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Arte.Architettura.Design.Musica.Moda.Filosofia.Hitech.Teatro.Videoclip.Editoria.Cinema.Gallerie Sped. in A.P. 45% art. 2. c. 20 A.P. in Sped. let. B - l. 662/96 Firenze Copia euro 0,0001 onpaper arte.architetturaExibart.design.musica.moda.filosofia.hitech.teatro.videoclip.editoria.cinema.gallerie.danza.trend.mercato.politica.vip.musei.gossip free | anno sesto | numero trentotto | marzo - aprile duemilasette | www.exibart.com Selezionare un gruppo di noti critici d'arte, promettere loro bonifici da qualche centinaio di euro in cambio di un saggetto o un'intervista è nelle possibilità di chicchessia. La stampa italiana nel settore 'arte' procede da quarant'anni su questa falsariga, e non ha a quanto pare intenzione di superarla. Exibart ha sempre creduto che un progetto editoriale fosse un'altra cosa. Che prevedesse una metabolizzazione critica di quanto proposto dalla stampa generalista di qualità. Per riproporne le modalità più efficaci e per imitarne la capacità di fare divulgazione. Con l'obiettivo di realizzare un qualcosa che -pur restando, giocoforza, nella nicchia in cui sta- raccogliesse l'interesse di migliaia di perso- ne, non di centinaia. Ecco perché vi proponiamo un prodotto di questa natura. Dove i saggi ci sono, eccome, ma dove ci sono anche l'oroscopo, l'intrattenimento leggero, la satira e -fumo negli occhi degli "intellettuali" con troppe vir- golette- un pochetto di gossip. Come nell'Espresso, nel New Yorker, nell'Economist. Dove le interviste ci sono, eccome, ma non sono astratte (l'artista nel suo studio che parla di se stesso), bensì più che mai concrete, legate alla più stringente attualità, scaturite da un modo di vedere il mondo non autoreferenziale. Ecco perché, anche in questo numero 38, ribadiamo un concetto che speravamo non fosse necessario ribadire. Un concetto apparentemente bana- le, un uovo di Colombo (ed ecco a voi l'uovo dell'inedita copertina degli Atrium Project): i giornali sono fatti per chi li legge, non per chi li scrive. Ecco perché troverete qui di seguito informazioni, approfondimenti, news, rubriche, appun- tamenti, anticipazioni ad altissimo tasso di leggibilità. E inchieste giornalistiche, come quella sulla street art che continua da mesi e che in questo numero si addentra nei meandri di una Milano nuova. Seguita poi la nostra esplorazio- ne del mondo di Second Life, l'universo virtuale dove si sono trasferiti (non è una metafora) milioni di 'terrestri'. Abbiamo poi intervistato Marco Delogu, che ci ha anticipato quel che sarà il prossimo attesissimo Festival FotoGrafia di Roma, in una conversazione lunga e sentita. Il critico Luca Beatrice, in quanto juventino doc, è andato ad intervistare il terzino Zebina, neogallerista a Milano. Lavinia Filippi propone la seconda puntata della sua ricerca sui musei che contano su un importante mecenate privato per sopravvivere: è la volta del Museo Bilotti di Roma. Silvia Criara, invece, è andata a caccia di alcune iniziative di beneficenza legate all'arte, cercando di riflettere sul connubio tra crea- tività e charity. Non vi perdete le riflessioni di Alfredo Sigolo se volete capirci qualcosa su come mai il mercato dell'arte continua a tirare come una locomotiva in pianura. E non mancate l'appuntamento con le novità che partono da questo numero: la pagina 'associazioni' dove l'AMACI (associazione tra i musei d'arte contemporanea italiani) e l'AICA (associazione internazionale dei critici d'arte) hanno la loro finestra per comunicare iniziative, progetti e novità. E la rubrica 'vucciria' in cui, in ogni numero, un politico di fama -si inizia con Daniele Capezzone, per passare il prossimo mese a Sandro Bondi: siamo bipartisan- si confronta con le domande a sfondo artistico del nostro Gianfranco Ferroni, giornalista strappato a Dagospia. Per finire non dimenticate che sono tornati i saggi della sezione 'inteoria', dove Marinella Paderni parla di paesaggio e Christian Caliandro di come gli artisti di oggi somiglino troppo ai troni- sti di Maria De Filippi… Insomma, avete tra le mani l'unico giornale d'arte consapevole che fuori dal mondo dell'arte c'è il mondo, quello vero. Se non lo avete già fatto, dovete dirci grazie. E non è arroganza. (m. t.) 4.retrocover Exibart.onpaper . "Nunzio" di Danilo Paparelli sondaggihttp://sondaggi.exibart.com Il Ministro della Cultura Sistema dell’arte. Chi conta di più? artisti 19,04% rutelli è ok 25,17% critici 25,04% rutelli è ko 42,76% stampa 5,49% no comment 32,07% fiere 4,12% aste 3,60% collezionisti 12,01% musei 6,35% gallerie 18,35% pubblico 6,00% a vignetta mandateci le vostre vignette sexybart. l sull'arte a: [email protected] makoto aida di ferruccio giromini FLASH i perché del mese Al di là delle critiche che si possono muovere al pro- dotto editoriale e a come è costruito, non si può nega- re che il ruolo di corrispondente da New York City UN MUSEO DA TRIBUNALE della rivista milanese FlashArt porti bene. Dopo Francesco Bonami e Massimiliano Gioni, anche Non c'è proprio alcun motivo perché non