and ANTON CORBIJN LOOKING BACK

www.vogue.it/l-uomo-vogue/cover-story

0479_UV_1703_U2.indd 150-151 06/03/17 12:29 “” compie 30 anni. In esclusiva gli outtakes dal celebre shooting dell’album Il ricordo dei giorni trascorsi sul set nelle parole del fotografo olandese «Non ne ho colto immediatamente la portata: capita con i capolavori» L’ultima giornata dello shooting itine- shua, che esortava il suo po- nia. «Ne vado ancora fiero: ricordano le facce rante organizzato per il lancio di “The polo a seguirlo verso la Terra d’immigrati appena sbarcati in America. Ma con Joshua Tree” non era iniziata nel mi- Promessa. Il mattino dopo, il successo del disco quelle foto circolarono ovun- gliore dei modi. «Con gli U2 eravamo scendendo a fare colazione que, finendo col promuovere un’immagine fin reduci da un paio di tappe in un villag- con una Bibbia in mano, Bo- troppo seria degli U2, che faceva un po’ a pugni gio fantasma nei pressi dello Yosemite no ci comunicò che “The Jo- con il loro nuovo status di popstar planetarie». Park e nella Death Valley. Poi ci siamo shua Tree” era il nuovo titolo Per riequilibrare la situazione, da “Achtung baby” fermati a una capanna abbandonata dell’album». A quel punto il in poi Corbijn scelse di rappresentarli con uno sti- sulla strada per Palm Springs e Bono è fotografo si mise alla ricerca le più giocoso, meno documentaristico. «La band andato su tutte le furie: per lui era una dell’albero giusto da usare ha sempre avuto un occhio di riguardo per i temi perdita di tempo», ricorda il fotografo e come sfondo del celebre ri- sociali, ma questo non vuol dire che i ragazzi non regista olandese Anton Corbijn, che tratto che appare all’interno si divertissero, anzi. Le facce serie di “The Joshua aveva organizzato il viaggio. «Gli rispo- del 33 giri. «Lo trovai il secon- Tree” in realtà sono dovute al freddo che faceva si che ritrarre i dettagli è importante do giorno, a sud di Zabriskie (per dare maggiore coerenza all’ambientazione quanto scattare grandi panorami sce- Point, dove avevo scattato desertica, Corbijn aveva chiesto ai musicisti di to- nografici». Fortunatamente Corbijn, quella che poi divenne la foto gliersi i cappotti, anche se era dicembre e le tem- definito da alcuni il “quinto membro di copertina. Decisi di utiliz- perature erano di poco sopra lo zero, nda)». della band” (e celebre per aver conce- zare una lente panoramica Quello sull’immagine della band non è il solo pito anche l’immagine dei Depeche che non conoscevo per sfrut- “malinteso” nato dal servizio fotografico: il titolo Mode, per la regia di molti video musi- tare al massimo l’ampiezza dell’album ha indotto molti appassionati a pensa- cali, e per aver diretto i film “Control” e del paesaggio». Solo una set- re che le foto siano state scattate nel Joshua Tree “The American”), si era già conquistato timana dopo, ritirando i nega- National Park, che invece si trova 300 chilometri la fiducia dei musicisti irlandesi scattan- tivi dal laboratorio, Corbijn più a sud. «Non sono mai stato in quel parco ma do le immagini per tre dischi preceden- realizzò il rischio che aveva purtroppo l’equivoco ha segnato anche una tra- ti. A ben guardare anche il titolo del corso: le foto erano tutte leg- gedia: nel 2011 una coppia di fan si è avventurata nuovo album, che avrebbe trasformato germente sfuocate, con un alla ricerca dell’albero e ha perso l’orientamento; gli U2 in giganti del rock mondiale, era unico soggetto nitido sullo sono morti per insolazione». Tra l’altro, anche se i nato da una sua intuizione. «All’inizio sfondo, l’alberello. «All’inizio due fossero stati a conoscenza dell’esatta loca- del viaggio doveva chiamarsi “The de- provai un tuffo al cuore e tion della celebre foto, dell’albero non avrebbe- sert songs” o “The two Americas”. Per pensai: ho fatto un casino. So- ro trovato traccia. «Non c’è più, è stato tagliato questo avevo scelto come ambientazio- lo in un secondo momento o forse è morto, ucciso dai fan che si sono porta- ne i deserti californiani. Ma il primo mi resi conto che il risultato ti a casa pezzi di rami per ricordo». Conclude giorno raccontai a Bono la storia di un così era ancora più potente». Corbijn, ripensando a quei giorni memorabili: albero di quei luoghi, che i coloni mor- Nel ritratto Bono, The Edge, «L’unico rimpianto è di non averne colto im- moni avevano battezzato “Joshua Tree” Larry e Adam hanno espres- mediatamente la portata. Ma è normale: è dif- perché con i suoi rami ricordava le sioni intense e orgogliose ma ficile realizzare di essere davanti a un capola- braccia alzate al cielo del profeta Jo- velate da un filo di malinco- voro mentre ci stai lavorando». Nicola Scevola

0479_UV_1703_U2.indd 152-153 06/03/17 12:29 Per il critico dell’Irish Times più vicino alla band è un disco ancora attuale, «perché si innesta perfettamente nel quadro sociopolitico di oggi» Bono sta sorseggiando una caipi- frirà loro l’occasione di una Edge: «Se ripenso a quando sono state scritte rinha, mentre mi spiega che gli U2 “working vacation” prima originariamente quelle canzoni e poi rifletto hanno appena scoperto che esiste dell’uscita – forse alla fine su quest’epoca di sconvolgimenti globali, di anche la retromarcia… «Non mi è del 2017, ma la data è da movimenti politici di estrema destra e di vio- mai interessato ciò che avevamo già confermare – del nuovo al- lazione dei diritti umani fondamentali, sem- fatto, solo ciò che stavamo per fare. bum registrato in studio. bra quasi che abbiamo chiuso il cerchio. Pro- Ma a un certo punto arriva il mo- Nel clima di incertezza po- prio perché quei brani sembrano ora così at- mento in cui non guardare al passa- litica provocata dalla tuali e profetici, abbiamo deciso di fare una to diventa quasi anormale». L’occa- Brexit e dall’elezione di serie di concerti per celebrare l’album, ci è sione di scrutare in profondità nel Trump e con il futuro della sembrata la cosa giusta da fare in questo mo- vissuto della band arriverà quest’an- UE in qualche modo in bi- mento storico preciso». Gli U2 hanno sempre no, quando gli U2 riporteranno in lico, il gruppo sa bene che avuto un grande feeling con i loro fan italiani tour “The Joshua Tree”, l’album del le idee e le speranze rac- e parlano ancora della connessione che si era 1987 che il 9 marzo festeggia chiuse in quella manciata creata con il pubblico nel corso del primo trent’anni dalla prima uscita (con di canzoni risulteranno tour per “The Joshua Tree” nel nostro paese, una riedizione speciale di Island Re- estremamente attuali an- culminato con un memorabile concerto allo cords, in vendita a giugno). Gli U2 che per un pubblico di oggi. stadio Flaminio di Roma nel maggio del tornano dunque al loro passato per “The Joshua Tree” è stato 1987; Reggio Emilia nel 1997 avrebbe rega- dare un senso al loro futuro: “The concepito come una lettera lato agli U2 il loro pubblico più numeroso di Joshua Tree” ha venduto 25 milioni d’amore/odio all’America, sempre (170.000 persone), mentre il dvd live di copie, e di fatto trasformato i 4 ra- passione per il cinema, la del Vertigo tour è stato registrato a San Siro gazzi di Dublino in superstar della musica e la letteratura del a Milano nel 2005. Come spiega Bono: «For- musica a livello mondiale. È l’album paese, e avversione per un se noi irlandesi non vestiamo bene come gli che ha cambiato completamente la governo repubblicano di italiani, e forse non mangiamo neanche bene loro vita e un tour estivo di quattro destra (il presidente all’e- come loro, ma di certo sappiamo cantare al- mesi (con due date allo Stadio Olim- poca era Ronald Reagan, trettanto bene. La patria dell’opera sarà pico di Roma, il 15 e il 16 luglio) of- ndr). Dice il chitarrista The sempre casa anche per gli U2». Brian Boyd

0479_UV_1703_U2.indd 154-155 06/03/17 12:29 Death Valley, il fascino di un luogo sacro e maledetto Tra i pionieri, Charles Manson e Joan Didion All’inizio degli anni 60, Joan Didion muore, la sua giovane fi- molti anni in California e i miei ricordi della si trovava nell’Enterprise Motel danzata sopravvive ma ha Death Valley sono legati a una serie di Fe- and Trailer Park nella Death Valley un’emorragia interna ed è stival musicali ispirati ai Grateful Dead. I a scrivere un saggio intitolato “On sotto shock. Un’infermie- raduni si chiamavano “Dead in the desert” morality”. Fuori c’erano 48 gradi. ra che passa in macchina e si svolgevano in mezzo alla steppa arida. L’aria condizionata era rotta ma lei davanti al luogo dell’inci- All’inizio non capivo quale fosse l’appeal di teneva aperto lo sportello del free- dente raccoglie la ragazza stare a quaranta gradi senza un filo di ombra zer. Avvolgeva cubetti di ghiaccio in e attraversa, lasciando il mentre dei signori di una certa età in tie-dye stracci che si passava dietro al collo marito a vegliare il ca- ululavano “Fire on the mountain” dal palco,

