Roberto Cuoghi Selected Press Galerie Chantal Crousel Tion Attheprojectspace

Home , Deste Foundation

Galerie Chantal Crousel Roberto Cuoghi Selected Press Galerie Chantal Crousel tion attheProjectspace. Museum), theDESTEFoundation hastappedRobertoCuoghitocreateits annualsite-specificexhibi by emerging GreekandCypriotartistsat Athens’s BenakiMuseum(organized withNew York’s New This summer, inadditiontoits“TheEqualibirists”exhibition(June17–September10,2016)ofwork natural nextstopforthosetravelingfromlastweek’s Art Baselfair. each summer. Forthoseluckyenough tosnagacovetedinvitation,thefoundation’s annualpartyisa Foundation ProjectspaceSlaughterhouseHydra, welcomes theartworld’s internationaljetsetcrowd The picturesqueGreekislandofHydra,hometo collector andindustrialistDakisJoannou’s DESTE The nextstoponthewhirlwindEuropean arttour isthe Roberto Cuoghi’s performanceattheopeningof«Putiferio» DESTEFoundationProjectspace See PhotosoftheMostExclusiveSummer Art Event Cascone, Sarah. «See Photos of theMostExclusive SummerArtEvent», Cascone, «SeePhotosof Sarah. https://news.artnet.com/exhibitions/hydra-deste-foundation-roberto-cuoghi-putiferio-523583 Slaughterhouse Hydra.CourtesytheDESTEFoundation. Sarah Cascone,June22,2016 Grecian island. Art netnews, June, 222016. - Galerie Chantal Crousel including avolcanic-looking number perchedontheedgeof a cliff, overlooking thesea. To thatend,there’s plentyoffireandbrimstone, asCuoghihascreatedanumberofdifferent kilns, tion description“mayalso signifychaosorasmalltasteofhell.” The showistitled“Putiferio,” whichmeans“stink”or“ruckus”inLatin, andaccordingtotheexhibi Roberto Cuoghi’s performanceattheopeningof“Putiferio”DESTEFoundationProjectspace Roberto Cuoghi’s performanceattheopeningof“Putiferio” DESTEFoundationProjectspace Cascone, Sarah. «See Photos of theMostExclusive SummerArtEvent», Cascone, «SeePhotosof Sarah. https://news.artnet.com/exhibitions/hydra-deste-foundation-roberto-cuoghi-putiferio-523583 Slaughterhouse Hydra.CourtesytheDESTEFoundation. Slaughterhouse Hydra.CourtesytheDESTEFoundation. Art netnews, June, 222016. - Galerie Chantal Crousel Roberto Cuoghi’s performance at theopeningof“Putiferio” at theDESTEFoundationProjectspace Roberto Cuoghi’s performance at theopeningof“Putiferio” at theDESTEFoundation Projectspace Cascone, Sarah. «See Photos of theMostExclusive SummerArtEvent», Cascone, «SeePhotosof Sarah. https://news.artnet.com/exhibitions/hydra-deste-foundation-roberto-cuoghi-putiferio-523583 Slaughterhouse Hydra.Courtesy theDESTEFoundation.n. Slaughterhouse Hydra.CourtesytheDESTEFoundation. Art netnews, June, 222016. Galerie Chantal Crousel after all)toviewsofJoannous’s yacht,Guilty, paintedbyhisgoodfriend Jeff Koons. rything fromafabulousGreek-stylebarbecue(thefoundationislocatedinsideformerslaughterhouse, Here’s anInstagram-basedrundownonthefestivitiesinHydra,whereguestshavebeenenjoyingeve https://instagram.com/p/BGrbfG-sIws/ Joannou, asquotedby Vulture, “IrespondthatIdowhateverwant.” that’s nosurprisecomingfromJoannou.“WhenpeopleaskhowIdefineDESTE’s program,”wrote The Italianartist’s installationmaypushtheenvelopeinacountrydealingwithseriousconcerns,but flaming hotovenstocreateadditionalsculpturalworks. Guests attheshow’s openingcelebrationwitnessedaliveperformancefromCuoghi,whobravedthe blended mixesofproteinsandyeast,shapedintostrangecrabsculpturesothercuriousobjects. The resultingworkismadefrommaterialsasvariedwood,newspapers,rawclay, andcustom- Cascone, Sarah. «See Photos of theMostExclusive SummerArtEvent», Cascone, «SeePhotosof Sarah. https://news.artnet.com/exhibitions/hydra-deste-foundation-roberto-cuoghi-putiferio-523583 Art netnews, June, 222016. - Galerie Chantal Crousel Cascone, Sarah. «See Photos of theMostExclusive SummerArtEvent», Cascone, «SeePhotosof Sarah. https://news.artnet.com/exhibitions/hydra-deste-foundation-roberto-cuoghi-putiferio-523583 Art netnews, June, 222016. Galerie Chantal Crousel Cascone, Sarah. «See Photos of theMostExclusive SummerArtEvent», Cascone, «SeePhotosof Sarah. https://news.artnet.com/exhibitions/hydra-deste-foundation-roberto-cuoghi-putiferio-523583 Art netnews, June, 222016. Galerie Chantal Crousel Cascone, Sarah. «See Photos of theMostExclusive SummerArtEvent», Cascone, «SeePhotosof Sarah. https://news.artnet.com/exhibitions/hydra-deste-foundation-roberto-cuoghi-putiferio-523583 Art netnews, June, 222016. Galerie Chantal Crousel Cascone, Sarah. «See Photos of theMostExclusive SummerArtEvent», Cascone, «SeePhotosof Sarah. https://news.artnet.com/exhibitions/hydra-deste-foundation-roberto-cuoghi-putiferio-523583 Art netnews, June, 222016. Galerie Chantal Crousel DESTE’s Slaughterhouse artspaceontheisland ofHydra. Putiferio exhibition by Italian artist Roberto Cuoghi, which opened with a full-moon performance at A similar story about destruction and the inevitable disintegration of everything can be foundinthe Invasion ofcrabs Roberto Cuoghi.Putiferio.DESTEProjectSpace Slaughterhouse,2016Hydraisland. http://www.arterritory.com/en/lifestyle/culture_traveler/5734-art_roads_lead_to_athens/ Meistere, Una.«Artroads leadtoAthens», Art roads leadto Athens Photo: Ainārs Ērglis Una Meistere 05/07/2016 Art Territory ,

July 5,2016. Galerie Chantal Crousel assistants inbrightly-colouredglovesbustledaboutlikeunearthlyalchemists. above the Aegean Sea,theairwasheatedbybothnatureand Cuoghi’s kilns,whiletheartistandtwo – from current geopolitical issues to the goblins in oursubconsciousminds. With the full moon gleaming then “invaded” andoccupied thespaceinsideformerslaughterhouse,formingall sorts ofassociations colours and forms various in creatures ceramic The evening. the throughout intensity unflagging with crabs the “birthed” materials, flammable of manner other all and garbage firewood, with fuelled kilns, unnecessary amidst the assault of wasps,andthushegotthe idea for asymbolic invasion of crabs. The full ofwasps’bition, theformerslaughterhouse buildingwas nests.Hefeltunwelcome,unwantedand hell”. When CuoghiarrivedonHydrainJanuaryofthisyearordertodeveloptheidea for theexhi the fragile border between the divine and diabolical. In Latin, putiferio can also mean “chaos” or a“small to mind a unique sacrificial ceremony, with the audience also playing a part in the ritual that balanced on a surrealkiln,withceramic ovens ofvariousformsandsizessmokingallaround. The processbrought In thesummerheatjustbeforeMidsummer, Cuoghiturnedtheareaaroundformerslaughterhouseinto http://www.arterritory.com/en/lifestyle/culture_traveler/5734-art_roads_lead_to_athens/ Meistere, Una.«Artroads leadtoAthens», Roberto Cuoghi. Photo:UnaMeistere Art Territory ,

July 5,2016. - Galerie Chantal Crousel required surgical intervention. Buteventhesurgery waslatertransformedinto art. wished toreturnhisnatural roleinlifeandtime, the processendedupbeing painfulandsloweven Cuoghi death, father’s his after when, – dearly quite artist the cost project this fiction. True, and reality dressing andbehavinglike hisfather, therebyalmost physicallyknockingdownthe border between and continued it for several years. During that time, Cuoghi gained weight, grew a long beard, and began father.the artistoutpacedtimeandportrayedhisown Hebegantheperformancein1998,atageof25, themes inCuoghi’s art.Oneparticular performance of hishasalready become a thingoflegend–init, tion withtheDESTEfoundation. The ideaofcontinuoustransformation and changesisoneofthemain year theartist curated the Ametria exhibition at the Benaki Museum, whichwasorganised in collabora Cuoghi isalsorepresented in Joannou’s artcollection and isoneofthecollector’s favourite artists. Last water bottleinonehandandafirepokertheother)justsaid,“I’mcrazyperson,too.” In responsetothecomment “Whatacrazyproject”, Cuoghi (longlostinthetranceofartistic creation, a Roberto Cuoghi.Putiferio.DESTEProjectSpace Slaughterhouse,2016Hydraisland. http://www.arterritory.com/en/lifestyle/culture_traveler/5734-art_roads_lead_to_athens/ Meistere, Una.«Artroads leadtoAthens», Photo: UnaMeistere Art Territory ,

July 5,2016. - Galerie Chantal Crousel was the first film in which Loren spoke English and also the first Hollywood film to befilmed inGreece. It there. filmed was role, leading the in Loren Sophia with (1957), Dolphin a on Boy when 1950s, the in long beenafavouriterelaxation islands andhas spot forGreece’s aristocracy. Itspopularityonlygrew Hydra, located amere 1.5-hour ferryride from Athens, isconsidered one ofthe country’s mostromantic Cattelan, Doug Aitken, Pawel Althamer andPaulChan. created specifically for the space. Previous artists have included Urs Fischer, Matthew Barney, Maurizio year devoting the former slaughterhouse to a single artist or artists’ group asa home to a work ofart Cuoghi’s Putiferio project, for its part, continues a tradition established by DESTE in 2009, namely, each Roberto Cuoghi.Putiferio.DESTEProjectSpaceSlaughterhouse,2016Hydraisland. http://www.arterritory.com/en/lifestyle/culture_traveler/5734-art_roads_lead_to_athens/ Meistere, Una.«Artroads leadtoAthens», Photo: Ainārs Ērglis Art Territory ,

July 5,2016. Galerie Chantal Crousel Roberto Cuoghi.Putiferio. DESTEProjectSpaceSlaughterhouse,2016Hydra island. http://www.arterritory.com/en/lifestyle/culture_traveler/5734-art_roads_lead_to_athens/ Meistere, Una.«Artroads leadtoAthens», Photo: UnaMeistere Art Territory ,