lo possa Andrea Bellini - con la direzione di Artissima - assurge ottenere. Il museo va bene, è un punto di riferimento ad un ruolo istituzionale. non solo regionale, fa qualcosa come oltre quaranta- NON ME NE SOPRINTENDO "Cessano gli effetti sospensivi" del ricorso al Tar. mila visitatori all'anno. Dunque perché non concedere Ufficialmente, dal 16 febbraio scorso, può ripartire in al museo MAN di Nuoro di gestire i nuovi spazi dell'ex- qualsiasi momento l'iter del famoso concorso per undici dirigenti storici dell'arte bloccato dai perdenti. tribunale, salvando la struttura da destinazioni sicura- Corretta vittoria legale dei giovani vincitori dell'impor- mente meno interessanti? tante concorso nei confronti di soprintendenti "reg- genti" (tra cui Rossella Vodret e Anna Mattirolo, ad esempio) che non hanno passato la prova scritta. MA QUALE DONNA D'EGITTO SINDACO DICHIARA Noi ci siamo sforzati ma il motivo non l'abbiamo capi- Ci vuole una gran lucidità per dichiarare il banale. E il banale è, per New York come per le nostre città, che l'ar- to. Perché a Palazzo Reale di Milano ci sono due te porta pubblico (di qualità e di spesa), porta ricchezza, mostre che finiscono nella stessa data, che sono porta posti di lavoro, porta turismo. Lo ha capito il sinda- co della Grande Mela Michael Bloomberg che, aprendo entrambe dedicate alla donna nell'antico Egitto, ma la fiera Armory Show, ha ringraziato il mondo dell'arte Se l'arte è rimettere perennemente in gioco i che sono due eventi completamente indipendenti e per aver "riempito i nostri alberghi ed i nostri ristoranti". dati acquisiti, non solo estetici, allora il nipponi- promossi da enti e istanze indipendenti? Non si erano co Makoto Aida, per quanto orgogliosamente ASSESSORE RISPONDE Ci troviamo abbastanza in linea con l'assessore alla cul- incolto (alla maniera "otaku") e anti-commer- messi d'accordo? tura di Firenze che, subissato dalle lamentele degli ciale, andrà considerato davvero un Artista- addetti ai lavori che sottolineano la mancanza di atten- Con-I-Cosiddetti. Nato nel 1965, questo pitto- CHI BEN COMINCIA… zione al contemporaneo da parte dell'amministrazione, re-fotografo-scultore-scrittore-performer- ha dichiarato ai giornali: "Cari giovani artisti, invece di fumettista si dedica con applicazione ossessi- L'arte porta sfiga. Non c'è altra spiegazione. Sennò fare la lagna, fate progetti concreti e sottoponeteceli". va allo scardinamento di tabù bollenti. chissà perché, per una volta che il Parlamento - Neanche a dirlo, nelle sue opere sesso e vio- FLOSH lenza farneticanti si abbracciano stretti, per poi nella persona di Pietro Folena, capo della commis- Nella sua prima intervista rilasciata dopo la nomina, il gettarsi insieme a testa bassa contro lo stoma- sione cultura a Montecitorio - si mette a lavorare su neo-direttore di Artissima, Andrea Bellini, ha dichiara- co del malcapitato spettatore. È impossibile to ad Exibart.com che nonostante ciò continuerà a riassumere in una colonna di testo le centrifu- un'ipotesi di legge dedicata all'arte contemporanea, scrivere per la rivista FlashArt. Avremo così il primo e ghe sortite di Aida nelle più svariate direzioni, il giorno dopo cade il Governo?! unico caso di direttore di fiera che scrive per una come tutti i suoi eccessi grotteschi. Limitiamoci testata di settore. Tanto in Italia il conflitto d'interessi ai passaggi essenziali. Si comincia con alcuni è sempre quello degli altri… eleganti dipinti che raffigurano fanciulle nude, E I VIDEO? con tutte le membra mutilate di fresco e mala- Poca, pochissima, quasi niente. Si tratta di una nostra mente medicate e fasciate, portate a spasso al impressione, oppure la videoarte è in un periodo di guinzaglio sui loro moncherini sanguinanti, o stanca notevole, sia dal punto di vista del mercato messe a cuccia forzata davanti a una ciotola di che da quello dei contenuti? L'indizio principale? cibo, o lasciate nottetempo alla catena ululanti Proiezioni e video sono praticamente scomparsi - alla luna. Si capisce subito che la locanda è vedodoppio salvo eccezioni, peraltro anche di qualità - dalle mani- all'insegna della ferocia. Poi Aida dà alle stam- festazioni-feticcio attuali: le fiere. pe "Mutant Hanako", pura operazione trash CRASH CROFF che esemplifica la sua concezione di fumetto: Spara a zero sia che si parli di Cinema ("A Roma il siste- "Il cattivo gusto in senso lato, pornografia inclu- ma funziona, mentre Venezia è un cortile in cui tutti si sa, è l'arma vincente e la vera essenza del pestano i piedi"), sia che si parli di Arti Visive, criticando manga". Ed ecco l'acrilico "Blender" su tela tre Regione, Comune e Provincia, per esempio sui ritardi metri per due: un iperrealistico megafrullatore nella nomina del curatore del Padiglione Venezia, ai stipato di donnine nude, che a partire dal basso Giardini. Risultato? Davide Croff è riuscito in un'impresa cominciano inevitabilmente a sfarsi in sangue ritenuta impossibile: mettere d'accordo il governatore e frattaglie.
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