per rinfrescarsi. Joan Didion è stata davere, 185 miglia di de- ma dopo qualche giorno nel deserto la pro- una delle prime scrittrici a interpre- serto prima di trovare un spettiva cambiava. Diventava facile capire tare le sfumature culturali della Ca- ospedale. Quando Didion perché Oliver Stone avesse immaginato il lifornia da un punto di vista geologi- in un’intervista le chiede risveglio psichedelico di Jim Morrison pro- co. Per lei le storie che accadevano come mai abbia deciso di prio in quei luoghi, perché Antonioni aves- nel deserto, sulle montagne, tra le andare da sola, l’infermie- se scelto Zabriskie Point per raccontare un onde dell’Oceano Pacifico, non po- ra risponde che lasciare film sulla controcultura degli anni 60 e la tevano essere separate dalla loro un morto incustodito sulla collisione tra l’innocenza di una generazione natura primordiale. Le sue raccolte superstrada della Death e la nascita delle corporation americane. La di saggi meticolosi, accurati, inti- Valley è un “atto immora- musica dei Pink Floyd, dei Grateful Dead, di mi e visionari “Verso Betlemme” le”. Il sottotesto è che si- Patti Page e dei Kaleidoscope apparteneva e “The white album” considerano gnifica ritrovare solo una a quella terra. Non c’erano dubbi. Non c’e- gli aspetti mitologici delle terre da carcassa consumata dai ra altro luogo dove fare saltare in aria una lei amate sotto molti punti di vista. coyote. Quell’immagine di tipica, felice casetta suburbana, incarnazio- L’esotismo californiano trova le sue coyote affamati sul ciglio ne del sogno americano. La Route 190 della radici nei venti caldi del Santa Ana della strada è una sorta Death Valley Junction è stata anche la strada che provengono dal deserto, nelle di introduzione visiva alla dove David Lynch ha girato il suo film più alluvioni che spazzano via intere Death Valley così come visionario, “Lost highway”. La Death Val- colline trasformandole in poltiglie la conosciamo oggi. Il de- ley è stata così battezzata da un gruppo di di fango e negli incendi selvaggi che serto della California è un pionieri che si perse lì nell’inverno del 1849. radono al suolo i boschi sopra Ma- luogo dove ci si confronta Solo un membro del gruppo morì, ma per libu. La Death Valley per Didion è con una natura violenta e tutti gli altri attraversare quella terra fu un’e- il luogo dove ci si confronta con la assoluta che richiede una sperienza talmente infernale che pensarono propria coscienza. “On morality”, collaborazione altrettanto che quel luogo sarebbe stato la loro tom- che fa parte della raccolta “Verso violenta e assoluta da par- ba. Nella Death Valley ci si perde, si hanno Betlemme”, apre con l’immagine di te degli esseri umani che allucinazioni Chiara Barzini* (*sceneggia- un incidente stradale. Il conducente lo attraversano. Ho vissuto trice, giornalista, autrice) (segue a pag. 181)

0479_UV_1703_U2.indd 156-157 06/03/17 12:29 Indirizzi/Segue

STYLE/LUSSO SPORTIVO PAOLONI VERSACE DISPATCH FROM THE CITY V.S.: Non direi proprio stasi, ma era molto impegna- passato che mi incuriosiscono. www.paoloni.it www.versace.com di Michele Fossi to nell’insegnamento e a dipingere per sé, credo che B.C.: Chi sono gli artisti che vorresti avere in un’ipo- ADIDAS ORIGINALS PASHMERE avesse scelto deliberatamente di non mostrare i suoi tetica collezione di capolavori classici e moderni? www.adidas.com www.pashmere.it SASHA LANE (segue da pag. 104) dipinti. Mi disse che era alla ricerca di un gallerista Chi ci sarebbe nella tua lista dei desideri? BALLY PATRIZIA PEPE by Éric Guillemain del Berghain lo vediamo metter mano alla console, giovane e stava aspettando di incontrare la persona V.S.: Non so, qualunque cosa da Tiziano a Velázquez, www.bally.com www.patriziapepe.com dalla folla si leva un grido che fa tremare le pareti del giusta e poi sono arrivato io. a Caravaggio. Sarebbe forte avere un El Greco. B.C.: Ti piacerebbe anche qualcosa di Ellsworth COLMAR ORIGINALS PHILIPP FÜRHOFER STUDIO DIRK BIKKEMBERGS SPORT COUTURE club. Note sinistre, impreziosite qua e là da melodie B.C.: È stato destino. V.S.: Ci siamo frequentati per un po’, io non andavo a Kelly? www.colmar.it www.philippfuerhofer.de www.bikkembergs.com più rassicuranti, ci catapultano presto nella sua “fore- sta di suoni”: un mondo parallelo, misterioso, seducen- scuola in quel periodo, andavo a lezione da Rene. V.S.: Certo, stavo pensando più ai classici ma adoro DEDAR SECRET GARDEN DSQUARED2 te e labirintico, da cui non vorremmo più far ritorno. Anche Ron insegnava e andavamo insieme a vedere Ellsworth Kelly. Adoro anche Mark Rothko e Bar- www.dedar.com www.secretgardenberlin.de www.dsquared2.com GIVENCHY BY RICCARDO TISCI mostre e parlavamo d’arte per ore davanti a una taz- nett Newman. DIOR HOMME TATRAS B.C.: In generale preferisci l’arte astratta a quella fi- www.givenchy.com VITO SCHNABEL IN CONVERSATION WITH za di caffè. Adora il caffè, che prepara molto forte. www.safilo.com www.tatras.it Alla fine gli ho chiesto se potevo organizzare una gurativa? LOUIS VUITTON BOB COLACELLO FENDI CASA VANS mostra con le sue opere e lui ha accettato. Era un’op- V.S.: Di recente ho gravitato soprattutto nel mondo www.louisvuitton.com di Bob Colacello www.luxurylivinggroup.com www.vans.com portunità incredibile e non volevo farmela sfuggire, è dell’arte contemporanea, ma comunque amo anche GHIDINI 1961 (segue da pag. 126) stato un onore poterlo fare. la pittura figurativa. LEONARDO FIORAVANTI www.ghidini1961.com DAMIEN CHAZELLE una grande influenza su di te? B.C.: Com’è nato il tuo coinvolgimento con The Bru- B.C.: Elizabeth Peyton? GIORGIO ARMANI “LA LA LAND” THE FIRST ITALIAN SURF CHAMPION V.S.: Assolutamente, un’influenza profonda. Quando ce High Quality Foundation e la decisione di orga- V.S.: Naturalmente. Come nella tua mostra, quest’i- www.armani.com by Francesco Carrozzini by Roberto Patella ho deciso di non andare al college, dopo le superiori, nizzare la terza e quarta “Brucennial”? dea di un confine netto tra figurazione e astrattismo: GIUSEPPE ZANOTTI ho studiato con lui per circa un anno e mezzo, tre gior- V.S.: Tramite mia sorella Lola che durante una visita per la figurazione astratta parliamo di Elizabeth BRESCIANI www.giuseppezanottidesign.com DENIS FRISON ni a settimana. Andavamo a visitare il museo di Yale, alla Cooper Union ha incontrato quello che riteneva Peyton o di Cecily Brown. www.bresciani.it GUCCI www.denisfrison.net o uno dei musei di Washington, o il Met o il MoMA o un artista di grande talento, Rhys Gaetano. Poi l’ho B.C.: O Jacqueline Humphries o Rashid Johnson… GUCCI www.gucci.com DIOR HOMME facevamo un giro a Cleveland, eravamo alla perenne conosciuto anche io e ho pensato che fosse davvero V.S.: O Mark Grotjahn. www.gucci.com L4K3 www.dior.com ricerca di qualcosa e tra noi si è formato un legame dotato. È finito a lavorare in un bar proprio all’ango- B.C.: Come mai hai scelto proprio St. Moritz per HENGE ATELIER lo di casa mia e quindi ci incontravamo casualmente aprire una galleria? www.l4k3.it GIORGIO ARMANI incredibile, è un artista con cui ho lavorato e… www.henge07.com B.C.: Un poeta? in pratica quattro sere a settimana. Siamo diventati V.S.: Stavo cercando un posto per aprire una galleria LES PETITS JOUEURS www.armani.com QUIKSILVER V.S.: Sì, un poeta e un vero appassionato di storia amici, sono andato a visitare il suo studio e gli ho det- che non fosse New York, ero a Basilea per Basel Art www.lespetitsjoueurs.com GUCCI RUCO LINE www.quiksilver.com dell’arte, un pozzo di conoscenza. to che volevo mettere in mostra i suoi lavori. Mi ha Fair e Bruno mi ha domandato se ero interessato a www.gucci.com B.C.: Era un critico d’arte, ha scritto un famoso risposto che era molto interessato a esporre il lavoro rilevare la sua galleria di St. Moritz dato che non l’a- www.rucoline.com PRADA VAN CLEEF & ARPELS PEAK OF THE SEASON saggio. di Bruce. E io: “Chi diavolo è Bruce?” E lui: “Bruce vrebbe più utilizzata perché voleva concentrarsi sulla www.prada.com realizzazione di uno spazio espositivo a Zurigo per www.vancleefarpels.com by Tom Allen V.S.: Il celebre saggio su Basquiat intitolato “The ra- High Quality è un artista che si è buttato dal World RALPH LAUREN PURPLE LABEL diant child”. Trade Center appena prima che lo colpissero gli ae- ospitare la sua collezione, che è eccezionale. Ci ho www.ralphlauren.com B.C.: Hai conosciuto Basquiat all’epoca? rei. E poi ha cominciato ad addentrarsi nella mitolo- pensato su per un paio d’ore e gli ho detto di sì. Ci STYLE/CLASSICO-DÉCO ADIDAS ORIGINALS www.adidas.com V.S.: L’ho incontrato quand’ero piccolo, ma non me gia della Bruce High Quality Foundation: mi sem- sono andato e l’ho presa. Ci ho trascorso talmente ASHTON SANDERS ne ricordo. brava molto interessante e soprattutto qualcosa di tanto tempo e mi piace che sia così vicina