH OSCAR SANTILLÁN

    Crimes of passion are always a mistake and the reason is quite simple: they restore no power to the murderer.
    While setting up the room in which she plans to kill her husband, a woman confesses to her accomplice, “my only regret is that he’ll never know that I killed him.” The film is Diabolique.
    Sometimes, however, a victim does acknowledge his own death. This was the case with Bernardo Jaramillo, a communist militant who ran for President of Colombia. One morning in 1990, at the airport with his wife, Bernardo was shot several times by paramilitary hitmen. As the assassins escaped, he serenely sought for his partner’s gaze:
    – Hold me, those motherfuckers have killed me.

    Oscar Santillán

    VINCENZO SIMONE
    [= VINCENZO === SIMONE =]
    NEWSLETTER NOVEMBER 2017
        [== LINK ==]

    VINCENZO SIMONE – SENZA TITOLO | OIL ON LINEN | 25×35 CM | 2017
    photo credit Vera Roveda

    THE BLANK CONTEMPORARY ART
    99 WORDS WITH VINCENZO SIMONE

    Your words on Dutch sobriety sounded strange; oh delicious bunches,
    peaches and
    apples, vegetable and fish – although they are called naturalistic, aren’t they
    metaphysics?
    Well, of course they are – here it is the idea of bunch, the idea of apple, etc. Everything lights up by itself in
    a the perfect style of Rembrandt…
    I don’t deny the moment of self-illumination in these still lifes; but, in
    contrast
    with Rembrandt, these fruit and vegetable seem to have a right relationship with the
    world:
    there’s something of the icon painting in it, this is the work of the light.

    Pavel Florenskij
    Royal Doors

    APPARATUS 22
    [== APPARATUS === 22 ==]
    NEWSLETTER OCTOBER 2017
        [== LINK ==]

    APPARATUS 22 – EXCERPT FROM THE SCRIPT OF ALL (TO ALL ARTISTS THAT WORKED IN THE XXI CENTURY) | 2017 | SOUND INSTALLATION

    THE BLANK CONTEMPORARY ART 
    99 WORDS WITH APPARATUS 22

    Crystal memo 8
    July 3

    Black hats
    Black market
    Black sheep
    Black book
    Black day
    Black-and-blue
    Black mark
    Black look
    Black eye
    Black mirrors
    Blackmail
    Black magic – though the tension in this one sounds so beautiful

    pretty much everything with the word black means something negative.
    Is this racist? someone asked.
    Well, I hink the racist act was not in coining these notions, but in assigning the terms “black” – with its figurative meanings of dark, strange and other, and “white” – with its figurative meanings of known, seen and light, to groups of people whose skin is “brown” or “cream” respectively.

    NAVID NUUR
    [== NAVID ==== NUUR =]
    NEWSLETTER SEPTEMBER 2017
        [== LINK ==]

    NAVID NUUR, MIND MAP, 2013, ARGON GAS, GLASS

    THE BLANK CONTEMPORARY ART
    99 WORDS WITH NAVID NUUR

    If I take the time to look at one of the objects in my studio, this time exists in relation to that object as a mix of past, present and future focused on the object’s location and the light which ensures that I can see the object at all. I’m not sure why, but it irritated me that all these relationships co-existed while I was making the object. After all, I’m working on an object, and not on light, time, present, past and future. I needed to isolate all these ingredients so that I could get closer to the actual object. After looking at my object for a long while, I discovered that the now does not exist, because the now has already gone while you sit there thinking about it. Nor is there a relationship between the now and the object. Which means that there is not a clock in the
    world that runs synchronously with actual time, except for one that has stopped – the only type to give the exact time twice a day. So at which moment is there an opportunity for me to see the object? After looking again for a long time, I slowly realised that in order to see the now, you constantly rebuild it on your retina. On a smaller scale, we do the same thing with words and meanings. Because we have collectively agreed that ‘mug’ is the word for a mug, and not ‘sulpt’. So virtually everything is subject to collective agreements. I think that you also do this physically and mentally with the things you see. So as soon as light falls on the object, it allows me to see it, and I recognise the work time and time again, as fast as separate film frames that are played in rapid succession so that you get a fluent confirmation, or a rapid disappearance of doubt. But suppose I were able to look, at the speed of light, at my object: in that case I would actually find myself in the now and experience the object. So that was the problem. For me, this disparity between my speed and the speed of light means that I can’t see the object in the present – I’m too slow for this – but actually in a constant pre- absence of the future. Now that I have calibrated my viewing rhythm to the object, I can finally understand what I saw, and when I saw it, in the pre-absence of the future. With these new insights, I could once again view the works and objects in my studio and see how I could use to my advantage the combination of this phenomenon with light. Now I still had to find forms that allowed me to isolate or extend light from time, or extract an after-image from it. When I will have made a few more works, I will deal with this matter in more detail.

    Navid Nuur

    GUIDO VAN DER WERVE
    [=== GUIDO === VAN = DER ===== WERVE =]
    NEWSLETTER APRIL 2017
        [== LINK ==]

    99 WORDS WITH GUIDO VAN DER WERVE

    GUIDO VAN DER WERVE, NUMMER DERTIEN, EFFUGIO B: PORTRAIT OF THE ARTIST AS A MOUNTAINEER, 2010, TWO FRAMED DIGITAL C-PRINTS, ONE FRAMED TEXT, EACH PRINT: 58.1 X 44.13 cm
    Courtesy of the artist

    On January 19th, 2010, I reached the summit of Aconcagua in Argentina, 6.962 meters.

    I was looking for some wisdom in this period, and was hoping to find some at the summit. I had heard stories like “if you make it to the summit, you realise it’s all worth it” and “you climb up a boy and you come down a man”.

    After two weeks of pain and suffering, we finally reached the summit. Besides being completely exhausted I didn’t feel anything.

    Guido van der Werve

    ©THE BLANK 2018
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