July 5,2016. Galerie Chantal Crousel openings atthe DESTEProjectSpace Slaughterhouse,giving theeventsatrulydiverse feel. Glamorous international guests aswelllocalsandtouriststotheisland are allwelcome at exhibition arrives inHydra’s small harbour, itmarksthesymbolic beginning of summer andtheculture season. large Greek family. When Joannou’s yacht, the Guilty (which is painted with camouflage by Jeff Koons), get lostinHydratown– everyone here knowseach other, andvisitorsfeellike they’ve arrived into a because there’s simply no need for it. There’s alsononeed for amap, because it’s almost impossible to centres around themarble-paved port andthequaint nearby streets.Most ofthehousesarenotnumbered, cal heritage is carefully preserved, there are alsononew, modernbuildings on Hydra,andlife mostly a very shortwhile to adjust to the much slower and calmer rhythm of life. Because the island’s histori visitors takes only usually it But taxi. water or island) the on animals the of 500 over are (there donkey bicycles, duetothesteepandcobbledroads. The onlyformsoftransportation here arewalking,ridinga A triptoHydraisliketravelling back intime. There arenoautomobiles on theisland,norarethereany Roberto Cuoghi.Putiferio.DESTEProjectSpaceSlaughterhouse,2016Hydraisland. http://www.arterritory.com/en/lifestyle/culture_traveler/5734-art_roads_lead_to_athens/ Meistere, Una.«Artroads leadtoAthens», Photo: UnaMeistere Art Territory ,

July 5,2016. - Galerie Chantal Crousel using refractory clay, butalsoinporcelain and cast iron. The crabs were then installed throughout the During the performance, Cuoghi produced about100crabs indifferent colorsandpatterns, mostly experimented witharchaic ceramicfiringtechniques. Cuoghi where camp site-specific a into Slaughterhouse the surrounding area the of transformation the according to DESTE,“Putiferio” was inaugurated with an opening night performance that involved With a title that in Latin means “to bring the stink,” but can also “signify chaos or asmall taste of hell,” the characteristicsandpropertiesofmaterials. Using adiverse range of materials such asclay, wood,newspaper, andinvented mashes, Cuoghiexplores investigation into the potential of transforming familiar materials into chaotic and disturbing assemblages. Continuing Cuoghi’s ongoingengagement with theconcepts of metamorphosis, “Putiferio” is an what hedescribesasfacing“complexideasiconographically” animation, and soundtoexploreissuessurroundingtransformation, identity, death,memory, andtime – Hydra isamajorexhibition by Italian artist Roberto Cuoghiwhoworksinpainting, drawing, digital “Putiferio” at theDESTE Foundation’s Project Space intheformerSlaughterhouseonislandof (© Photo:Fanis Vlastaras &RebeccaConstantopoulou) «PUTIFERIO» byRobertoCuoghi http://www.blouinartinfo.com/news/story/1443379/roberto-cuoghis-post-apocalyptic-putiferio-on-hydra-greece Forrest, Nicholas. «Roberto Cuoghi’s Post-Apocalyptic onHydra, ‘Putiferio’ Greece», Blouin Art Info ,

July 1,2016. Galerie Chantal Crousel “PUTIFERIO: A ProjectbyRobertoCuoghi”runsthroughSeptember30at DESTEProjectSpace father’s mannerisms,anddressinginhisfather’s clothes. in hismid-twentiestoamansixtieslikefather, gainingweight,dyeinghishair, adoptinghis took place between 1997 and 2005, when he literally transformed himself from a pierced punk artist Born in Milan in 1972, Cuoghi is best known forhis extreme seven-year performative experiment, which sugar, andflour. Otherpieceswerecolouredusingareductionprocess. made totheartist’sthree-day fermented,smelly brews personal recipesusingyeast,milkproteins, own fire the bisqued pieces while a five-chamber kiln was used to fire pieces that had been coloured using two to used were kilns Paper Cuoghi. by created both kilns, of types different two in place took firings The scene fromapost-apocalyptichorrorfilm. Slaughterhouse, creating a dramatic and theatrical environment reminiscent of somesortcrabinvasion http://www.blouinartinfo.com/news/story/1443379/roberto-cuoghis-post-apocalyptic-putiferio-on-hydra-greece Forrest, Nicholas. «Roberto Cuoghi’s Post-Apocalyptic onHydra, ‘Putiferio’ Greece», Clashed withwaspstheycametoslaughter Smoke andflames,stinkfroth, Candidates from thedeepwater Unarmed, more deadthan alive The candidatesintheeventide Splashing inasulfurous broth Oh myfellowspleasebeware! Pinching here, bitingthere, Took your logicfor aride Fished outattheseaside Slaughterhouse inHydra. Blouin Art Info ,

July 1,2016. Galerie Chantal Crousel http://www.blouinartinfo.com/news/story/1443379/roberto-cuoghis-post-apocalyptic-putiferio-on-hydra-greece Forrest, Nicholas. «Roberto Cuoghi’s Post-Apocalyptic onHydra, ‘Putiferio’ Greece», Blouin Art Info ,

July 1,2016. Galerie Chantal Crousel «Roberto CuoghiDESTEFoundation /Atene», http://www.flashartonline.it/ Flash Art 328 ,

July/August/September, 2016. Galerie Chantal Crousel «Roberto CuoghiDESTEFoundation /Atene», http://www.flashartonline.it/ Flash Art 328 ,

July/August/September, 2016. Galerie Chantal Crousel a feastofvillagepiesand grilledmeat. day thesunentered Cancer: June20;aStrawberryMoon that the inauguration of Putiferio marked with the and moon, full a with coincided solstice summer the that years 50 in night first the on purposefully to mention the longtradition ofkiln-workinthe region itself. The opening performance was also staged that is boundtocontext, in that it was the island that inspired Cuoghi toproducesuchanintervention, not following YouTube videos). The result is amesmerising installation (on showto30September 2016) in kilns built outside and above it, apparently modelled after various cultures (and constructed by which Roberto Cuoghi fired clay and metal crabs to fill DESTE’s project space (a former slaughterhouse) on Hydratitled Putiferio (which in Latin means ‘bring the stink’, ‘chaos’, or ‘a small taste of hell’), for The secondpartofDESTE’s summershowconsistedofanopeningperformance at theSlaughterhouse Bailey, Stephanie. «The from Equilibrists:Areport Greece», https://ocula.com/magazine/reports/the-equilibrists-a-report-from-greece/ Ocula ,

July 21,2016. Galerie Chantal Crousel under the Arcadian skyfrom10pm to1amwatchinga flickeringMorsecode of filmedits. fourth cycle of Eniaios, which translates to both‘unity’ and‘uniqueness’ duringwhichvisitorswouldsit P. of the edition marked year 1979 this showing the The Film.). Visionaryfrom cinema, American on removed publication Sitney’s be Adams work his on chapter a requested also (He distribution. from a was US the of out move considered reaction: Markopoulos was The abandoning the experimental shown. film scene, even removing hisbe work it insisted which he during where 1967, and in Eniaios, Europe on worked for Markopoulos US the leaving after 1980s, in Arcadia to came Markopoulos and 1990. and 1948 between conceived was and cycles 22 into broken film 16mm Beaver goes, story the As silent 80-hour an is Eniaios Markopoulos. Movement’Cinema Gregory ‘New American the of founder co- and filmmaker avant-garde Greek-American of work final the Eniaios, showing been has Beavers Robert filmmaker 2004, since where, is This Lyssareia. of village Arcadian the near field a in located My tripendedinthemountains,withanotherpastoral performance at the Temenos, anoutdoorscreening curated byChristopherMarinos. to thebeautiful solo showat the Cultural Foundation of Tinos ofworkby Vlassis Caniaris, sensitively Rallou by curated exhibition group a where Panagiotou wascoupledwithsoloexhibitions of paintingsbyPanosPapadopoulosandCacaoRocks, Mykonos, on Horia Dio space project the from season, The pastoralundertonesofCuoghi’s Slaughterhouse offering wereechoedthroughouttheGreeksummer Bailey, Stephanie. «The from Equilibrists:Areport Greece», https://ocula.com/magazine/reports/the-equilibrists-a-report-from-greece/ Ocula ,

July 21,2016. Galerie Chantal Crousel currently afflictingtheEuropeanUnion. or eventhe dystopian afterimage the country has since offered whenit comes to the deeper malaise the by symbolised Parthenon, appropriated as it was in recent times as to represent the core values of western civilisation, Greece of image classical the like ideal An Ithaka. Cavafy’s universal—as and evocative— as place a Arcadia, landscape: the enters one when clear becomes decision this of beauty central a also but Neda, site in the resistance against river Turkish occupation, and where Markopoulos staged his own rebellion. The the and Epicurius Apollo of temple the Pan, of realm it—the that coastline delineate and rivers, mountains, the by defined region a in there be to all us wanted who man the of eyes the through see to opportunity an is It night. by Eniaios of screen flickering the experience and understand why. The point of Eniaios is being there over the three days in order to roam Arcadia by day, voice trailing off asfar as their gaze. With experience, as Markopoulosseemed to have intended it, I the Greek art scene at one point in their lives, it seems—they almost always say:‘it’s amazing’, their of majority Temenosthe to it’sis been what like—which have who past the in people asked I’ve When Bailey, Stephanie. «The from Equilibrists:Areport Greece», https://ocula.com/magazine/reports/the-equilibrists-a-report-from-greece/ Ocula ,

July 21,2016. Galerie Chantal Crousel —[O] or formal conviction, to balance things out. Nomatter howbadthe odds, nomatter how bleak the future. Beavers shout‘reelchange’ throughthedarkness,soexperience of Greeceisnothadwithouthope, down, seeing the screen go black, feeling the bite of the mosquitos at your ankles, and hearing Robert Indeed, just as the experience of Temenos is not complete without hearing the sound of the projector wind times, forbetterorworse.) operandi, for instance, or the launch of a cultural centre like the SNCC, conceived pre-crisis, in the boom modus filmmakers’ visionary a of continuation (The minimal. seemingly are efforts these if even and things moveforwardfromhere,despite the wayinwhichcrisishascome to effect society at everylevel, that the text—as valid as itspointsare—discounts the fact that there are real efforts being made in how be onhandinassistingthe state in supportingthe centre until it could run onitsown). You might say support such a thing (even though the foundation clearly stated in a recent press conference that it would Stavros Niarchos Cultural Center for its grandeur, questioning whether or not the state would be able to Visting Temenos was a fitting way to leave Greece. Days earlier, I’d read a Guardian article damning the Bailey, Stephanie. «The from Equilibrists:Areport Greece», https://ocula.com/magazine/reports/the-equilibrists-a-report-from-greece/ Ocula ,