all’Italia e a BOTTEGA VENETA BOTTEGA VENETA FROM A DEEPER PLACE www.bottegaveneta.com B.C.: È in quel periodo che sei andato in Svizzera con mai sentito prima. In seguito ho conosciuto i suoi Zurigo ed è anche una località molto internazionale. www.bottegaveneta.com by Emma Tempest tuo padre e hai conosciuto Bruno Bischofberger? “complici” e mi hanno coinvolto. È un posto incantevole e mi piace passarci del tempo. BRUNO MAGLI DSQUARED2 www.dsquared2.com V.S.: Sì, ci sono stato con mio padre un paio di volte e B.C.: Penso che sia stata proprio la prima cosa tua Aveva un senso. www.brunomagli.com BOTTEGA VENETA ETRO poi tornare da lui ogni anno con mia madre è diven- che ho visto, una delle tue prime mostre, la prima B.C.: Quali sono i tuoi programmi futuri per St. CAMPER www.bottegaveneta.com www.etro.com tata una specie di tradizione. Quando Bruno passava “Brucennial” a West Broadway in un edificio a uso Moritz? www.camper.com CALVIN KLEIN JEANS GIORGIO ARMANI da New York ci incontravamo sempre, era una com- commerciale appena costruito da Aby Rosen, an- V.S.: La prossima mostra è di Sterling Ruby, nuovi CRISTALLERIES DE SAINT-LOUIS dipinti e sculture, ne sono entusiasta. Sarà inaugurata www.calvinklein.com www.armani.com pagnia gradevolissima e i bambini gli piacevano. cora sfitto. www.saint-louis.com V.S.: Esatto, avevano già organizzato una “Brucen- l’11 di marzo e resterà aperta per un paio di mesi. DIOR HOMME GUCCI B.C.: Certo, ha conservato uno spirito giovanile. Co- DEDAR nosco Bruno perché era il mercante d’arte di Andy. nial” a Brooklyn, un evento molto cool, e poi per la B.C.: Ci sarà ancora una mostra estiva? www.dior.com www.gucci.com www.dedar.com Gli piaceva che i suoi artisti andassero a Saint Moritz Biennale del Whitney volevano organizzarne un’al- V.S.: Sì. FENDI HAIDER ACKERMANN FENDI CASA a lavorare. Alla Saint Ann’s hai studiato storia tra e abbiamo pensato che doveva essere a New B.C.: Come hai deciso che dovevo curare la mia pri- www.fendi.com www.haiderackermann.com www.luxurylivinggroup.com dell’arte oltre che arte? York City in concomitanza con… ma mostra? GUCCI LA SPORTIVA V.S.: No, avevamo lezioni di arte ma non di storia B.C.: Era la stessa sera dell’inaugurazione del Whit- V.S.: Perché penso che tu sia qualificato quanto un GUCCI www.lasportiva.com www.gucci.com www.gucci.com dell’arte, più che altro laboratori. Io ho seguito un ney, c’era una tempesta di neve e si sono presentati curatore professionista. Ti sei occupato di arte per LANVIN LANVIN corso di scultura. settemila ragazzi. C’era una coda lunga qualche iso- tutta la vita e hai frequentato alcuni dei più grandi LOUIS VUITTON www.lanvin.com www.louisvuitton.com www.lanvin.com B.C.: Hai frequentato la Columbia University per lato e Aby Rosen, Samantha Boarden e io siamo ri- artisti del nostro tempo. Hai sempre cose interessanti NIKE LUCIO CASTRO un anno. masti bloccati, era come cercare di entrare allo Stu- da dire sugli allestimenti e me ne segnali sempre di MORESCHI www.luciocastro.com www.moreschi.it www.nike.com V.S.: Sì, ho frequentato la Columbia per un po’ e so- dio 54, i pompieri dicevano che era sovraffollato e nuovi, è stata una decisione logica. Ho pensato che MAISON MARGIELA quindi Aby ha sbottato: “Sono il proprietario del pa- sarebbe stato divertente. Penso che tu abbia fatto un PRADA EYEWEAR PALM ANGELS no rimasto a New York perché pensavo fosse il posto www.maisonmargiela.com lazzo, Bob è di Vanity Fair” e alla fine uno dei nostri lavoro magnifico e lo pensano tutti. www.luxottica.com www.palmangels.com giusto dove stare. MINNETONKA B.C.: Perché stavi già… ci ha visti e ci ha fatti entrare. B.C.: È stato divertente. Soprattutto allestirla in quat- SANTONI VALENTINO www.valentino.com www.minnetonkamoccasin.com V.S.: Ho organizzato la mia prima mostra a sedici an- V.S.: Sì, c’erano migliaia di persone, pazzesco. tro ore filate senza mangiare né dormire. www.santonishoes.com MISSONI ni, quattordici anni fa. Era una mostra collettiva inti- B.C.: Avete investito qualcosa come tre o quattro- V.S.: E non vedo l’ora di farne un’altra. STETSON www.missoni.com tolata “Incubator”. Erano tutti artisti sconosciuti con centomila dollari nella mostra. www.stetson.com PRESLEY GERBER by Jack Pierson MONCLER cui ero cresciuto e che volevo esibire insieme e trovai V.S.: Al secondo piano avevamo organizzato un U2 AND ANTON CORBIJN www.moncler.com lo spazio adatto. Da Luigi Ontani, un artista italiano, a concerto e per finire in strada si è svolta un’epica LOOKING BACK DISPATCH FROM THE CITY PRADA Jorge Galindo, da McDermott a McGough, da mia battaglia a palle di neve. È stata una serata indi- di Nicola Scevola, Brian Boyd, Chiara A.P.C. by Steven Kohlstock www.prada.com sorella a Vahakn Arslanian, con cui ho realizzato mol- menticabile e qualche giorno dopo sulla copertina Barzini www.apc.com REI te mostre. Poi dopo nove mesi ho allestito una mostra del Times è comparso l’articolo “Brucennial o ALEA ALEXANDER MCQUEEN www.rei.com per Ron Gorchov, è stata la mia prima personale. Bienniale”, penso che la “Brucennial” abbia avuto (segue da pag. 156) www.aleafashion.com www.alexandermcqueen.com STELLA MCCARTNEY B.C.: Perché hai scelto Ron Gorchov? recensioni migliori quell’anno. sonore in cui vibrano serpenti a sonagli, la morte è ANTONY MORATO ATM ANTHONY THOMAS MELILLO www.stellamccartney.com V.S.: L’ho incontrato a “Incubator” insieme a un arti- B.C.: Cosa cerchi in un artista, voglio dire, con che una sottotrama ricorrente, le persone percorrono www.morato.it www.atmcollection.com THE NORTH FACE sta che si chiamava Ray Smith, che avevo conosciuto criterio decidi chi vuoi esporre, con chi vuoi lavora- centinaia di miglia solo per non perdere un contatto BRESCIANI CÉDRIC CHARLIER www.thenorthface.com tramite mio padre. Pensava che sarei stato interessa- re? Devono essere tuoi amici? Come li trovi? umano. È il luogo dove si va a morire o si fugge dalla www.bresciani.it www.cedric-charlier.com UMIT BENAN to a vedere i suoi dipinti così sono andato nel suo V.S.: No, ma quasi sempre finiamo col diventare ami- morte. Dall’Enterprise Motel Joan Didion osservava CB MADE IN ITALY DOLCE & GABBANA www.umitbenan.com studio di Brooklyn e sono rimasto folgorato; non ci o mi vengono presentati da amici artisti. Per esem- un gruppo di anziani fedeli della Faith Community www.cbmadeinitaly.com www.dolcegabbana.com VALENTINO avevo mai visto nulla di simile alle sue pitture sculto- pio è stato il mio amico David Romanelli a presen- Church dall’altra parte della strada cantare in pre- COLLEZIONE AUTOMOBILI LAMBORGHINI GUCCI www.valentino.com ree, gli “scudi”. tarmi Borna Sammak. David insegna alla NYU e ghiera. Si erano tutti ritirati in quel Trailer Park per Borna la frequenta da studente. David me l’ha se- www.lamborghinistore.com www.gucci.com VISVIM B.C.: Spiegami brevemente chi era Ron Gorchov e “morire al sole”. Dopo aver commesso gli omicidi di gnalato e io sono andato a visitare il suo studio: pen- CORNELIANI LEVI’S www.visvim.tv perché lo ritenevi così importante. Cielo Drive, Charles Manson si andò a nascondere www.corneliani.com www.levi.com V.S.: Negli anni 60 e 70 a New York era una figura di so che David sia molto brillante e abbia davvero oc- in una vecchia fattoria proprio in questo deserto. Il spicco, aveva uno studio in Chambers Street: credo chio. Di solito c’è sempre qualche intermediario che Barker Ranch si trova in una valle rocciosa e ci si ar- ERREÀ REPUBLIC OFFICINE GÉNÉRALE ANDREA BOSCA che sia lì che ha conosciuto mio padre perché anche stimo per il suo occhio. riva solo da strade sterrate piene di buche. Nel 1969 www.errea.com www.officinegenerale.com SUSPENDED IN TIME lui aveva uno studio nella stessa strada. È stato uno B.C.: Ma quali sono i criteri che applichi per decidere quel ranch era una piccola oasi felice. A lato della PASKHO FREDDY by Boo George dei pionieri dei supporti sagomati, era uno stimato di esporre un artista? Mi sembra che tu una volta ab- casa padronale c’era una guest house e una cisterna www.freddy.com www.paskho.com pittore di Chicago le cui opere erano esposte in tutti i bia detto, parlando di artisti diversi, che avevi visto che raccoglieva l’acqua di un ruscello alimentando IMPERIAL TOM FORD VALENTINO principali musei di New York, dal MoMA al Whit- qualcosa che non avevi mai visto prima. una piscina. Fu qui che Manson e la family venne- www.imperialfashion.com www.tomford.com www.valentino.com ney, al Guggenheim. V.S.: Sì, cerco la differenza o qualcosa che non ho mai ro a ripararsi dopo gli omicidi e fu qui che furono NIKE VALENTINO VALENTINO GARAVANI B.C.: Ma quando hai organizzato la sua mostra era in visto prima. Mi interessano se hanno uno stile perso- arrestati. Il 12 ottobre del 1969 Charles Manson fu www.nike.com www.valentino.com www.valentino.com un momento di stasi nella sua carriera? nale oppure se nei loro lavori individuo riferimenti al trovato da un poliziotto nascosto dentro un armadio 180 181

