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NERO 30 LOW.Pdf RUBBLE AND REVELATION Caserma XXIV Maggio Via Vincenzo Monti, 59 Milan November 13 – December 16 www.fondazionenicolatrussardi.com CYPRIEN GAILLARD The new digital touch screen watch FNT2012-NERO_230x290.indd 1 02/10/12 14.31 593572_Nero_touch2_surg102_surj101_230x290_e.indd 1 04.10.12 15:20 .org 22.09.2012 – 06.01.2013 Joëlle Tuerlinckx Wor(ld)k in Progress ? via Tadino 20 - 20124 Milano - T +39 02 87234577 - F +39 02 87234580 - [email protected] - www.galleriazero.it -Skype: G.Zero -www.galleriazero.it 20 -20124Milano -T+3902 87234577- F +390287234580 [email protected] via Tadino Hans Schabus, Klub Europa (Detail), 2010 photo: Blaise Adilon 7 October 2012 – 27 January 2013 Jules de Balincourt thursday – sunday free entrance Parallel Universe closed on 25-26 December and 1, 6 January via fratelli cervi 66 – reggio emilia, italy [email protected] www.collezionemaramotti.org www.istitutosvizzero.it ISR_OpeningsOut_NERO_ok.indd 1 18/10/12 17.15 CO2 ANDREA DOJMI THE ISLE OF THE DEAD 14 . 09 . 2012 . 24 . 11 . 2012 CHESTER CURATED BY ADAM CARR 14 . 12 . 2012 . 23 . 02 . 2013 CO2 . VIA PIAVE 66 . 00187 ROMA . ITALY . +39.06.45471209 . [email protected] . CO2GALLERY.COM Julieta Aranda Artisti NERO MAGAZINE Giovanni Giaretta in residenza www.neromagazine.it [email protected] Francesca Grilli autumn 2012 N.30 Hiwa K Publishers Contributors in this issue Cover image Francesco de Figueiredo Dario Bellezza Ken Price, Large Sculpture With Rocks, Luca Lo Pinto Andrew Berardini 2009 Valerio Mannucci Scott Burton Acrylic and ink on paper Lorenzo Micheli Gigott i Matt hias Connor © Estate of Ken Price, Nicola Pecoraro Mike Cooper Courtesy Matt hew Marks Gallery John Divola Editors -in-chief Julia Frommel Published by Luca Lo Pinto Ruba Katrib Produzioni Nero s.c.r.l. [email protected] Brian Kennon Isc. Albo Coop. N°A116843 Valerio Mannucci Michele Manfellott o Via dei Giuochi Istmici 28 [email protected] Carter Mull 00135 Rome Darius Mikšys Registrazione al Tribunale di Roma Art director Doug Rickard N°102/04 del 15-03-2004 Nicola Pecoraro Tim Small Dirett ore Responsabile: [email protected] Terre Thaemlitz Giuseppe Mohrhoff Italo Zuffi Production director Offi ce Francesco de Figueiredo Copy editor Lungotevere degli Artigiani 8b [email protected] Tijana Mamula 00153 Rome Tel-Fax +39 06 97271252 Web director Translations Lorenzo Micheli Gigott i Louis Baymann Submissions lorenzogigott [email protected] Aurelia Di Meo Nero Magazine Tijana Mamula Via degli Scialoja 18 Marketing & communication Tim Small 00196 Rome Ilaria Leoni [email protected] Printed by [email protected] Jimenez Godoy Ctra. de Alicante Km.3 Distribution Murcia (Spain) Ilaria Carvani [email protected] Programma Artisti in residenza #2 mostra finale 12.12.12 MACRO agosto—novembre 2012 STUDI D’ARTISTA VIA NIZZA, 138 A NOTE ABOUT TYPE: This issue is set in gli studi sono visitabili 00198 — ROMA BIANCO, a custom-made typeface designed su appuntamento MUSEOMACRO.ORG by Joseph Miceli of AlfaType fonts. [email protected] * Future issues will feature new cuts of the font as they are produced. EIGHT YEARS AFTER ITS FOUNDING, NERO SECTION 1 23 PRESENTS A NEW EDITORIAL STRUCTURE. SECTION 2 CONCEIVED AS A COMPENDIUM OF 33 AUTONOMOUS SECTIONS, NERO IS A SECTION 3 PUBLICATION THAT COLLECTS OTHER 37 SERIAL PUBLICATIONS WITHIN IT; A STORY SECTION 4 43 COMPOSED OF VARIOUS CHAPTERS THAT SECTION 5 SHARE NO NARRATIVE LINKS, BUT THAT DO 53 BELONG TO THE SAME IMAGINARY. SECTION 6 61 THIS IS AN EDITORIAL MODEL IN WHICH SECTION 7 EACH SECTION CORRESPONDS TO 75 A PROJECT INTENDED TO ACTIVATE SECTION 8 INTERPRETIVE PROCESSES OR TO RETHINK 85 THE MODALITIES OF PRESENTATION AND SECTION 9 101 FRUITION OF THE CONTENTS. SECTION 10 NEW SECTIONS WILL BE ADDED AND OTHERS 113 WILL DISAPPEAR: COMMISSIONED PROJECTS, SECTION 11 127 AUTHORIAL JOURNEYS AND PERSONAL SECTION 12 EXPERIMENTS. 141 A WAY OF THINKING THE MAGAZINE NOT AS SECTION 13 MEDIUM BUT AS OBJECT. 149 Nero_Iosselliani_dps 460x290.indd 1 09/10/12 12:26 SECTION 1 ROOM AVAILABLE The number of available pages is the only indication given to a curator, who has to autonomously present a project conceived and designed in collaboration with an artist SECTION 1 ROOM AVAILABLE These photos come out of an audio piece Andrew Berardini and I collaborated on Two for a recent exhibition at Fourteen30 in Portland, Oregon. For that piece, Women Andrew and I wrote a conversation, part an imagined conversation between In two women and part a conversation Conversation between the two of us. The audio was a recording of artist Bobbi Woods' reading of this conversation. Translating this to a magazine work, Andrew and I wrote a new conversation to be photographed. Playing off the interrelation between discourse By Andrew Berardini and and intercourse, we accompanied the Brian Kennon conversation with some books on Carlo Mollino, with a focus on his photographs of two women. Andrew Berardini (1982) is a writer in Los Angeles who Brian Kennon (1972) is a Los Angeles based artist and writes essays and stories mostly about people who publisher. Kennon’s publishing project, 2nd Cannons have a tenuous relationship to reality. Publications, has published books by Bob Nickas, Darren Bader and Bruce Hainley, amongst others. 