July 21,2016. Galerie Chantal Crousel sacrifice totheGods,on this,theeveofsummersolstice. of kind a form fires and kilns many the as hours for on water.goes of process cauldron The giant a in it bathe then and style Japanese ancient the in dust clay with it sprinkle to “girlfriends”) as self-described both are women (the apron golden a with assistants two his of one of help the with crustacean clay fiery to protect him from the intense flames of a giant handmade kiln readies a giant pair of tongs to retrieve a The sunisjustsetting over thehotandscrubbyislandofHydraasorcererwithscarf andahelmet CultureZohn: The DesteFoundation: As Greece Struggles, http://www.huffingtonpost.com/patricia-zohn/culturezohn-the-deste-foundation-as-greece-struggles-the-private-sector-steps- Zohn, Patricia. The «CultureZohn: DesteFoundation: Struggles, AsGreece The Private SectorStepsUp», The PrivateSector StepsUp The Huffington Post,June, 23,2016. 06/23/201606:30pm up_b_10624916.html Galerie Chantal Crousel beds inafterbirth. dirt their in snug creatures friendly the charming, even authentic, and real very becomes instead mance perfor the intensely work partners two his and artist the and up, pile lobsters and crabs clay Yetthe as nervous thatIamparticipant insomethingsuperfluoustothemigrantand economiccrisesathand. am I Christo the with discipline. As staid once the around swirl now that events the of many infects so that upsmanship one the world, art contemporary the in artifice and pretention for guard on always am I witches chant. Double Double Toil and trouble fire burn and cauldron bubble is what comes to mind, the Shakespearean are transfixedbythesmokeandfirepouringout ofthekilnsinexhibitentitledPutiferio. all pilgrimages), June annual the Zurich, Christo, Basel, (Art eventing world art with saturation the and however heat the Despite souvlaki. and smoothies, cob, the on corn pies, cheese on munching artists— the international art-crowd arrayed above artist-sorcerer Italian Roberto Coughi—one of hisfavored joins heat, intense the in body his to stuck shirt beige a in attired modestly himself who Joannou, Dakis magnate industrial Greek-Cypriot by founded see”), (“to Foundation Deste the of retreat annual the is It Coughi aftertheperformance http://www.huffingtonpost.com/patricia-zohn/culturezohn-the-deste-foundation-as-greece-struggles-the-private-sector-steps- Zohn, Patricia. The «CultureZohn: DesteFoundation: Struggles, AsGreece The Private SectorStepsUp», The Huffington Post,June, 23,2016. up_b_10624916.html - Galerie Chantal Crousel Yet ontheroofof a cementhutbelowiswhatCoughicallingtheCrabCemetery. pre- a like objects and school full of walls wayward toddlers failing at to conflict resolution more than athemselves cadre of crabs offattach to their death. and hang crawl, creep, crustaceans the the down hill, artist— craggy invited each by repurposed annually site Deste Slaughterhouse—the ancient the In Crustaceans inSlaughterhouse http://www.huffingtonpost.com/patricia-zohn/culturezohn-the-deste-foundation-as-greece-struggles-the-private-sector-steps- Zohn, Patricia. The «CultureZohn: DesteFoundation: Struggles, AsGreece The Private SectorStepsUp», The Huffington Post,June, 23,2016. up_b_10624916.html Crab Cemetery Galerie Chantal Crousel straightforward, hewon’t sayhelikeswhatdoesn’t.” very time same the at and minded, open really and person sharp-witted he’sa artist’slife; an in lestone mi- it’sa Dakis with touch in get to that believe “I says, retreat, the joined has who Catalan, Maurizio I seethatJoannouinspiresbothingenuesandveterans. designed boat (called Guilty) that sits in the Hydra harbor is the flip side of his populist magnanimity. But chip artists— all over the world in their quest to blue make their art. emerging—andThat he also has an supported enormous Jeff Koons historically has he way, sincere very a in art about Passionate gap. the bridge to tried way own his in has authentic, entirely as me impresses who collector serious a Joannou, petition forrecognitionsomethingotherthan theirbusinessacumenisdifferent foreach. com the in derive citizens wealthy these benefit artists. What many sustains that wealth private often is it US, the in as Just me. haunt does .001% the of role the vis a vis artists of role the about questions The Coughi, themorningafter committed toaphysical,performativepracticewhichhasendearedmethem. ring the broken objects. In the light of day, they are less sorcerers and witches than tired artists who have Early the following morning Cuoghi, Duchamp-ian, and his assistants/amours are cleaning up and repai http://www.huffingtonpost.com/patricia-zohn/culturezohn-the-deste-foundation-as-greece-struggles-the-private-sector-steps- Zohn, Patricia. The «CultureZohn: DesteFoundation: Struggles, AsGreece The Private SectorStepsUp», The Huffington Post,June, 23,2016. up_b_10624916.html - - Galerie Chantal Crousel Joannou isleadingthepack. now hometomanyfoundations that contribute to contemporary art andartistsinameaningful way and is Greece age”. the Vanderbiltslater to a compared of be Rockefellers well the might or that family a to belonged instance, for Pericles, power... covet to and hold to continued history city’s the in era earlier an of families aristocratic great the says,” Mendelsohn Daniel professor Bard back, further Even trade. long standinghomeasapreserveofwealthand bountyfromitsroleintheancient lucrative shipping display of whose arms, trophy heroes medallions and war sumptuous decorated costume at highly the local the history museum from testify different to Hydra’s that not probably are show and flourish Yethis Joannou boatGuiltydesignedbyJeff Koons http://www.huffingtonpost.com/patricia-zohn/culturezohn-the-deste-foundation-as-greece-struggles-the-private-sector-steps- Zohn, Patricia. The «CultureZohn: DesteFoundation: Struggles, AsGreece The Private SectorStepsUp», The Huffington Post,June, 23,2016. up_b_10624916.html Galerie Chantal Crousel Installation view, DesteFoundation/New Museum/Benaki Museum, The Equilibrists are particularlypiercinginthiscountrywhichisfallingoff afiscalcliff. which challenges economic the down faced have Greece— in living all not who—though artists native these culled have they visits, studio 100 and submissions 500 over From Benaki. the of branch newer New the the at Deste New the in from Museum Yorkfrom support with Equilibrists, project, The art collaborative a in Gioni Massimiliano and Christofferson Helga Carrion-Murayari, Gary curators by ted selec meticulously been have artists Greek young 33 island, the on pyrotechnics the to counterpoint In Donkey paradeattheportofHydra http://www.huffingtonpost.com/patricia-zohn/culturezohn-the-deste-foundation-as-greece-struggles-the-private-sector-steps- Zohn, Patricia. The «CultureZohn: DesteFoundation: Struggles, AsGreece The Private SectorStepsUp», The Huffington Post,June, 23,2016. up_b_10624916.html - Galerie Chantal Crousel gallerists andartistshave animportantroleintheexhibitionisanotherhopeful sign. in year.place next take curators, Athens will women 14 That Documenta exhibition art the of site a that self-organizationthis that artists, need.” the of with out on comes solidarity and Ais news hopeful of bit what’sgoing “romanticize shouldn’t I that me reminds Christofferson Curator challenges. political and “Athens York),says, New economic harsh distinctly the affordable,of e.g face Berlin,” the new in the artists be to could congenial to travel not will exhibition (this board her on seat his of because scrutiny Lisa Phillips, director of the New Museum whose previous collaboration with Dakis Joannou came under Installation view, DesteFoundation/NewMuseum/BenakiMuseum, The Equilibrists it mustbehardtoyou) bedroom my else/In somebody fucked I birthday his floor/For the from drink me made hard/He dick his Gerontides and the printed feminist t-shirts by Eleni Bagaki (entitled with singular precision, Tears made Giorgos by life a of accumulations the Stevi, Sofia of canvases unstretched the Gaitanidou, Zoi by dery video attempts of Orestis Mavroudis to fly, the meticulous updating of the traditional art of GreekJetsons-like Deste/Benaki/New Yannisof embroi the cities Karpouzis, tent the ersatz the are in engaging Especially exhibition. aplenty Museum humor also is there challenges, the despite pathos, is there Though was supposedlyfinishedmorethantwoyearsago. in. selves Ait though Contemporary around of fence Museum construction National iron an has still Art start up galleries, forming collectives, eager to not be marginalized by the perilous straits they find them The artists in turn have marshaled resources, supporting each other on video productions, engaging with http://www.huffingtonpost.com/patricia-zohn/culturezohn-the-deste-foundation-as-greece-struggles-the-private-sector-steps- Zohn, Patricia. The «CultureZohn: DesteFoundation: Struggles, AsGreece The Private SectorStepsUp», The Huffington Post,June, 23,2016. up_b_10624916.html - - Galerie Chantal Crousel museum, the polychrome heads of women are prominently displayed amidst the male, military splendor. historical Hydra the at Even magnificent. and modern is history Greek of stage every at layered jewelry the and and embroidered highly are costumes women’s the branch), (original Museum Benaki the At Ancient Fischli/Weiss tor Shelby White. OneminisculpturefromthestoragevaultslooksremarkablylikeFischli/Weiss. forlorn corner, after all the brouhaha over its return to the Greek patrimony, the vase of American collec overwhelming but I make my way through the centuries of gold and marble, passing alas, in a somewhat are holdings vast the Museum the Anthropological at place; of pride have heads their on pediments the can follow as she battles alongside her serpent, the Korai (maidens) who serve and Caryatids supporting of strong women throughout Greek mythology. At the Acropolis Museum, there is an “Athena” path one portrayals of tradition ancient the of reminds museums historic Athens the to visit kamikaze Aone-day Female mask,1stcentury AD http://www.huffingtonpost.com/patricia-zohn/culturezohn-the-deste-foundation-as-greece-struggles-the-private-sector-steps- Zohn, Patricia. The «CultureZohn: DesteFoundation: Struggles, AsGreece The Private SectorStepsUp», The Huffington Post,June, 23,2016. up_b_10624916.html - Galerie Chantal Crousel tradition. ancient to succumbing not are artists Greek female Certainly home.” at stay and must women coffee the and have chat) and out hang kafenion,(and the to go men still, But villages. the run they and strong, very are women Greek think I house. the to constrained were they life, public official the of part not but Bastienne Schmidt, a German /Greek artist who lives in New York says, “Women were put on a pedestal Terracotta sphinx,630BC http://www.huffingtonpost.com/patricia-zohn/culturezohn-the-deste-foundation-as-greece-struggles-the-private-sector-steps- Zohn, Patricia. The «CultureZohn: DesteFoundation: Struggles, AsGreece The Private SectorStepsUp», The Huffington Post,June, 23,2016. up_b_10624916.html Galerie Chantal Crousel contribution. Artists themselvesarenotexemptfrommyantennae. perilous journeytosafety andfreedom. Ai hasalsomadeawallpaperofselfies withtherefugeesashis of theworkmostlyamateur photographerswhohavedocumentedthethousands offamiliesriskingthe his ownexhibit Ai Wei Wei hascuratedtobringattentionthe refugeecrisisonLesboswithadisplay At theCycladicmuseum,afterseeingmoreextraordinary sculpturesofwomen,Ipauseatasidebarto Cycladic Museum http://www.huffingtonpost.com/patricia-zohn/culturezohn-the-deste-foundation-as-greece-struggles-the-private-sector-steps- Zohn, Patricia. The «CultureZohn: DesteFoundation: Struggles, AsGreece The Private SectorStepsUp», The Huffington Post,June, 23,2016. up_b_10624916.html Galerie Chantal Crousel version ofthecrabcemetery. artist-warriors intotheworld—Hydrated viatheDesteFoundation—sothey don’ Dakis Joannouisnotthus attired.Butinaway, Ifeelheisamajorgeneralproudlysending forthyoung long andmustembracethenew. ded thattheGreekgovernmentalsohasunderstood thattheycanrelyontheirantiquitiesforonlyso med shoesandfesihatseveninthecrushingheat, theirlongswordsraisedhighinsalute,Iamremin At thechangingofguardatParliamentwhere soldiersweartheirwoolleggingsandpom-pom Changing oftheGuardatParliamentbuilding http://www.huffingtonpost.com/patricia-zohn/culturezohn-the-deste-foundation-as-greece-struggles-the-private-sector-steps- Zohn, Patricia. The «CultureZohn: DesteFoundation: Struggles, AsGreece The Private SectorStepsUp», The Huffington Post,June, 23,2016. up_b_10624916.html t endupinanartists’ - -