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in casa. Lo arrestarono per una macchina rubata. You were practically a child when you got the idea. paintings of Edward Hopper, the poet of solitude. writers. shows and talk about art endlessly while drinking which they’re making. Capirono presto che oltre alla macchina c’era altro. D.C.: Yes, it was a project I’d been working on since D.C.: Linus Sandgren, the director of photogra- B.C.: Wasn’t Rene Ricard a big influence? coffee. He loves coffee and makes very strong cof- B.C.: Who in historical terms, like who are the art- In “The white album” Didion ha scritto che gli anni 2010 with a friend from school, a musician, Justin phy, really likes the atmospheres of Hopper’s V.S.: Yeah, a huge influence. When I decided not to fee. Finally I asked him if I could have a show of his ists over the centuries that, if you could have a col- 60 sono finiti con gli omicidi di Cielo Drive, ma a me Hurwitz (Oscar for best soundtrack, ed.). We really paintings, and we used them perhaps more than I go to college, right after high school, I studied with work which he let me do. It was a huge opportunity lection of all masters and modernist masters? Who piace pensare a quel deserto e a quella cattura come wanted to do it, although at one point it didn’t seem had imagined. him for about a year and a half, three days a week, that I didn’t want to miss and I felt honored to be would be on your dream list? una sorta di punto di passaggio che scandisce l’ini- like anyone was interested in this idea of the​​ contem- F.B.: When you moved here, did you suffer the soli- whether it was visiting the museum at Yale, or one able to do that and so that was my first solo exhibi- V.S.: I don’t know, anywhere from Titian to zio e la fine delle cose importanti che accadono in porary musical. tude that saturates this city? in DC, or the Met or MoMA or, you know, taking a tion. Velázquez to Caravaggio. It would be cool to have California. I membri della tribù Timbisha Shoshone F.B.: Some have criticized the music as too “white”. D.C.: Quite a bit, also because here they’re always trip to Cleveland, we were always looking at things B.C.: How did you get involved with the Bruce an El Greco. che lo scrittore Alex Ross ha descritto in un saggio D.C.: I don’t think so. Justin and I wove different shoving some form of success in your face, on bill- and we had an incredible bond, he was an artist High Quality Foundation and decided to the three B.C.: Ellsworth Kelly is someone like a lot too? d’amore sul New Yorker dedicato alla natura segre- genres, jazz, pop, romantic comedy music, contempo- boards, everywhere. It’s hard to hang tough and not that I worked with and. Brucennials or four? V.S.: Yeah, I was thinking really classic but I love ta della Death Valley, vivevano in quel luogo a metà rary music. get discouraged. B.C.: A poet? V.S.: Yeah, through my sister Lola who went to Ellsworth Kelly. I love Mark Rothko, I love Bar- dell’Ottocento e lo consideravano un posto sacro e F.B.: Did you like musicals as a child? F.B.: What’s more important for getting ahead, ambi- V.S.: Yeah, a poet and he was a real art history buff Cooper Union and told me she had met somebody nett Newman. pieno di vita. A qualche miglia dal Barker Ranch D.C.: Not really. Like most people, when someone tion or passion? and really knew his stuff. there who she thought that was really talented. It B.C.: Do you feel you prefer abstract art over figu- dove fu catturato Manson è nato l’albero di Joshua started singing in a movie, it annoyed me. But then D.C.: I’d say passion. While a dose of ambition is defi- B.C.: He was an art critic, you know, he wrote that was Rhys Gaetano. And then I met him and I rative art in general? che ha dato il nome all’iconico album degli U2. Oggi something clicked and I became passionate about nitely necessary, it can get you in trouble. famous essay on Basquiat. thought he was really talented too. And he ended V.S.: Lately, in contemporary art it’s what I’ve been purtroppo l’albero non c’è più, ma nella piana di them. F.B.: Do you think La La Land can also be seen as a V.S.: Yeah he wrote that famous essay on Basquiat up working at the bar on the corner of my apart- gravitating to more, but no I love figurative paint- Lee Flat, nella parte a nord ovest della Death Val- F.B.: I once heard you sing a song from the The Little message of optimism in a political climate of abso- entitled “The Radiant Child”. ment and so I’d see him four nights a week ran- ing as well. ley, ne sono nati molti altri. Un biologo del posto, Mermaid. lute pessimism? B.C.: Did you meet Basquiat back then? domly and we started become close friends and I B.C.: Elizabeth Peyton? James Cornett, ha fatto sua la visione positivista D.C.: (laughs) Ah… of course! One of my favorite D.C.: I like to think so. The golden age of musicals V.S.: I met him when I was little but I don’t remem- went to his studio and I wanted to show his work. V.S.: Yeah, Elizabeth Peyton, of course. Like in della tribù nativa americana. Gli alberi di Lee Flat musicals! began with the Great Depression, then continued ber that. He said I’m really interested in showing Bruce’s your show, this idea of these border lines between sono più sani di quelli del parco di Joshua Tree. Tra F.B.: Didn’t you play in a band? during the Second World War and the Cold War. B.C.: Did you go to Switzerland with your father work. And I was like: who the hell is Bruce? And figurative and abstraction, abstract figuration ei- cento anni saranno loro la specie arborea più nume- D.C.: Drums. I was in a group with Justin. Musicals have the power to celebrate individual and meet Bruno Bischofberger then? he said: Bruce High Quality is an artist who ther it’s Elizabeth Peyton or Cecily Brown. rosa e importante della California. Chiara Barzini. F.B.: Do you still play? passions, despite the surrounding social and politi- V.S.: Yeah, I had gone with him very early on. I jumped off the World Trade Center right before B.C.: Or Jacqueline Humphries or Rashid Johnson. D.C.: No, my drums are gathering dust in the garage. cal conditions. went with my father a couple of times and then I the planes hit. I said: what are you talking about? V.S.: Yeah, or Mark Grotjahn. LEONARDO FIORAVANTI It’s not the best instrument for cultivating cordial re- F.B.: Can art save the world? kind of made it a tradition with my mom to go B.C.: Before the planes hit. B.C.: Why did you decide to open a gallery in St. THE FIRST ITALIAN SURF CHAMPION lations with one’s neighbors. Nowadays I experience D.C.: I don’t know if it can save it, but it can certainly back there once a year and stay with them at the V.S.: Yeah, and he started going into the mythology Moritz of all places? di Sergio Maggio music through my films. help create a certain empathy among people, and house. When Bruno would come to New York I of Bruce High Quality Foundation and it sounded V.S.: I was looking for a place where I could open a F.B.: Did Whiplash already contain the seed of La La help them get past their own natural selfishness. would always see him, he was very good at check- very interesting to me and again, unlike anything gallery outside of New York, I was in Basel for the (segue da pag. 149) Land? F.B.: In the final scene of La La Land there’s an echo ing in and spending time. Bruno likes kids so he I’d never heard of, and then I met his partners in Art Fair and Bruno asked me if I’d be interested in felice di esserne parte». Il tempo stringe. Abbiamo D.C.: Absolutely. I channeled all the frustration I felt of Casablanca, and even Woody Allen’s Café Society. was always, you know… crime and we got involved with those guys and taking over his space in St. Moritz because he was parlato solo di surf. Sorge il dubbio che nella sua at not being able to convince anyone that La La D.C.: Yes, because in both films there’s this feeling of B.C.: Yeah he’s a young spirit. I mean, I know Bru- girls. going to no longer use so he could focus on his cerchia di amici, e amiche, si discuta soltanto di ta- Land was a winning idea into that film. regret, but also of awareness that, despite the compli- no because he was Andy’s dealer. And he liked to B.C.: I think one of the first shows I saw of yours compound that he was building in a facility for vole e heats. «Ma no. Tra maschi, lo sport è argo- F.B.: Los Angeles is a city divided between winners cations and difficulties of life, there are moments have his artists come and actually work in St. Mori- was the Brucennial down on West Broadway in a housing his art in Zurich, which is incredible. I mento forte, ma non l’unico. Con le ragazze, poi, and losers. which, in