25 26 27 28 29 30 31 SECTION 2 ADAPTATION September 20 - November 3 Alfred Boman November 15 - January 5 Marlie Mul January 17 - March 2 Luca Francesconi Between paper and the internet, reversing the usual roles of the two media: an online fluxia via giovanni ventura 6 20134 milano italy www.fluxiagallery.com [email protected] show commissioned by NERO and presented here through its related press release SECTION 2 ADAPTATION Liking Animals Not only men but women and animal protectionists exhibit a culturally con- ditioned indifference toward, and prejudice against, creatures whose lives appear too slavishly, too boringly, too stupidly female, too “cowlike.” More- over, we regard conscious logical reasoning as the only valid sort of “mind.” Evidence that chimpanzees possess such a mind is a primary reason why many are now insisting that they should be granted “human rights.” Human AN EXHIBITION CURATED BY rights for chimpanzees? Yes. Human rights for chickens? Meaningless. RUBA KATRIB Karen Davis, Thinking Like a Chicken: Farm Animals and the Feminine Con- nection, 1995 OPENING JANUARY 15 2013 AT HTTP://WWW.NEROMAGAZINE.IT/LA We are drawn to non-human animals and sometimes they are drawn to us. Even though philosophers and scientists have long attempted to further the JANUARY 15 - MARCH 15, 2013 gap between us, we are animals too! It is increasingly evident that our at- tachment has grown, and we have let our love for cats, dogs, and dolphins run shamelessly rampant on the internet. Recently, museums have even held exhibitions of cat videos and galleries have hosted dog themed shows. With: Perhaps this signals a change in the way we behave towards animals? Cute- ness and violence circulate on a much larger scale, although cuteness tends Cory Arcangel to win out. Websites like Facebook and YouTube have pushed the visibility of animals to new levels, a phenomenon that has crept into contemporary art. Darren Bader While it’s safe to say that most enjoy adorable animal images and videos, Pierre Huyghe which are increasingly accessible and remarkably inventive, what does our liking of animals imply? And further, what does our liking of particular ani- Mike Kelley mals over others indicate? Are we informing ourselves about animals in order to aid them, to promote interspecies harmony, or are there more per- Lin MAY nicious effects of the countless hours logged looking at cats on pianos and beavers holding hands? We can email an image of a cute cow to a friend, but Marlene Mccarty then ignore a video of a cow being violently slaughtered, in ways that break regulations and question our humanity. Or more commonly, we can look at Henrik Olesen images of cute kittens, but ignore the thousands of strays and shelter cats that are neglected and euthanized every year. What exactly is this space, Marlo Pascual between knowing and ignoring, and how has it been affected through the increased images available? Is this material solely entertainment, or is some Josephine Pryde form of knowledge produced? What is at the heart of our love for some ani- mals and our disdain for others? Does cuteness connect or divide? Liking Animals examines these questions and issues, looking at examples of how art and the internet ask non-human animals to perform. Ruba Katrib (1982) is curator at Sculpturecenter in Long Island City, New York. Previously Katrib was associate curator at the MOCA, North Miami. She has contributed texts to a number of publications, catalogs and periodicals internationally. 35 SECTION 3 HERE BEFORE A one-way dialogue between artists of different generations, in which the young testifies to the influence of the old SECTION 3 Offer of Employment Acerra , 2010; courtesy the artist – photo by Luigi Post it Eva Marisaldi, Italo Zuffi on the work of Eva Marisaldi , 1996; courtesy the artist Uomini al lavoro Italo Zuffi (1969) uses sculpture, performance, video and writing to create “not a complete drawing, but rather an indefinite series of rooms.” For some time now, his Eva Marisaldi, thought has been drawn to concepts of competition, trembling and rustic faith. 39 SECTION 3 HERE BEFORE You walk for hours and your stride has something genesis and contents of this particular piece. But I particular items, of labor), or directly (people in the and off-white loudness, even if, for various rea- wonderful about it. After long and painstaking prep- gave up on this search before getting to any indi- midst of re-organizing, of getting things done, of sons, it swerves from the consistency of the mono- arations you are in full strength, at the peak of your cation (a phrase, a clue) that might influence the getting on with it).
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