Galerie Chantal Crousel updated information) Inevitably, andnotwithoutsome local controversy, culturehastakenprideofplace.Intime,I’llhave landscape designerDeborahNevinsforapublic—impatient topartakeofthisbounty—forfourdays. which isbeinggiftedtothestatetemporarilyopening itsgracefulmediterraneanparkby the NationalOperaonlanddonatedbygovernment fromformerOlympicsite. Foundation CulturalCenterscheduledtoopenofficiallyinaboutayear (At thelastminute,IwasabletotournewmassiveRenzoPianoprojectforStavrosNiarchos Stavros NiarchosFoundationandParkdesignedbyRenzoPianoDeborahNevins Both The EquilibristsandPutiferiowillbeondisplaythroughoutthesummer http://www.huffingtonpost.com/patricia-zohn/culturezohn-the-deste-foundation-as-greece-struggles-the-private-sector-steps- Zohn, Patricia. The «CultureZohn: DesteFoundation: Struggles, AsGreece The Private SectorStepsUp», The Huffington Post,June, 23,2016. up_b_10624916.html , includingtheNationalLibrary Another privateproject American , Galerie Chantal Crousel and symbolicallydisturbing. chaotic assemblages that are bothaesthetically into reconfigured be to items potential of familiar materials and and yeast, the artist challenges the of inventedmashesmadeproteins wood, newspapers,rawclayandliters Harnessing materials as diverse natural entities and mental structures. and characteristics of materials both as Cuoghi’s workisbasedonthe properties ceramic. experiment archaic firing techniques for the Slaughterhouseintoacampto the artist will transform the area around small tasteofhell.Duringtheopening, “Putiferio” may also signifychaosora “Putiferio”, in Latin “to bring the stink”. Cuoghi’sexhibition isentitled the island’s formerSlaughterhouse. for theFoundation’s ProjectSpacein exhibition program specially designed DESTE Foundationinthecontext of an Cuoghi was commissioned by the major exhibition on the island ofHydra. Roberto Cuoghiwillbecarryingouta Internationally renowned Italian artist «Roberto DESTEFoundation», Cuoghi:Putiferio MyArt Guide, June, 2016. http://myartguides.com/exhibitions/roberto-cuoghi-putiferio/ Roberto Cuoghi:Putiferio DESTE Foundation 21 Jun2016—30Sep Galerie Chantal Crousel Seungduk Kim.«Artgénétiquementmodifié. Roberto Cuoghiàl’oeuvre.», L’Officiel Art , n°17,March-April- May 2016,pp.136-143. Galerie Chantal Crousel Seungduk Kim.«Artgénétiquementmodifié. Roberto Cuoghiàl’oeuvre.», L’Officiel Art , n°17,March-April- May 2016,pp.136-143. Galerie Chantal Crousel Seungduk Kim.«Artgénétiquementmodifié. Roberto Cuoghiàl’oeuvre.», L’Officiel Art , n°17,March-April- May 2016,pp.136-143. Galerie Chantal Crousel Seungduk Kim.«Artgénétiquementmodifié. Roberto Cuoghiàl’oeuvre.», L’Officiel Art , n°17,March-April- May 2016,pp.136-143. Galerie Chantal Crousel Seungduk Kim.«Artgénétiquementmodifié. Roberto Cuoghiàl’oeuvre.», L’Officiel Art , n°17,March-April- May 2016,pp.136-143. Galerie Chantal Crousel Seungduk Kim.«Artgénétiquementmodifié. Roberto Cuoghiàl’oeuvre.», L’Officiel Art , n°17,March-April- May 2016,pp.136-143. Galerie Chantal Crousel Seungduk Kim.«Artgénétiquementmodifié. Roberto Cuoghiàl’oeuvre.», L’Officiel Art , n°17,March-April- May 2016,pp.136-143. Galerie Chantal Crousel Seungduk Kim.«Artgénétiquementmodifié. Roberto Cuoghiàl’oeuvre.», L’Officiel Art , n°17,March-April- May 2016,pp.136-143. Galerie Chantal Crousel Seungduk Kim.«Artgénétiquementmodifié. Roberto Cuoghiàl’oeuvre.», L’Officiel Art , n°17,March-April- May 2016,pp.136-143. Galerie Chantal Crousel Seungduk Kim.«Artgénétiquementmodifié. Roberto Cuoghiàl’oeuvre.», L’Officiel Art , n°17,March-April- May 2016,pp.136-143. Galerie Chantal Crousel Seungduk Kim.«Artgénétiquementmodifié. Roberto Cuoghiàl’oeuvre.», L’Officiel Art , n°17,March-April- May 2016,pp.136-143. Galerie Chantal Crousel Antoine Diot.«Lesinvités», L’Officiel Art, n°17,March-April-May 2016,p.20. lRTIST'S fHINGS

1NTARE FRAMMENTI E RIFLESSI DELPROPRIO

GETTI Dl OGNI OGNI NATURA. Dl GETTI FEDELI,TRADITI,

TICATI,INNOCENT!,NECESSARI O PERSI PER

AVORO,

RE. OGNI RE.MESE SCELTI DA UN ARTISTA PER

Curatore d'arte contemporanea e docentecontemporaneae d'arte Curatore

(2015). Sta lavorando alla prossima mostra mostra prossima alla lavorando Sta (2015).

del duo di artisti artisti di duodel

il il

Editor di Editordi

pressa l'Università di Genova. È stato Artstato È Genova. di l'Università pressa

Fair/and

CCA CCA

iMnra.Ta ui librirecenti, suoi i Tra Montréal. di

L'ARTE

FRANCESCO GARUTTI FRANCESCO

Abitore

(2014) e (2014)

Triennale di Milano. di Triennale

dEegn CuratorperEmerging ed

ATTRAVERSO LE COSE.

Can Design be Devious? Design beCan

Gruyter & Thys per la per Thys & Gruyter

COLUMN COLUMN

218

realizzali averdopo osservatorealizzali per giorni il monda ribaltalo

Roberto Cuoghi Roberto Cuoghi è uno dei piùinteressanti ed enigmatici

musei decisivi: New Museum musei New a Museum NY, decisivi: a Hammer Los Angeles

ginabile:l'esito notturno spedizione. una di Dai primi ten

poi poi Milano, Brera, leprime Biennali e oggi pcrsonali le nei

arlisti ModenaNascea italiani contemporanei. nel 1973,

nulla; aulorilratti nulla; infiniliaulorilratti dove non riconoscersiprove mai;

e moiti altri. Il suo lavoro muove dall'idca che sial'opera

una cornerivelazione e non-immasiae tale, che, inattesa d'invecchiamenlo artificiale; medicine corneartificiale; materiali d'invecchiamenlo per

per una raccontare sloria di e sparizione.diserzione (FG) allraverso prismiantichi agli esperimenti di- mutazione

corporca: unghie corporca: lunghissime quasi a non riuscire a toccare

trasformarsi inIl uomoun tempodinon sessant'anni. è

tativiautoindotli dialterazione disegni'della percezione -

nel suo lavoro sonoro

per per

corne pittura i suoni antichi delle genti e Assire, che qui,

unprincipio per carlesiano un autorecorne Cuoghi che,

Artist'sTlû11gs,

riscopre oggettitre perduti negli anni,

Suillakku

,rocoe

...... 11 gluplO ......

(2008), traduce(2008), impastae

oll•:

-···-*"

1'9700D

1001

47t

\�1

llil

il ventre dei ragni con una lente lente d'ingrandiuna con ragnidei ventre il

01 01

giainista, un santo in terra, un originale originale col un santoinun terra, giainista,

le mandavano giù per superare la prova che si che provalasuperare per giù mandavano le

mento, si mettevano formiche sulla lingua e lingua sullaformichemettevano si mento, infine, una boccia persa, da tenere in soffitta dain tenere persa, boccia una infine,

erano inventati. Qualcuno di loro avrebbe poi avrebbe diloro Qualcuno inventati. erano

e buttar via la chiave. Nel 1991, al distret- 1991, Nel chiave. viala buttar e

to militare scrissero "turbe psichiche", mi psichiche", "turbe militare scrissero to

che si chiamava Cesare. lo ero un bambine bambine ero un lo Cesare. chiamava si che

infilato raudi nelle orecchie di un gatte nero nero un digatte nelle orecchie infilatoraudi suc carattere, uno da non frequentare e poi, epoi, non uno da frequentare carattere, suc

ll ll

militare. L'anno dope scappai dalla caserma caserma dalla scappai dope L'anno militare.

il cancello e presi iltrenopresiModena. per e primo cancello il

di Bologna, cioè chiesi alla guardia di aprirmi aprirmi di guardia alla chiesi cioè Bologna, di

chiesero di disegnare un albero ramificato:albero disegnare un chiesero di

ronte o di profile?" e fui spedito all'ospedale fui e profile?"dironteo

11\

llll llll

Keywords

UN TIMBRO FALSIFICATO. FALSIFICATO. UN TIMBRO

\llnl

ALTERAZIONE DEL SÉ. DEL ALTERAZIONE

«Gli altri bambini facevano esplodere esplodere altri facevano «Gli bambini

lllll

lll

llll llll

�

llll

ll ll ll ll

"di

oi 0 Galerie Chantal Crousel

Mi piacciono le divise, le armi e la guerra, poi guerra, la e learmi ledivise, piacciono Mi

non credo in Dio e non appartengo a nessun appartengonessun a non e Dio incredo non

àd ootrao o onet a obiettare. nientedaho non divolontariato, tà

cienze somatico-funzionali, non svolgo attivi svolgo non somatico-funzionali, cienze

tornare a Bologna per confessare: "non sono "non confessare: per a Bologna tornare

orfano di entrambi i genitori e non ho insuffi ho e genitori non entrambidi i orfano

partita iva, indirizzo, numero di telefono e in e ditelefono numero indirizzo, iva, partita

presentai con il nominative di una cardiologa, cardiologa, una di ilnominativecon presentai

due giorni avevo anche il ricettario». ricettario». il avevodueanche giorni

botino. Un giorno si presentarono carabinieri i si Un giorno presentarono botino.

al Palazzo di Giustizia c'era un timbrificio, mi mi un timbrificio, c'era di Giustizia Palazzo al

a casa e io non c'ero. Ero a Milano e vicino vicino e Milano a Ero c'ero. non io e casa a

era mai successo", mi disse il colonnello Sa colonnello dissemiil successo", mai era

L'esercito aveva perse un uomo. "Non priera "Non uomo. un perse L'esercitoaveva

gioniero, ma neanche autorizzato, difattinon autorizzato, neanche ma gioniero,

«Mano sui cuore, l'esercito mi chiese di mi l'esercitochiese cuore, sui «Mano

UN DOCUMENTO MILITARE. MILITARE. DOCUMENTO UN

DISERZIONE E TRASFORMAZIONE. TRASFORMAZIONE. E DISERZIONE «Roberto Design, n°3,March, Cuoghi»,Icon 2016,p.219.