their very transience, have this beautiful tz, make works there. At Saint Ann’s did you study building that Aby Rosen had just built and had not thought about it for a couple of hours and I said: monotonia bandita! Scherzi a parte, per istinto cer- D.C.: I arrived here with the same mindframe as the completeness that stays with us, independently of art history as well as studio art? rented out yet to commercial space. yes. And I went there and I took it. And I’ve been co la conversazione. So cosa accade fuori dal mio two protagonists of La La Land. Coming from the how or where we end up. V.S.: No, we had art classes but we never really had V.S.: Yeah, they had done a Brucennial before in going there for a long time and I like how it is close ambito, so che esistono cose come la guerra (viva la East Coast (he’s originally from Providence, Rhode F.B.: Are you a romantic? art history classes. I took a sculpture class. Brooklyn which was really cool and then when to Italy and to Zurich and it’s a very international pace) e che serve un mondo migliore. Con il mare Island, ed.), Los Angeles shows you a sort of fluffy D.C.: I’d say that’s pretty obvious (laughs). B.C.: And you did go to Columbia University for a they got in the Whitney Biennial they wanted to do place. It’s very charming and I like spending time più pulito, per restare in tema. Capita di trovarsi brutality, but if you take it the right way it can be fas- F.B.: Your next project? year. it again and we thought it should be in New York there. It just made sense. circondati dalla plastica anche in mezzo all’oceano. cinating. D.C.: It’s about Neil Armstrong and the moon V.S.: Yes, I went to Columbia for a bit and stayed in City coinciding with… B.C.: What are your future plans for exhibitions in È insopportabile. Si può cambiare rotta, ma soltan- F.B.: The film has sparked a debate between those landing. New York because I thought I had to be here. B.C.: It was the same night… as the opening of the St. Moritz? to cominciando dai nostri singoli comportamenti» who love it and those who see it as superficial, not F.B.: A dream transformed into reality, a bit like B.C.: Because you were already. Whitney and it was a blizzard seven thousand kids V.S.: Sterling Ruby is the next show, new painting suited to the black mood of today’s America. your own. V.S.: Yeah, I put on my first show when I was 16, showed up. There was a line several block long and and sculpture which I’m very excited about. That DAMIEN CHAZELLE D.C.: Eh, when we started shooting no one could D.C.: I would say so, yes… I’ve conquered my you know, that was fourteen years ago. It was a they blocked Aby Rosen and Samantha Board- will open on March 11th and will be up for a cou- “LA LA LAND” have guessed that we’d find ourselves in a situation moon, for now anyway. group show called Incubator. It was all kind of ob- man and me in, it was like trying to get into Studio ple of months. by Francesco Bonami like this. But I don’t think this takes anything from scure artists who I had grown up around that I 54 and the fire department said it was overcrowd- B.C.: Will you do a summer show again? the film. The purpose of a film is to talk about the VITO SCHNABEL IN CONVERSATION WITH wanted to show together and I found a space. ed and then Aby goes: “I own the building. Bob’s V.S.: Yes. The irony of fate. La La Land, the film predestined to world and about people’s feelings, and not necessari- BOB COLACELLO From Luigi Ontani, an Italian artist, to Jorge from Vanity Fair” and finally one of your people B.C.: How did you decide that I should curate my win an avalanche of statuettes, went home on Oscar ly in a realistic way. I think a certain degree of surre- by Bob Colacello Galindo to McDermott and McGough to my sister, saw us and got us in. first show? night, as we all know by now, with a bitter taste. Not alism is necessary to avoid being dragged into a to Vahakn Arslanian who I ended up having many V.S.: Yeah. There were thousands of people it was V.S.: Because I think you are as qualified as any so much because it won “only” six of its fourteen self-destructive atmosphere of complete negativity. B.C.: When did you decide or realize that you want- shows with… And then about nine months later I an amazing turnout. curator. You’ve been looking at art all your life, nominations, but because of the historic blunder of F.B.: The film captures your generation, for whom ed to be a curator or gallerist, a presenter of art? had a show for Ron Gorchov which was the first B.C.: There were like three hundred or four hun- and been around some of the greatest artists of our Faye Dunaway and Warren Beatty, who mistakenly success is more important than traditional values like V.S.: When I was twelve years old, I was going to solo show. dred thousand dollars in the show time and you always have interesting things to say announced La La Land as the winner (which was in- family and love. the Met with an artist friend of mine, Stefan Bond- B.C.: Why did you choose Ron Gorchov? How did V.S.: Yeah and on the second floor there was a big about exhibitions or put me on to different shows stead Moonlight), thereby forever branding the film D.C.: Perhaps, though I wouldn’t want that to be per- ell, and I started to get interested. And Lola, my that happen? concert that was organized and at the end of it and I thought it made perfect sense. And it would before the eyes the world as the “loser”. But the ca- ceived as belonging exclusively to my generation. It sister who is a painter. They had been at Saint V.S.: I met Ron Gorchov at the Incubator show there was a huge snow ball fight outside of the be fun. I think you did a great job and everybody lamitous gaffe has not changed the seraphic view of talks about two people who meet, fall in love, then go Ann’s with me… with an artist named Ray Smith, who I met show. It was a great night and a few days later, on else thought so too. life and the world of cinema of Damien Chazelle, 32, their own separate ways. I don’t think their relation- B.C.: I was going to ask where you went to school. through my father, and then he thought it might be the cover of there was an article “Bru- B.C.: It was fun. Especially hanging it in four hours who in any case, as the youngest person in the history ship was a failure. V.S.: Yeah. I went to school in Brooklyn. Saint interesting for me to see his paintings. I went to his cennial or Biennial”, and I think the Brucennial straight with no food or sleep. of the Oscars to win best director, can’t really com- F.B.: They learn something from each other. Ann’s was a very art-oriented school and my sister studio in Brooklyn and I was really blown away got a better review that year. plain. D.C.: Exactly. I wanted to tell the story of two art- and her friends were there, I was around them a and I had never seen anything quite like his paint- B.C.: I think you’re right, as I recall. What do you BOB COLACELLO Francesco Bonami: Judging from background noise, ists in the moment that they’re tyring to under- lot, and I kind of took more to their view on things ings, his sculptural paintings or shields. look for in an artist, I mean, in terms of how do you AT VITO SCHNABEL’S GALLERY you’re stuck in traffic. stand where they are in their lives. In the end, I rather than going with my mom or with my father B.C.: Explain a little who Ron Gorchov was and decide which artist you would like to show, you by Bob Colacello Damien Chazelle: Exactly. think they have a better understanding of where to look at galleries or museums. This was a bit why you thought he was important. would like to work with? Do they have to be F.B.: Like the first scene of the film, totally surreal, and who they are. more fun. And I was realizing that I wanted to do V.S.: Yes, he was a big deal in the Sixties and Sev- friends? How do you know them? Village Voice film critic, Interview magazine editor, where people in a traffic jam start dancing on the D.C.: Can an artist enjoy his or her art even without something with them, you know. enties in New York and had a studio on Chambers V.S.: No, but a lot of time they become friends or I OUT party photographer, Warhol and Reagan bi- roofs of the cars. It would appear that traffic, even achieving success? B.C.: Did you ever think of making art yourself? Street, I think that’s where he met my father be- meet them through artists who are friends of mine ographer, Vanity Fair special correspondent cura- more than music, was your source of inspiration. D.C.: I think so, yes. It’s important to accept certain V.S.: No, I didn’t. I thought about movies more cause he had a studio there as well. He was one of who tell me about someone who they think is in- tor? In my long accidental career I was trained to D.C.: (laughs) Yes, after nine years in Los