COLUMN COLUMN

219 219

corso in Statale, ai regolari e ai figli di papà figliedi ai regolari ai Statale, incorso costavano dieci volte di più e la mia segreteriamia e la volte più costavanodi dieci

vano poco più di diecimila lire, mentre ai fuori mentreai lire, didiecimila più poco vano

dovevo essere rintracciabile entre ventiquatessererintracciabileentre dovevo

tro ore. Comprai una segreteria del segreteriatelefono.una del Comprai troore.

Con le mie ricette, gli psicoanaletticicosta gli ricette,miele Con

assistente sociale che non si è mai presentato; mai è nonsi assistenteche sociale

nico a disposizione, a Bari. Mi assegnarono un un assegnarono Mi Bari. a disposizione, a nico

diritto di espatrio, non avrei più avuto unpas avuto più avrei non diritto espatrio, di

saporto e rischiavo il carcere per disertori, l'u per carceredisertori, il rischiavo e saporto

ln attesa di un processo, non avrei più avuto avuto più avreinon processo, un di attesaln

re il mio turne per strisciare sotte gli ostacoli. ostacoli. glisotteperstrisciare ilturnemio re

esperienze astratte, non avrei saputo aspetta saputo nonavrei astratte,esperienze

Passai all'attenzione dell'arma dei Carabinieri. Carabinieri. deidell'arma all'attenzione Passai

ranza. Ero portato per le discipline basate lediscipline su basate portatoper Ero ranza.

io non l'avevo, esattamente corne loro non corne esattamente non l'avevo, io

vvn oiid heeel miaottempe lachiederemotivi diavevano

chiedeva un motive per la mia renitenza e renitenza mia perla un motive chiedeva

gruppo di opposizione". L'ufficio di leva mi L'ufficio levadi opposizione". di gruppo

,.;

ROBERT

diciannoveanni».

di mia madre, la quale ha prodotto una mia prodottouna ha quale la madre, miadi

falsificato la firma. Un reato che scopro doposcopro reato che Un firma. lafalsificato

dichiarazione e, senza troppo mestiere, ha mestiere, senzatroppo e, dichiarazione

studio e qualche raccomandata di convoca di raccomandata e qualche studio

che non ho mai scritto. È uno pseudo-epigrafo uno È scritto.maihonon che

di una lettera che ho lettera unache di

in lasain e aaiir,cèl copia la c'è Carabinieri, stazione dei alla zione

03 03

frattempo ero invecchiato più del colonnello colonnello del invecchiatopiù ero frattempo

ne che ho chiesto a mia madre di lespedirmi madre di mia chiesto ho a chene

civile; rinnovai i documenti, anche perché nel nel perché anche i documenti, rinnovai civile;

carte, che vedo ora per la prima volta».primala per oravedochecarte,

lo scopro adesso perché è per quest'occasio perè perché loscopro adesso

Sabotino. L'esonero è a firma Guido Bertolaso, Guidofirma a è L'esonero Sabotino.

lampeggiava corne quellampeggiava Nel ricercato. un di la

2001 arrivà il congedo e l'esonero dal servizio servizio dal e ill'esonero 2001 congedo arrivà

CUOGHI

«Tra i benefici di ritardo per motivi di di permotivi di ritardo i benefici «Tra

UNA LETTERA MAI SCRITTA. SCRITTA. MAI LETTERA UNA

Keywords

lla caserma, ma caserma, lla speditoa

::,

�

""Cl

·€_ ·€_

.ll

""Cl

ëii

""Cl

ë:

�

,,- Galerie Chantal Crousel the esoteric—tanburand santoor—toabadmintonracketandtwigbrush thatsimplyfilledaneed.) and fillinginwhatevergapsarosewithhisown imagination. (Thewalllabellists73instruments,from ching Assyrian cultureandlanguage, creatingauthentichandmademusicalinstruments,writingmusic have beenperformedin Assyria around612B.C. To achievethiseffect, hespentseveralyearsresear- the fallofNineveh,ancient Assyrian capital—orascloseMr. Cuoghicouldcometowhatmight The “SuillakkuCorral”involvesasimilarlyidiosyncratic pursuitandsurrender. Itisachorallamentfor a mucholderman—andsucceededenoughtodevelop geriatrichealthproblems. he spentseveralyearsbecominghisfather—that is,dressingandmaintainingthesedentarylifestyleof completely in keeping with Mr. Cuoghi’s strange, obsessivesensibility. Starting in 1998,hismid-20s, The walltext—bestreadaftergoingthroughthepieceexplainseverything,whichturnsoutto be animation runamokseemsequallypertinent. Cuoghi isItalian,youmaylikentheexperiencetowatchingaFellinimovieblindfolded,butDisney like space. You’re inthemiddleofamadcorralpeople,creaturesandspirits.PerhapsbecauseMr. cries, anxioussqueaks,andgibberish,aswellrattlesgongs. The soundsswirlabout thecave- hair-raising noiseandmusic:Fragmentsofmelodies mixwithvariousdrums,bellsandpipes,mournful nearly pitch-blackchamberandanamazingvortexofirresistible,emotionallycharged ifnotslightly sing, and also something of an immersive brain teaser. You walk through a narrow hallway into a round, intimacy andfamiliarmusicalityofMr. Kjartansson’s, itisnonethelesspersonalandaurallyencompas- Roberto Cuoghi’s soundinstallationonthethirdfloortravelsdeep intohistory. Farfromthefamilial staff: GaryCarrion-Murayari,Margot Norton,JohannaBurtonandHelgaChristoffersen. Gioni, themuseum’s directorofexhibitions,theshowsreflectefforts ofthebulkitscuratorial Few confluencesofshowsinthisbuildinghaveworkedtogethersowell.OverseenbyMassimiliano in unexpectedways.Italsomitigatesthemuseum’s dark,awkwardlyproportionedgalleries. the manyrolessoundplaysincontemporaryartwhileallowingshowsto,well,amplifyoneanother involve sound.Oneisalmostnothingbut This loose,fluctuatingconnectionilluminatessomeof tics andsputtersand,occasionally, thetinklingof47smallbronzebells.Itssixcurrent exhibitionsall The NewMuseumisalivewiththesoundofmusic,aswelltalking,chanting,spitting,electronic ROBERTA SMITHMAY 22,2014 Aural Installations Take OverNewMuseum Sounds of All butSilence Roberta Smith. «Sounds of AllbutSilence. Aural InstallationsRoberta Take Smith.«Soundsof Over New York Museum»»,TheNew Times, http://www.nytimes.com/2014/05/23/arts/design/aural-installations-take-over-new-museum.html?_r=2 May 22,2014. Galerie Chantal Crousel museum. “Suillakku Corral”isamongthebestworksofcontemporaryartcurrentlyonviewinaNew York anthropologist, musicologist,instrumentmaker, multitalentedmusicianand,finally, soundengineer. dings intoanensembleperformance.Insteadofbecominghisfather, hebecameanarchaeologist, Mr. Cuoghithenplayedandsangallthepartsofhiscorral—orchoraleassembled therecor- Roberta Smith. «Sounds of AllbutSilence. Aural InstallationsRoberta Take Smith.«Soundsof Over New York Museum»»,TheNew Times, http://www.nytimes.com/2014/05/23/arts/design/aural-installations-take-over-new-museum.html?_r=2 By ByronSmithonPublishDateMay22,2014. A shortviewofMr. Cuoghi’s soundinstallation. May 22,2014. Galerie Chantal Crousel sculpture modeledafter microbial life-forms. 2008. Mostrecently, forthe55th Venice Biennale,hecreated Belinda(2013),amonumentallyscaled produced agargantuan reproduction ofasmalltalismanicstatuethemenacing demon-god Pazuzuin and devotion,Cuoghilater undertookatwo-yearstudyof Assyrian language andrituals,forwhichhe surreal alterationsofportraitsdeceasedrelatives. With asimilarcombinationofobsession,passion, mental approachinworkssuchas“Asincroni,” whichheusedoverlayingsheetsofacetatetocreate to resembleawhite-bearded,heavysetman,forty yearshissenior. Cuoghihascontinued thisexperi- adopted mannerismsaswelltheeatinganddressing patternsofaseniorcitizen,eventuallycoming his mostlegendaryproject,whenhedecidedtoliterally transformhimselfintoanoldman. The artist cal transformation.In1998,whilehewasstillin hismid-twenties,hebeganwhatisperhapsconsidered ture, andanimationtoconfrontthechallengesof self-representationaswellphysicalandpsychologi- morphosis, hybridity, andviolence.Inthepast,hehas usedmediumssuchaspainting,drawing,sculp- Roberto Cuoghi. Through anarrayofunconventionalmedia,Cuoghi’s projectsexploreideasofmeta- In May, theNewMuseumwillpresentfirstsolomuseum presentation inNew York ofthework artist himself. BC performedonacollectionofhandmadeinstrumentscarefullyresearched,built,andplayedby the version (2014),anambitioussoundpieceintheformofimaginedancient Assyrian lament from612 For hisexhibitioninthe Third FloorgalleriesoftheNewMuseum,CuoghipresentsŠuillakku–corral 04/30/14 -06/29/14 ROBERTO CUOGHI:ŠUILLAKKUCORRAL Courtesy theartistandMassimoDeCarlo,Milan/London Cover Image:RobertoCuoghi,Šuillakku–corralversion,2008–14.Soundinstallation. http://www.newmuseum.org/exhibitions/view/roberto-cuoghi «Roberto Cuoghi:Šuillakku Museum,April, New 2014. Corral», Galerie Chantal Crousel Special thankstoMassimoDeCarlo,Milan/London. J. McSweeneyandG.MillsPublicationFundat the NewMuseum. Emerging Artists Exhibition Fund.Supportfortheaccompanyingpublicationhasbeenprovidedby Support for“RobertoCuoghi:ŠuillakkuCorral” is madepossible,inpart,bythe Toby DevanLewis Sponsors Art, Athens (2007); and“OfMiceMen,”4thBerlinBiennial(2006). “Fractured Figure: Works from theDakisJoannouCollection,”DESTEFoundationforContemporary Museum ofContemporary Art, Chicago(2008–10);“AfterNature,”NewMuseum, York (2008); “Italics: Italian Art between Tradition andRevolution,1968-2008,”PalazzoGrassi, Venice, andthe Fondazione SandrettoReRebaudengo, Turin (2010);“Making Worlds,” 53rd Venice Biennale(2009); nale (2013);“10,000Lives,”GwangjuBiennial,SouthKorea(2010);“21artistsforthe21stcentury,” important internationalgroupexhibitions,including:“TheEncyclopedicPalace,”55th Venice Bien- l’Île de Vassivière, BaumontduLac,France(2007).Hisworkhasalsobeenincludedinanumberof (2008), theInstituteofContemporary Arts, London,andCentreInternationald’ArtetduPaysagede his workhavebeenpresentedattheHammerMuseum,Los Angeles (2011), CastellodiRivoli, Turin Roberto CuoghiwasborninModena,Italy, in1973,andlivesworksMilan.Soloexhibitionsof and newreflectionsonCuoghi’s practiceby AlisonGingerasand ThomasGrünfeld. The exhibitionwillbeaccompaniedbyafullyillustratedcataloguefeaturinganinterviewwiththe artist Margot Norton, Assistant Curator. The exhibitioniscuratedbyMassimilianoGioni, Associate DirectorandofExhibitions, “Roberto Cuoghi:ŠuillakkuCorral”willbeonviewthe Third Floorfrom April 30–June29,2014. imagination canhelptransformbothhistoryandreality. hand israised. As inmuchofCuoghi’s work,theinstallationexploreswaysinwhichpowerof “shoe-ee-lah-coo,” referstoapostureadoptedbytheancient Assyrians whenpraying,inwhichone heard initsentiretywhenvisitorsstandatthecenterofsoundinstallation. The title,pronounced himself. Eachinstrumentwasrecordedindividuallyandassembledintoacomposition,whichcanbe performed onacollectionofhandmadeinstrumentscarefullyresearched,built,andplayedbytheartist into ruin.Channelingthegriefandfearthatwerelikelyprevalentattime,Cuoghi’s lamentationis and 609BC,whenthe Assyrian Empireanditscapital,Nineveh,wasunderattackeventuallyfell BC. Forthispiece,Cuoghiembarkedonanimaginativejourneybackintimetotheperiodbetween612 immersive soundinstallationevokinganimaginedancient Assyrian lamentfromtheseventhcentury For hisexhibitionattheNewMuseum,CuoghiwillpresentŠuillakku–corralversion(2008–14),an http://www.newmuseum.org/exhibitions/view/roberto-cuoghi «Roberto Cuoghi:Šuillakku Museum,April, New 2014. Corral», Galerie Chantal Crousel Judicaël Lavrador. «Exorcismes», LesInrockuptibles, November 5,2014,p. 96. Galerie Chantal Crousel Ariella Budick. «Kjartansson/Henrot/Cuoghi, New Museum,New York -review», Financial Times, June 3,2014. Until June29,newmuseum.org site overload. Kjartansson, Cuoghihasfashionedaphantasmagoriaofsocialscienceandspirituality, aritualofexqui- flute withbronzecowbells,badmintonrackets,windblownleavesandMexicanbeans.LikeHenrot and ticity isnotthepoint:Cuoghisupplementssuchtraditionalinstrumentsastanburandbamboo built byhand. Although heimmersedhimselfinintensiveresearchintotheancientNearEast,authen- grief andfearofadyingcivilisationintosoundsmadebyanarmyinstruments,manywhich he the seventhcenturyBC,when Assyrian empirewasteeteringintoruin.Cuoghihaschannelledthe A textoutsidethischamberofdiscordexplainedthat“SuillakkuCorral”ismeantto evoke Ninevehin chorale. – allassaultedmeintheartificialnight,anuncannyforceofhundreds,joinedafranticanddesperate phony. Echoesofsongs,theviolentbeatingdrums,spasmodic shrieks,whistles,groans,lamentations into “SuillakkuCorral”,alightlessenclosurewhereIwasbombardedbyalmostunendurablecaco- Roberto Cuoghimaybethetrio’s ablestwizard. A guardwithatorchguidedmethroughblackcurtains power. liano Gioni,prosewitheredtoinsignificanceinatotalenvironmentofshamanisticbeautyandsensual that actuallyseeingitcanfeelsuperfluous.Butinthissynchedtrioofshows,orchestratedbyMassimi times terrifyingspectacle.Conceptualartsooftenboilsdowntoadenseparagraphofexplanatorytext installations themselves–allthoseoverlappingrainbowsofsoundandlight,thatsensualsome- dispiriting homeworkofreadingthisstuff, Iwasthoroughlyunpreparedforthevolcanicmagicof tansson, CamilleHenrotandRobertoCuoghitoaseriesofdesiccatedabstractions.Havingdonethe biage: threevolumes’ worthofinterviewsandinterpretationsthatreducedtheworkRagnarKjar- Before itslatesttripartiteblockbusteropened,theNewMuseumdispatchedanadvanceguardofver- June 3,2014 Ariella Budick Kjartansson/Henrot/Cuoghi, NewMuseum, York –review http://www.ft.com/intl/cms/s/2/debc8940-ea7f-11e3-8dde-00144feabdc0.html - Galerie Chantal Crousel culture. a markofsuccessforanartworkdealingnotonly withpersonalmortalitybutthedeathofanentire tors tofleeafterashorttime. Thediscomfortofthevisually andsonicallyintenseenvironmentseems thought wouldwardoff evil).Spooky, mysteriousandattimesabsurd,thesoundscausedsomevisi ged instrumentsandshouting,there'schanting abundantspitting(whichthe Assyrians apparently sion ifitwerereleased.) The audioisattimesstomach-rumblinglyloud. Along withpercussion, strin- loudspeakers, providingathree-dimensionalexperience. (Allthesame,Iwouldsnapupastereover festival oronanexperimentalradiostation.Inthe gallery, thesoundtraveledaroundroomviaeight To myears,theatonal(or, moreaccurately, microtonal)compositionmight beathomeanewmusic for balance. round roomthatthevisitorentersandexitsviashortpassageways,hangingontowallsall way posture, restingononekneewithhandraised,andforthepiece'sarchitecture,asmall,darkened disappearance oftheirculture.Šuillakku-corralversionisnamedforthe siege bytheBabyloniansfrom612-609b.c.e.;attackwouldleadto The 8-minutescore(2014)isanimaginedlamentforthefallencityofNineveh,whichcameunder along withhisownvoice. nation. ComposedbyCuoghi,thepiecefeaturessoundsoftheseinstruments,playedartist, ments, Cuoghihand-builtsome100ofthem,basingtheobjectspartlyonresearchandimagi to 600b.c.e. After consultingwithhistoriansandethnomusicologists about Assyrian musicalinstru the ancient Assyrian culture,whichflourishedinMesopotamiaalongtheriver Tigris fromaround1400 familial impersonation,dealswithdeclineanddemise.Forseveralyears,Cuoghihasbeenresearching a smallone—tonewversionofsoundartpiece,Šuillakku-corral(2008-14),which,like his In theartist'sfirstNew York museumsolo,theNewMuseumrecentlydevotedanentirefloor—albeit perception. father pieceisacommentondecay, thelenspiececouldserveasametaphorforwayartcanchange that hisbrainwouldeventuallyaccountfortheshiftandrightvisionagain.