Angeles, conditions, even if they don’t seem to be winning than making art, like I thought maybe making the pioneers of the shaped canvas and he was a teresting then I go check out the work. Most of the be a diplomat at the Georgetown School of For- the traffic on the highways is still the thing that ones, and to continue to exploit the unique power movies was something that I’d been interested in- very serious painter from Chicago who was in all time that’s how it works. I mean, for instance with eign Service I have never sought any job. Things strikes me most. But I also remember the first scene that art exercises within us. And then the definition to. the major collections in New York, whether it was Borna Sammak, my friend David Rimanelli intro- just came to me or didn’t. And as my Italian-Amer- of the film with Michael Douglas, Falling Down, of success isn’t always the same. For Mia, it’s the clas- B.C.: I mean growing up with your father who is an at the MoMA, the Whitney or the Guggenheim. duced me to him. David taught at NYU and Borna ican mother always told me, «When opportunity which opens with a traffic jam. sic success of an actress who gets everything she ever artist and your mother who is very creative and B.C.: But when you showed him he was kind of in a student there. David told me about him and I knocks, be sure to open the door». So when Vito F.B.: Where did the idea of ​​turning a traffic jam into dreamed of. For Sebastian it’s more intimate: his own close family friends like Brice and Helen Marden a lull in his career or… went to visit his studio and I think David’s really Schnabel asked me to curate a group exhibition at the beginning of a musical come from? club, his own music. and Francesco and Alba Clemente and Rene Ri- V.S.: I wouldn’t say a lull but he was taking time to smart and has a great eye and I was able to devel- his new gallery in St. Moritz, I opened the door, D.C.: I often found myself sitting in traffic, banging F.B.: Los Angeles is a character in the film as well. card, that must have been kind of great. teach and making paintings for himself. And I op this relationship with him. Usually it comes and embarked on yet another unexpected and ex- my head on the steering wheel in frustration. I D.C.: I wanted to portray the city in a holistic way, V.S.: Yeah. Francesco and Alba’s sons were my guess it was some sort of a choice he also made not through other people whose eye I respect or. citing new adventure. I had some doubts, but Vito thought, this is an individual moment for everyone, through all is components, all its nuances. very close friends, they’re still like family. to show his paintings. He said he was always look- B.C.: But what criteria do you set for yourself in reassured me, pointing out, «You worked with An- each of us locked in our box, listening to the radio or F.B.: Has success at age 32 obligated you to change B.C.: Do you think that’s given you an insight or ing for a young dealer and he was waiting for that your decision to show an artist. I think you said dy Warhol for 13 years, you have a good eye, and all making phone calls. But it’s also a collective experi- your life, your friendships? just a natural instinct for how to deal with artists, person to come around and then I showed up. sometimes, talking about different artists, that you the artists love you». (They mainly love me be- ence, all together still in the same place. Why not turn D.C.: Not radically. I still live in the same neighbor- because artists seem very comfortable with you, B.C.: It was destiny. saw something you’d never seen before. cause I tell good Warhol stories, and Andy is more this form of group isolation into something positive, hood, I see more or less the same people. But maybe you know, whether it’s Jeff Elrod or Sterling Ruby V.S.: Yeah. And we got to spend some time togeth- V.S.: Yeah. So, I look for that or for something that or less God to so many artists working today.) The something shared? I need a bit more time to understand how success or Rashid Johnson. er, I wasn’t in school at that moment, I was spend- I have seen before and they’re taking to their own first step was to come up with a unifying theme and F.B.: You’re stubborn. La La Land was benched for will change my life. V.S.: Yeah. There were lot of different characters ing a lot of time learning with Rene. And then Ron place and there can be a reference to different a title that expressed it. In going to galleries and nearly five years before you were able to get it made. F.B.: The lighting of La La Land often recalls the around when I was younger, a lot of artists, a lot of was also a teacher and we would go see different things throughout history that I find interesting visiting artists around New York, it seemed to me 182 183

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that many of the paintings and sculptures being Tree” was the title of the new album». At that global upheaval, extreme right wing politics and embodiment of the American dream. Route 190 in Death Valley Junction In the USA: Condé Nast made blurred the lines between abstraction and point the photographer began to search for the some fundamental human rights at risk. To cele- was also the road where David Lynch shot his most visionary film, Lost Chairman Emeritus: S.I. Newhouse, Jr. figuration. I was reminded of a question that An- right tree to use as the background for the fa- brate the album, as these songs seem so relevant Highway. Death Valley got its name from a group of pioneers who got lost Chairman: Charles H. Townsend dy was always asking: «How can I make abstract mous portrait that appears inside the album cov- and prescient of these times too, we decided to there in the winter of 1849. Only one member of the group died, but for ev- President & Chief Executive Officer: Robert A. Sauerberg, Jr. art that isn’t really abstract?». He successfully an- er. «I found it the second day, south of Zabriskie do these shows, it feels right for now». U2 have eryone else crossing that tract of desert was an experience so hellish that Artistic Director: swered his own question with the Oxidation Point, where I’d taken what became the cover always had a deep love affair with Italian audi- they believed it would be their grave. When you get lost in Death Valley, you paintings in 1977, the Shadows series of the fol- photo. I decided to use a panoramic lens that I ences. The band still talk about the connection have aural hallucinations of rattling snakes, death is a contant undercurrent. In other countries: Condé Nast International lowing year, and the Camouflage paintings in the was unfamiliar with to take full advantage of the they felt with the audience when they played People travel hundreds of extra miles just to avoid the loss of human con- Chairman and Chief Executive: Jonathan Newhouse 1980s. A rare neon yellow and orange example of vastness of the landscape». A week later, when “The Joshua Tree” album for the first time in Ita- tact that crossing it represents. It’s where you go to die, or flee from death. President: Nicholas Coleridge the last ended up being the centerpiece of my picking up the negatives from the lab, Corbijn re- ly at a memorable concert at Rome’s Stadio Fla- From her room at the Enterprise Motel, Joan Didion observed a group of Vice Presidents: Giampaolo Grandi, James Woolhouse, Moritz von Laffert, Elizabeth Schimel minio in May 1987; in 1997 U2’s biggest ever au- Chief Digital Officer: Wolfgang Blau show. I was originally going to call the show alized the risk he had run. The photos were all elders of the Faith Community Church across the street, singing and pray- President, Asia-Pacific: James Woolhouse “Blurred Lines”, and even thought of having the slightly blurred, with a single object in sharp fo- dience (170,000 people) was at a concert in Reg- ing. They were gathered in that trailer park to “die in the sun”. After orches- President, New Markets and Editorial Director, Brand Development: Karina Dobrotvorskaya hit song of that title blaring from speakers as peo- cus in the background: the tree. «At first I felt my gio Emilia and the live DVD of their Vertigo trating the murders on Cielo Drive, Charles Manson hid out at an old farm Director of Planning: Jason Miles ple arrived at the gallery. (Vito nixed that idea.) heart sink and thought, I screwed up. Only later tour was recorded in Milan’s San Siro in 2005. As right here, in this desert. The Barker Ranch sits in a rocky valley and can be Director of Acquisitions and Investments: Moritz von Laffert Then, driving into the city one day from my home did I realize that the photo was even more pow- Bono explains: «Us Irish may not dress as well as reached only by dirt roads riddled with potholes. In 1969 that ranch was a on Long Island, a new title popped into my head erful like that». In the portrait, Bono, The Edge, the Italians, we may not eat as well as the Ital- happy little oasis. Off from the main house was a guest house, with a cistern Global “The Age of Ambiguity”. I liked it because it had Larry and Adam have intense, proud expressions, ians, but we can sing as well as them. The home that collected water from a stream. It was here that Manson and the family President, Condé Nast E-commerce: Franck Zayan a sociological twist, and it seems to me that truly yet clouded by a veil of melancholy. «I’m still of the opera will always be the home of U2». took refuge after the murders, and it was here that they were arrested. On Executive Director, Condé Nast Global Development: Jamie Bill important art, even the most purely abstract, in proud of it. It reminds me of the faces of immi- October 12, 1969, Charles Manson was caught by a cop hiding in a closet. one way or another, is a response to or a reflection grants just landed in America. But with the suc- At the beginning of the ’60s, Joan Didion found They busted him for car theft. They quickly figured out that there was more The Condé Nast Group of Brands includes: herself in the Enterprise Motel and Trailer Park of the times in which it is made. If contemporary cess of the album, those photos were everywhere to it than a stolen car. In The White Album, Didion wrote that the ’60s end- US American artists have for some time now moved and ended up creating an image of U2 as being in Death Valley to write an essay entitled “On ed with the Manson murders. But I like to think of that desert and that ar- Vogue, Vanity Fair, Glamour, Brides, Self, GQ, GQ Style, , beyond the absolutisms of realism on one side too serious, which was a bit at odds with their Morality”. Outside it was 118 degrees. The air rest as a kind of turning point that marked both the beginning and the end Condé Nast Traveler, Allure, , Bon Appétit, , Wired, W, and minimalism on the other into an ambiguous, new status as global pop stars». To remedy the conditioning was broken so she kept the freezer of the important things that happen in California. The Timbisha Shoshone , , , Condé Nast Entertainment, The Scene, hard to define inbetween zone, perhaps it has situation, from Achtung Baby forward, Corbijn door open. She wrapped ice cubes in a cloth and tribe that Alex Ross described in the New Yorker in a sort of love letter to something to do with the fact that everything our chose to represent them in a more playful, less pressed it to the back of her neck to cool off. the secret soul of Death Valley, was living there in the mid-19th century and UK culture, our politics, our genders has become in- documentary style. «The band has always been Joan Didion was one of the first writers to inter- considered it a sacred place, full of life. A few miles from Barker Ranch, Vogue, House & Garden, Brides, , , GQ, Vanity Fair, definite, confused, even chaotic. Fortunately, when committed to social issues, but that doesn’t mean pret the cultural nuances of California from a where Manson was captured, is where “The Joshua Tree” once grew, the Condé Nast Traveller, Glamour, Condé Nast Johansens, GQ Style, Love, Wired, Condé Nast College of Fashion & Design, Ars Technica I went to see the artists I hoped would be in the that they didn’t know how to have fun. The seri- geological point of view. For her, stories that inspiration for the title of the iconic U2 album. Today, unfortunately, the show, they liked my idea and thought it was rele- ous expressions of “The Joshua Tree” are actually took place in the desert, the mountains, among tree is no longer there, but on the Lee Flat plain, in northwest Death Valley, France vant to what they were doing. Several, including due to how cold it was (to give greater coherence the waves of the Pacific Ocean, could not be sep- many more have been planted. A local biologist, James Cornett, has em- Vogue, Vogue Hommes International, AD, Glamour, Vogue Collections, GQ, AD Collector, Rashid Johnson, Jacqueline Humphries, Borna to the setting desert, Corbijn asked the musicians arated from the primordial nature of their set- braced the positivist vision of the Native American tribes. The Lee Flat Vanity Fair, Vogue Travel in France, GQ Le Manuel du Style, Glamour Style Sammak, and Jeff Elrod, made new works specifi- to take off their coats, even though it was Decem- ting. Her collections of meticulous, intimate and trees are healthier than the ones in Joshua Tree park. In a hundred years, Italy cally for this exhibition. Also in the show: ber and the temperatures were barely above visionary essays, Towards Bethlehem and The they will be the most numerous and important tree species in California. Vogue, L’Uomo Vogue, Vogue Bambini, Glamour, Vogue Sposa, Jean-Michel Basquiat, Bruce High Quality Foun- freezing, author’s note)». That image of the band White Album, contemplate the mythological as- AD, Condé Nast Traveller, GQ, Vanity Fair, Wired, Vogue Accessory, dation, Jeff Koons, Adam McEwen, Sterling Ruby, isn’t the only “misunderstanding” that came out pects of the land she loved from multiple per- La Cucina Italiana, CNLive Julian Schnabel, Jonas Wood. For me, the most of the photo shoot: the album title led many fans spectives. The exoticism of California has its COMUNICATO SINDACALE: satisfying part of the process was hanging all of to believe that the photos have been taken in roots in the warm Santa Ana winds that blow in Il 7 febbraio la Condé Nast ha licenziato una giornalista, al termine di una serie di tentativi Germany this great work and seeing the show come togeth- Joshua Tree National Park, which is in fact locat- from the desert, in the floods that sweep away fatti all’interno (e anche fuori) del tavolo sindacale aperto con l’azienda a dicembre, quando Vogue, GQ, AD, Glamour, GQ Style, Myself, Wired er. Vito and I had arrived in St. Moritz late on ed 300 kilometers to the south. «I’ve never been entire hillsides turning them into slush and mud, aveva avviato la procedura nei suoi confronti. I giornalisti Condé Nast ritengono inaccetta- Spain Wednesday afternoon from Paris, where we saw to that park, but unfortunately the misunder- in the wildfires that regularly burn the forests bile il licenziamento di una collega mentre è in atto su tutto il gruppo un contratto di solida- Vogue, GQ, Vogue Novias, Vogue Niños, Condé Nast Traveler, Vogue Colecciones, rietà difensiva volto proprio a evitare i licenziamenti e a ripartire i sacrifici economici su Vogue Belleza, Glamour, AD, Vanity Fair the beautiful Twombly exhibition at the Pompi- standing resulted in tragedy: in 2011 a pair of fans above Malibu to the ground. Death Valley for tutti i giornalisti della casa editrice. Insieme al CDR, alla Federazione Nazionale della Stam- dou Center, and celebrated our friend Alexia ventured out in search of the tree and lost their Didion is the place where one is confronted with pa e all’Associazione Lombarda dei giornalisti, chiedono con forza il ritiro di questo licen- Japan Niedzielski’s birthday at the Ritz until the early bearings. They died from sunstroke». Sadly, al- one’s own conscience. “On Morality”, which is ziamento, che è assolutamente inopportuno anche perché segue una causa vinta dalla colle- Vogue, GQ, Vogue Girl, Wired, Vogue Wedding morning hours. We went straight to the gallery, though the two were aware of the exact location part of the collection Towards Bethlehem, opens ga che contestava all’azienda il demansionamento (la sentenza ha stabilito il riconoscimento skipping lunch, and got to work. Six hours later we of the famous picture, they wouldn’t have found with the image of a car accident. The driver dies, del ruolo di caporedattore e non di caporedattore ad personam quale era al momento Taiwan were done. And my newest career was on its way. it. «It’s gone, it’s been cut down, or perhaps killed his young girlfriend survives but is in shock and dell’avvio della procedura di licenziamento). Come già evidenziato da Fnsi e Alg, il licenzia- Vogue, GQ Vito already has me thinking about the next one. by fans who took home branches as souvenirs». bleeding internally. A married couple come upon mento «è un atto gravissimo, che viola il patto siglato tra le parti, anche a livello nazionale, Mexico and Latin America Thinking back to those memorable days, Corbijn the scene of the accident and stop to help the girl con il contratto di solidarietà difensiva. La solidarietà difensiva tra l’altro è un ammortizza- Vogue Mexico and Latin America, Glamour Mexico and Latin America, AD Mexico, U2 AND ANTON CORBIJN concludes, «My only regret is not having immedi- into their car. The husband remains behind with tore sociale pagato dall’Inpgi, l’istituto di previdenza dei giornalisti, cioè dalle tasche di tutti