(Itdidn't.) While the In anotherpunishingventure,forfivedaysheworelensesthatflippedhissight180degrees,hoping weight, resultinginseriousmedicalproblems(alongwith,nodoubt,considerableFreudianconfusion). the olderman'soutfitsforsevenyears. To getdad'sclothestofit,Cuoghifilshadgainagreatdealof (b. 1973)resolvedtobecomehisfather. Dyeinghishairgrayandshavingsomeofitoff, hedressedin Roberto Cuoghidoesnotmessaround. When inhis20s,justoutofgraduateschool,theItalianartist Sept. 23,2014 Brian Boucher Roberto CuoghiatNewMuseum, York Brian Boucher. «Roberto Cuoghiat New Museum,New York», Art inAmerica,September 23,2014. http://www.artinamericamagazine.com/reviews/roberto-cuoghi/ Assyrian wordforaprayerful Assyrians' downfallandthe - - - - Galerie Chantal Crousel Brian Boucher. «Roberto Cuoghiat New Museum,New York», Art inAmerica,September 23,2014. New Museum. View oftheexhibition"RobertoCuoghi:ŠuillakkuCorral,"2014;at http://www.artinamericamagazine.com/reviews/roberto-cuoghi/ Galerie Chantal Crousel Roberto Cuoghi.«The tumoursetfree. DeIncontinentia»,MoussePublishing, 2013,pp. 14-18. Galerie Chantal Crousel Roberto Cuoghi.«The tumoursetfree. DeIncontinentia»,MoussePublishing, 2013,pp. 14-18. Galerie Chantal Crousel Roberto Cuoghi.«The tumoursetfree. DeIncontinentia»,MoussePublishing, 2013,pp. 14-18. Galerie Chantal Crousel Roberto Cuoghi.«The tumoursetfree. DeIncontinentia»,MoussePublishing, 2013,pp. 14-18. Galerie Chantal Crousel Roberto Cuoghi.«The tumoursetfree. DeIncontinentia»,MoussePublishing, 2013,pp. 14-18. Galerie Chantal Crousel Roberto Cuoghi.«The tumoursetfree. DeIncontinentia»,MoussePublishing, 2013,pp. 14-18. Galerie Chantal Crousel Roberto Cuoghi.«The tumoursetfree. DeIncontinentia»,MoussePublishing, 2013,pp. 14-18. Galerie Chantal Crousel Roberto Cuoghi.«The tumoursetfree. DeIncontinentia»,MoussePublishing, 2013,pp. 14-18. Galerie Chantal Crousel amulet preservedintheLouvre,Paris. Pazuzu, ofwhomtheartistcreatedastatuaryenlargement in2008,startingfrom thescanoforiginal The caricaturesuppositioncontinuesintheshow throughasortofridiculetheBabyloniangod a littleportraitonthebrandofcigarsthatartist usedtoattestnewhabitsofbehaviour. aged man.Definedasthetransfigurationintohis father, thereferenceimagehas,however, alwaysbeen cigars -aclarificationofthedecision,at24,todrastically changehisappearanceintothatofamiddle- of projection,admissibleorpitiless,self-congratulatory, liketheseriesthatreferstoabrandofcheap features takenoneatatimeandsealedinmore radicaldimension.Eachfaceisaresponseintheform traits. Possibleinflexionsoftheauthor, thoughtsandfantasiesonchoicesnotmadeorextensionsof The drawingsandpaintingsarepersonificationsthatdeliberatelydonotdeservethenameofself-por display intheformofparody. The intolerancetheartistfeels,onrebound,concerningmeaningsattributedtohisworkis on a strivingfordefinition,thedeceptionofappearancesandoverlappinginnerouter lives. guiding forceoftheartist’s thirdsoloshowatthegalleryiscaricatureofhiswork,resultingfrom On 30May2012,MassimoDeCarloopensRobertoCuoghi’s soloexhibitiontitledZOLOTO. The May 30—July13,2012 Milan —RobertoCuoghi ZOLOTO http://www.massimodecarlo.it/exhibitions/view/11455?lang=eng «Zoloto, Roberto Cuoghi»,MassimodeCarlo, May, 2012. - Galerie Chantal Crousel Linz, 2006;Polyphonix40,curatedbyManuela Corti, CentreGeor Aviv, 2007;BiennaleCuvée- World SelectionofContemporary Art, OKCentreforContemporary Art, Grassi, Venice, 2008;ItalianMentalscapes, curatedbyDemetrioPaparoni, Tel Aviv Museumof Art, Tel Italics: Arte Italianafra Tradizione eRivoluzione,1968-2008,curatedbyFrancescoBonami,Palazzo Selections fromtheDakisJoannouCollection,curatedbyJeff Koons,NewMuseum, York, 2010; 2011; 10000Lives,curatedbyMassimilianoGioni,GwangjuBiennale,Gwangju,2010;SkinFruit: sites likeSurrealversusSurrealismoenelartecontemporáneo,IVAM CentreJulioGonzales, Valencia, has takenpartinmanycollectiveexhibitionsatthemostimportantItalianandinternationalexhibition project room,GAMeCGalleriad’ArteModernaeContemporanea,Bergamo, 2003.RobertoCuoghi London, 2008;Foolish Things, curatedbyGiacintoDiPietrantonioand Alessandro Rabottini,Eldorado include: UCLA HammerMuseum,Los Angeles, 2011, ŠuillakkuatCastellodiRivoliandtheICA, Roberto CuoghiwasborninModena1973.HelivesandworksMilan. The mostrecentsoloshows challenge oftranscendenceappears,inallitsmadness. receptacle of177headsunifiedinaplasticgrid.Returningtotherootimaginationandfiguration, the properties ofthearticle-deceivedbyitsanatomyorstrategicallycounter reproductions arethusanimatedbythedesiretoperceiveaspiritwhichcannotbeassimilated God castinhimself,embarrassingitsfunctionofamulet,forcedoppositedirections,tocore. The The consequencesofdeactivatingtheoriginalquestionstartfromspecularmultiplication source, theartistoffers solutionsforhinderingtheincarnationofidol. By indicatingthedefect,whichhasstructured Western thoughtmoreforaccommodationthanrigour, at it credit,threateningtopunishchildrenfortheirfathers’ disobediencedowntothefourthgeneration. The jealousGodoftheRevelationdoesn’t denytheanimisticpreconception;oncontrary, hegives Prohibitions inaswirlingconflictofvalues. creating theirimages,doesn’t dootherthangivecredit totheprincipleitopposesthroughSacred sentation ofhim,isunderfire.Monotheism,basedontheprohibitionworshippingothergodsand The principleofimmanence,inwhichthespiritDevilpenetratessubstanceeveryrepre http://www.massimodecarlo.it/exhibitions/view/11455?lang=eng «Zoloto, Roberto Cuoghi»,MassimodeCarlo, May, 2012. ges Pompidou,Paris,2002. -pervasive materials,uptoa - Galerie Chantal Crousel http://www.massimodecarlo.it/exhibitions/view/11455?lang=eng «Zoloto, Roberto Cuoghi»,MassimodeCarlo, May, 2012. Galerie Chantal Crousel http://www.massimodecarlo.it/exhibitions/view/11455?lang=eng «Zoloto, Roberto Cuoghi»,MassimodeCarlo, May, 2012. Galerie Chantal Crousel http://www.massimodecarlo.it/exhibitions/view/11455?lang=eng «Zoloto, Roberto Cuoghi»,MassimodeCarlo, May, 2012. Galerie Chantal Crousel world throughthelensof kaleidoscopeglasses.Orhisseven-yearphysical andmentaltransformation— portraits andvideos(during histimeatMilan'sBrera Art Academy) basedonaweekofviewing his him onaseriesofhighly idiosyncraticexperimentsthatoftenmanifestas art. Today Cuoghidoesn'tclassifyhisopen-ended missionascontemporaryart,butthat meetinghasled Garutti, instead,lookedatmewithadmiration, and formethatwasenough. of Alberto Garutti.Myfingernailswere solongIcouldn't makeafist.Usuallypeoplewere horrified. had toaccompanythemchurch... Byaccident,oneday, followinganun,Ientered thepaintingcourse on theward fortwentyminutes. Therest ofthedayIhadtoentertainpatientswithstupidgamesor I didaninternshipatahospital,inthefemalepsychiatric ward. Itwassodepressing. Thedoctorswere This exploration,accordingtotheModena-born Cuoghi, startedinMilanthemid-1980s: Italian mixedmediaartist'sworkalmostexclusivelyexploresthepermeableboundariesofself. However criticsmightseektodefineRobertoCuoghi—from"livingsculpture"anecdotalpoet—the Jan. 18,2011 Michael Slenske Prohibition Recognizes Value: RobertoCuoghi http://www.artinamericamagazine.com/news-features/previews/roberto-cuoghi-hammer-museum/ Michael Slenske. «Prohibition Recognizes Value: Roberto Cuoghi»,Art inAmerica,January18,2011. CARLO COURTESY GALLERIA MASSIMODE ROBERTO CUOGHI,UNTITLED,2010. Take theseriesofpoems, Galerie Chantal Crousel joint problems,cardiovascular disturbancesandhypertension.Ihadtoremoved thesaphenousvein that. Ihaveathinbonestructure, soI'mnotmadetobeXXXL. CUOGHI: Iwreckedmymetabolismwhenbecame afatbeardedman.Icontinuetopaythepriceof other effects intheprocess? SLENSKE: You've saidyoufeltthehealtheffects ofaging yourself.Couldyouexplainthoseandany you couldglimpsealittleviewofBahia. picture isprintedonthe[Dannemann]cigarboxes becamemyrolemodel.Behindhim,asbackground, brand ofcheapcigars. That's because whenIdecidedtochangemyappearance,thatbeardedguywhose them. Iwouldhavetosmokecigars,ashedid.SomeportraitsattheHammerreferfounder ofa ghi's partner] Alessandra [Sofia].Stuckhere,Ithoughtaboutmyfather'sclothesandhowI'dwear with it,Ihadtodisappear. At thesametimeIwasfallinginlove,anddecidedtomovewith[Cuo- easy; itwasbecomingafull-timejob. To get awayfromallthat,andtogetridofthepeststhatcame could fillprescriptionordersforeverything.BeforelongIwasasortofgo-toguyintown.It too of youngartists.Ihadotherhabits.madearubberstampwithaccountingdatacardiologist, soI CUOGHI: I'veneverbeentotallyinvolvedincontemporaryartandIwasirritatedbytheboringhabits SLENSKE: What madeyouwanttojourneyintooldageasyourfatherin1997? ced tofindasolution.It'sneverreallythesolution,butforwhileit'senough. ROBERTO CUOGHI:Mypersonalviewis different. PeriodicallyIputmyselfintrouble,soamfor- alteration. What startedit? MICHAEL SLENSKE:Sincethe1990s,itseemsthatyou'vebeenonajourneyofself-explorationand mately behissavinggrace: While preparingfortheshow, Cuoghioffered someinsight intohismanyselves,andsaysartwillulti- which werebasedonaphotoofdistantcousinfromBolognawhomhehadnevermet. portraits thatexaminehistransformationsfrompunkthirty-somethingtoailingseptuagenarian,someof ghi, openingatHammerProjectsthis Wednesday. He'llalsoshowaseriesofrealist andabstractself- the sizeofCastellopiece,willappearinCuoghi'sfirstsolomuseumshowU.S.,RobertoCuo ("Šuillakku")—based onasmallbronzePazuzutotemattheLouvre. song cycletothegods)andagiantsculpturaldepictionofkingdemonwinds,Pazuzu bylonian musicanddeities.He'sfabricatedancientinstruments(andanimagined6thCenturyB.C.E. Equally exhaustive,hisexplorationofcuriositiesincludesamushroomingfascinationin In eachinstance,Cuoghi'sarthastakenhimtothelimitsofhumanexistence,inpursuitrevelation. his father, documentedbyasuiteofself-portraits. weight gain(to308lbs.),hairandbearddye,adoptedmannerisms,frumpyclothes—intotheformof http://www.artinamericamagazine.com/news-features/previews/roberto-cuoghi-hammer-museum/ Michael Slenske. «Prohibition Recognizes Value: Roberto Cuoghi»,Art inAmerica,January18,2011. The firstsymptomsare a collectionof A marbleversionofthelatter, half Assyrian-Ba- - Galerie Chantal Crousel bitions. Buteveryprohibition, afterall,isarecognitionofvaluetothat isprohibited.Sothissculp the greatreligionsarefounded againstthis—firstofall,throughthecommandments, whichareprohi in frontoftheotherand fused withitsdouble. This meansthatheisanyrepresentation ofhimself,and the versionatHammer isamarblesculpture.Itcomesfromthesame model,butmultipliedbytwo, rian-Babylonian amuletpreservedintheLouvre. Ineverthoughtofmakingotherslikethat.Instead, CUOGHI: Pazuzuisnotreallyasculpture;itthe arithmeticenlar revisit ithereinblackmarble? SLENSKE: You've saidyouwerereluctanttomakeanotherPazuzuaftertheSuillakkushow. Why what? Ithinkit'sbettertoseetheseportraitsasa parodyoftheideathatIfeelaroundmywork. someone andhesays,"So,that'showyou'redressing now." Well, this isajacketfromfiveyearsago.So ferent fromanybodyelse's. This storyoftransformationcreatesalotmeaninglesssituations.Imeet CUOGHI: This