i GQ Mexico and Latin America, Vanity Fair Mexico LOOKING BACK ately grasped the album’s full import. But that’s the body while the woman crosses 185 miles of giornalisti, proprio per evitare i licenziamenti». I giornalisti Condé Nast hanno indetto due giorni di sciopero (venerdì 10 febbraio e lunedì 13 febbraio) per protestare contro questa India by Nicola Scevola, Brian Boyd, normal: it’s difficult to realize you have a master- desert before finding a hospital. When Didion Vogue, GQ, Condé Nast Traveller, AD Chiara Barzini piece in front of you while you’re working on it». asks the woman in an interview why her husband decisione dell’azienda e chiedono all’Inpgi e a tutti gli organi competenti di valutare la legit- timità del comportamento di Condé Nast. Assieme al sindacato nazionale e territoriale valu- stayed behind, she replies that leaving a dead Published under Joint Venture: Bono is sipping on a caipirinha cocktail and body on the Death Valley highway is an “immor- teranno inoltre tutte le iniziative possibili per contrastare questa azione unilaterale aziendale. The last day of the shooting for the launch of Brazil: Vogue, Casa Vogue, GQ, Glamour, GQ Style “The Joshua Tree” had not gotten off to an ideal talking about how U2 have just discovered al act”. The subtext is that leaving a corpse in start. «We had taken some photos in a couple of there’s a reverse gear. «I’ve never been interest- Death Valley means condemning the deceased Russia: Vogue, GQ, AD, Glamour, GQ Style, Tatler, Condé Nast Traveller, Allure Per informazioni, reclami o per qualsiasi necessità, si prega di ghost towns near Yosemite Park and Death Val- ed in what we have done. I’m interested only in to be eaten by coyotes. That image of hungry Servizio Abbonamenti telefonare * Published under License or Copyright Cooperation: ley with U2. Then we stopped at an abandoned what we’re about to do. But I think there comes coyotes lurking at the roadside is a kind of visual al n.199.133.199 ,oppure inviare un fax al n.199.144.199. Indirizzo e-mail: [email protected]. introduction to Death Valley as we understand it * il costo della chiamata per i telefoni fissi da tutta Italia è di 11,88 centesimi di euro al minuto + IVA e senza scatto alla risposta. Per le chiamate Australia: Vogue, Vogue Living, GQ shack on the road to Palm Springs and Bono flew a time when it actually becomes dysfunctional da cellulare i costi sono legati all’operatore utilizzato. into a rage: for him it was a big waste of time», not to look into the past». U2 will be staring today. The California desert is a place where one Bulgaria: Glamour recalls the Dutch photographer and filmmaker deep into their past this year as – thirty years af- is confronted with a violent and pitiless nature Subscription rates abroad Subscription orders and payments from Foreign countries must be China: Vogue, Vogue Collections, Self, AD, Condé Nast Traveler, GQ, GQ Style, Anton Corbijn, who had organized the trip. «I re- ter it was first released – they tour again their that requires an equally violent and pitiless re- addressed to our worldwide subscription Distributor: Press-di S.r.l. c/o CMP Brescia, via Dalmazia 13 Brides, Condé Nast Center of Fashion & Design plied that capturing the details is as important as 1987 album, “The Joshua Tree” ( sponse from the humans that dare to cross it. I - 25197 Brescia (Italy). Subscribers can pay through Credit Card (American Express, Visa, Czech Republic and Slovakia: La Cucina Italiana taking great scenic views». Fortunately Corbijn, will release a 30th anniversary edition in early lived for many years in California, and my mem- Mastercard) or by cheque payable to Press-di S.r.l. Orders without payment will be refused. For Hungary: Glamour called by some the “fifth member of the band” June, editor’s note). They’re going back to their ories of Death Valley are mostly associated with further information, please contact our Subscription Service: phone +39 02 92961010 - fax Iceland: Glamour (and also famous for having created the image of past to make sense of their future: “The Joshua a lot of music festivals featuring the Grateful +39.02.86882869. Prices are in Euro and are referred to 1- year subscription. Korea: Vogue, GQ, Allure, W, GQ Style and directed numerous music Tree” sold 25 million copies and turned the Dub- Dead. These gatherings were called “Dead in the Middle East: Condé Nast Traveller, AD, Vogue Café at The Dubai Mall, GQ Bar Dubai videos, as well as the films Control and The lin band into global musical superstars. It was the Desert” and were held in the middle of the arid EUROPE AND AFRICA/AMERICA Poland: Glamour MAGAZINE ISSUES MEDIT. COUNTRIES American), had already earned the trust of the album that changed everything for them and a steppe. I did not understand the appeal of stand- PER YEAR ASIA/AUSTRALIA Portugal: Vogue, GQ (ORDINARY MAIL) (AIR MAIL) Irish musicians by shooting the photos for their four month summer tour (with dates in Rome’s ing 100-degree heat without a trace of shade Romania: Glamour three previous albums. And it would seem that Olympic Stadium on July 15 and July 16) will while dudes of a certain age wearing tie-dye Russia: Vogue Café Moscow, Tatler Club Moscow give them a working holiday before a new studio t-shirts howled “Fire on the Mountain” from the AD 11 € 80,00 € 135,00 even the title of the new album, which would turn South Africa: House & Garden, GQ, Glamour, House & Garden Gourmet, GQ Style U2 into international rock titans, was his idea. album is released (maybe already at the end of stage. But after a few days in the desert, my per- GQ 10 € 52,00 € 82,00 The : Glamour, Vogue «At the beginning of the trip it was going to be 2017). With the recent Brexit/Trump political spective changed. It became easier to see why TRAVELLER 4 € 25,00 € 35,00 called “The Desert Songs” or “The Two Ameri- turmoil and the future of the EU in some doubt, Oliver Stone had imagined the psychedelic re- GLAMOUR 11 € 58,00 € 74,00 Thailand: Vogue, GQ, Vogue Lounge Bangkok cas”. This is why I had chosen California’s deserts the band believe that the ideas and hopes ex- birth of Jim Morrison in those places, why An- VOGUE ITALIA 12 € 87,00 € 157,00 Turkey: Vogue, GQ, Condé Nast Traveller, La Cucina Italiana, GQ Style, Glamour as the setting. But on the first day I told Bono the pressed on the 1987 album will have a new rele- tonioni chose Zabriskie Point as the setting for a L’UOMO VOGUE 10 € 71,00 € 112,00 Ukraine: Vogue, Vogue Café Kiev story of a tree in one of those deserts that the vance to this year’s audiences. “The Joshua Tree” film about the counterculture of the ’60s and the VOGUE ACCESSORY 4 € 23,00 € 38,00 Mormon settlers had named the Joshua Tree, be- was written as a love/hate letter to America – a collision between the innocence of a generation VOGUE BAMBINI 4 € 33,00 € 47,00 cause its branches recalled the arms of the proph- love of the country’s cinema, music and litera- and the birth of American corporate culture. The VOGUE SPOSA 2 € 17,00 € 25,50 et Joshua raised to the sky, exhorting his people ture and a dislike for a right-wing Republican music of Pink Floyd, the Grateful Dead, Patti VANITY FAIR 49 € 175,00 € 241,00 Direttore Responsabile: Emanuele Farneti. Copyright © 2017 per le Edizioni Condé Nast. Registrazione del Tribunale to follow him to the Promised Land. The next government. Guitarist The Edge says «It seems Page and Kaleidoscope belonged to that geogra- LA CUCINA ITALIANA 12 € 88,00 € 130,00 di Milano n. 371/67 del 5-12-1967. La Edizioni Condé Nast S.p.A. è iscritta nel Registro degli Operatori di Comuni- morning, Bono came down to breakfast with a like we have come full circle from when “The phy, without a doubt. There was no better place cazione con il numero 6571. Tutti i diritti riservati. Spedizione in abbonamento postale - D.L. 353/03 Art. 1, Cm. 1, Bible in hand and informed us that “The Joshua Joshua Tree” songs were originally written with to blow up a typical, happy suburban home, the DCB - MI. Distribuzione per l’Italia: SO.DI.P. «Angelo Patuzzi» S.p.A. via Bettola 18, 20092 Cinisello Balsamo (Mi), Our Magazines are distributed abroad by: Speedimpex (USA, Australia); sole agent for distribution tel. 02.660301, fax 02.66030320. Stampa: Nuovo I.I.A.G. Bergamo • Numeri arretrati € 10,00. Inviare importo a IeO in the rest of the world: A.I.E. – Agenzia Italiana di Esportazione Srl - Via Manzoni, 12 – 20089 Informatica e Organizzazione Srl Ufficio Arretrati, a mezzo c/c postale n. 56427453, tel. 039.5983886 - fax 039.9991551 ROZZANO (MI) Italy - Tel. +39 02 5753911 – Fax. +39 02 57512606 e-mail: [email protected] e-mail: [email protected]. Per spedizioni all’estero maggiorare l’importo di € 2,50 per le spese postali. 184

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