questionhasthesameproblemthatthisshowhas, andmyanswermaynotbesodif- SLENSKE: HowisRobertoCuoghidifferent fromtheartistin1990,whenyourcareerbegan? Wunder! wounds" butifyoulookcloserthereisaRattheend,soitcanbecamemysticaldesire:ZeigeDeine tattoo. The phrasehastwomeanings,itcanbereadZeigeDeine Wunde, whichmeans"Showyour intellectual, invogueandalwaysup-to-datebecauseheworksongossip.Hewastellingabouthis new looking forasophisticatedsentencetoputintothemouthofspoiledyoungman. not amongmyinterests.MaybeIwantedtotalkaboutthenewmillennium'scheapexistentialism. Iwas CUOGHI: Sure,thatmightbeso,butit'snotreallyaBeuysreference.I'mseriouswhenIsay artis all oftheworksinthisshow? notion ofrevelationinthepersonalandspiritualsense. Would yousaythat'stheimpulsebehindmostor SLENSKE: What abouttheportraitwithreferencetoJosephBeuys? That seemstoplayonthe so littletodowiththetruth. cigar box.Itmaybeginoneway, butmyproblemisnotstyle.Lookingforpersonalstyleseemstohave always triedtogiveanappearancewhatIhadinmymind. As ithappened,Ifoundthesolutionina CUOGHI: They areself-portraits,butIhadtofocusmyattentionondifferent targets, notonme.Ihave but neverknew?Couldyouexplaintheprocess? that adirectreferencetothetypeofmanwhomightbepaintingthemattimeorthiscousinyoulost SLENSKE: What abouttheportraitsatHammer, whicharequitediverseinstyleandapproach.Is intestine. had toleanonacoolerbecauseIcouldn'tstandup. You feeltheheatofbloodthatspreadsunder update myprosthesis. The lasttwocameundone,stitchbystitch,withoutwarning,inahypermarket.I next timehe'llalmosthavetosplitmeintwo.I'vefattenedupby180pounds,soasense,Ihad from oneleg,andIhavehadmanyoperationstocontainhernias. http://www.artinamericamagazine.com/news-features/previews/roberto-cuoghi-hammer-museum/ Michael Slenske. «Prohibition Recognizes Value: Roberto Cuoghi»,Art inAmerica,January18,2011. gement ofasmallartifact,an Assy- The surgeon toldmethat There isthisItalian - - Galerie Chantal Crousel CUOGHI: OfcourseIdon'trecommendworryingaboutsuchthings. installation atCastellodiRivoli,thatheprotectsthemuseumwhilehe'sthere? SLENSKE: Isitwiseforamuseumtoexhibitdemonordoyouthink,asyou'vesaidaboutthefirst with himself? doesn't haveonedirection,buttwo?Howcanthespiritofademonfixitself,findinghimselfmixed ture maybetheeasiestwaytochallengeitsoriginalmeaning.Moresimply ROBERTO CUOGHIOPENSJANUARY 22 AT THE HAMMERINLOS ANGELES. It's notabook.Onlyterrificworkcancausesomanyproblemseverywhere. always seemedlikeasedative,tome,untilIrealizedthevastnessandcomplexityofitsinterpretations. CUOGHI: IsupposeitwastheOracles Against theNationsthatmademewanttostudy. The bible SLENSKE: What promptedyourresearchintoNinevahinthefirst place? demon. It'sironicthathebecametheDevilin The Exorcist,becausePazuzuwasatoolfortheexorcist. lation. Turin hasanesoterictradition,andeveryonelovestojokeaboutit.ButPazuzuisapurifying ries hadmoretodowiththeload-bearingstrengthoffloor, andproblemsoftransportinstal- http://www.artinamericamagazine.com/news-features/previews/roberto-cuoghi-hammer-museum/ Michael Slenske. «Prohibition Recognizes Value: Roberto Cuoghi»,Art inAmerica,January18,2011. At theHammer, Ithinkthewor- , whathappensifanamulet Galerie Chantal Crousel Heidi Zuckerman Jacobson.«What, n°48,March, toseethismonth»,Art Review 2011,p. 48. Galerie Chantal Crousel many othersbecomethenovelplaygroundofagroupsmilingandoverexcitedchildren. have suddenlybecomemyown—famousworksbyJeff Koons,RobertGober, MaurizioCattelanand known andwealthyprivatecollection. And soitis that,lookedatwithCuoghi’s eyes—thoseeyesthat you realizethatthiskindofvision,asortlow-costspecialeffect, hasbeenappliedinsteadtoawell- panoramas ofsquaresandmonuments,theentireKinderamaoperationtakesonsignificanceassoon as Mark’s Squarecoveredwithpigeons. And yet,preciselybecausestereoscopicviewersusuallypresent some willsay, perhapsthinkingofthosesmallopticaldevicescapableconveyingthemagicSt. with theaidofaspecialviewer, theimagesfuse,creatingillusionofdepth.Nothingnewaboutthat, sliding thecameraalongafixedruledbar. Thetwopictures lookverysimilartothenakedeye,butseen and proportionscorrectly, theprocedureinvolvestakingtwophotographsalmostsimultaneously, but copic images.Foundedontheprincipleofbinocularvision,whichiswhatallowsustojudgedistances given me,myheadspins.Kinderama(2010),theartist’s latestproject,isbasedonaseriesofstereos- It hasaninnocentlook;thereareevenchildreninit.ButwhenIputontheglassesthatCuoghi tist’s—become mine. instant whenmyvisionchanges,gazeisreplacedbyanalienoneandothereyes—thear- rather, it’s whathappenseverytimeIencounteroneofhiscreations.Hisworkacquiresmeaningthe Cuoghi takesawaymyeyesandcompelsmetousehis. This isneither ajokenoranequivocalgame— Anno 2Numero6aprile-maggio2010 Marcella Beccaria Anamorphosis intheEyes Roberto Cuoghi. The Rulesof Vision Marcella Beccaria.«Roberto Vision», Kaleidoscope,n°6,year Cuoghi.The Rules 2,April-May, of 2010. http://1995-2015.undo.net/it/magazines/1272010570 courtesy theartist Kinderama 2010 Galerie Chantal Crousel fragmented suffering. And thentherearethetextsCuoghiwroteattime:genuineanti-poemsofintoxicated,cynically ferential dimension,andinfactCuoghipracticallysawnothingbuthimself(whencetheself-portraits). around himatthattime. We don’t needapsychologisttotellusthatitwasclaustrophobically self-re- called IlCoccodeista.Lookingattheseworksonpapergivesaclearideaoftheworldthatartist saw and whateveristotherightchangesplacewithleft. All thatremainsofthisexperimentistheseries optical propertyofinvertingandreversingthevision,sothatwhateverisaboveappearsonbottom pair ofwelder’s goggleswhoselenseshadbeenreplacedbyPeckhamprisms,whichhavethecurious he hadtheideaoftakinganexambyalteringhisownalreadydisorderlylife.Hespentdayswearing a imply anewsubstitutionofthegaze.Cuoghiwasstudentat Accademia diBrerainMilanwhen thing. Onceagain,myeyesarenotown;theself-portraitsandsheetsoftextthatmakeup series “future”), aconfusedavant-gardistwholivedonpills,spurningshowers,combsandchangesofclo- codeista (1997)(aplayonwordsinwhichtheItalianwordfor“cackle”takesplaceof“cube” or his catalogueinmymind.Heretheyare,chronologicalorder. First,Cuoghi’s self-portraitIlCoc- I putdownKinderama,takebackmyeyesandstarttothinkaboutCuoghi’s otherworks.Ileafthrough he seesmonstersandputsthemeverywhere. the worldofart”declaresasmartartsloganthesedays…Inend,welikeCuoghipreciselybecause lightful littlegirlturningherhandsupsidedownandpretendingtheyareglasses.“A windowopenonto desperately tobelongtheworldofart,endupbeingimprisonedbyit?Oneimageevenshowsade- wretches intheworkshapeofacage? They’re notbyanychance likethepeoplewho,wanting a groupofcuratorsclingingtotheluminoustailsomeshootingstarartscene? And thosepoor ful childrendancingintheglareoflightthatilluminatesCattelan’s horse?Don’t theyremindyouof familiar scene…perhapssomegalleryownerflexingthemusclesofhispower In thatchildposingastheIncredibleHulkinfrontofpicturebyKoons,youseemtorecognizea your handsisasortofmicroscopecapablerevealingthesecretscolonymultiplyingbacteria. is notjustatoy… And sowhatisit?Insearchofameaning,yousuddenlyfeelthathavein stimulus andstartstosee,initsturn,hypotheticalmetaphors,similespersonifications.Perhapsit think. While theeyeswanderandplumbdepthof3Dimage,mindresponds totheretinal A worldoffluctuating,amusing,captivating,butalsoslightlyrepellentillusion,Kinderamamakesyou Marcella Beccaria.«Roberto Vision», Kaleidoscope,n°6,year Cuoghi.The Rules 2,April-May, of 2010. http://1995-2015.undo.net/it/magazines/1272010570 . And thatgroupofcheer - Galerie Chantal Crousel sense oftheterm. perspective, theGoodgriefiesareagalleryofmonsters,trueaberrationgazeinetymological duct ofthesuperimpositiontwoormoreoriginalcartoons.Mutantbeings,subjectedtoacorrupted nists oftheworld American cartoons.Inthevideo,eachofcharacterscreatedbyCuoghiisapro- dure thatalsodefines TheGoodgriefies(2000),aworkthattakesitsinspirationfrom familiar protago view intoone,andtherebyfusinginthemindreferencesthatwouldotherwiselackdepth,isaproce- and sometimesanticipatedtheculturalclimateofageinwhichtheylived. Turning two pointsof be adaptedtothemostfantasticirrationality;througheachoftheseversionsit,artistshaveexpressed perspectives, deceleratedanamorphicdistortions… The rationalruleofperspectivecan always beenanintentionalact—perspectiveas“symbolicform,”ErwinPanofskywrites. as well.Inthehistoryofart,constructionvision,pointview, ofperspective,has Every artistconstructsimagesand,ifheorsheisreallygood,inventsthelawsthatdefinetheirvision his fingers. a deliberateaccelerationandthusparadoxicallysloweddownlifethatwasotherwiseslippingthrough change onhimself.Byalteringhisowneyes—andappearance,habits,friendships—Cuoghiunderwent glimpse ofhisownviewtheworldthroughworks,inthiscaseitwasartistwhoimposed to beexact,ifnotonceagainappropriatingsomeoneelse’s eyes?IfCuoghiisabletooffer othersa gain othersinexchange. Thinking aboutit,whatistheactofbecominganolderperson,hisownfather may, itiscertainthatthetransformationwasawayforartisttoloseyearsofhisownlifebut according tosome. A whollypersonalmatter, intheviewofothers,Cuoghiamongthem.Bethatasit logical ageoftwenty-fiveintothatanoverweightsixty-year-old. Anextremeartisticperformance, process ofmetamorphosisthatledhimtotransformhimselfintoamiddle-agedman,turninghisbio- The followingyearwasunquestionablythemosttormentedinartist’s career. In1988,hebeganthe Marcella Beccaria.«Roberto Vision», Kaleidoscope,n°6,year Cuoghi.The Rules 2,April-May, of 2010. http://1995-2015.undo.net/it/magazines/1272010570 Accelerated - Galerie Chantal Crousel once andfinditharderto bringtheportraitsoftwoambassadorsinto focus. the foreground.I’mcertain thatifIwentwithCuoghitotheNationalGallery hewouldseetheskullat powers. An obliqueviewpresentsus insteadwiththecruderepresentationofalarge skullthatoccupies of theworkoffers thecompellingimageoftwodiplomats attheheightoftheirhumanandprofessional the picturepaintedbyHansHolbeinin1533(now intheNationalGalleryLondon). A frontalview frequently usedtopresenttheimageofsomething wedon’t wanttosee.Consider The Ambassadors, with him,isalmostalwaystheleastobviousand mostobscure.Itisnoaccidentthatanamorphosis artist onthefieldofwork?Cuoghihasanamorphosis insidehim. And whatisanamorphosisifnotashiftingofthe gazeonthebasisofaprearrangedimpositionbyan who dictatestheconditionsofvision. lation oftoysanddolls.Inbothworks,thegazeiscapturedonceagain,insensethatitartist as an Arcimboldo-esque divertissement,inwhichtheartist’s faceisseentobecomposedofanaccumu- technique usedtoproducethree-dimensionalimages. As welookatit,theworkgraduallyrevealsitself In thesameyear, heproducedanotherself-portrait,constructed inthiscaseemployingalenticular same wall,butatadistanceofalmostthirteenfeet.Itisimpossibletotakeboththeminglance. version ofhisface,intheother, anuglierrendition. The twodrawingsareintendedtobehungonthe to representhimself,forbetterandworse.Inoneofthetwodrawings,artistproposesabeautified created withthesameintentions,Cuoghi’s doubleself-portraitonpaperfrom2005illustrateshisability himself withthefeaturesofanangelanddisplayingtechnicalmasteryademon. Although not had paintedhisSelf-PortraitinaConvexMirror(1524)todemonstrateowncapacities,presenting riments inthefieldofoptics,particularlythosethatconcernself-portrait.ItseemsParmigianino and othertimes,awashinvisionsunexpecteduncertainties.Inthiscontext,Iamremindedof expe tamia. Hemetamorphosesunderoureyes,andsuddenlywefindourselvescatapultedintoother worlds Sumerian musicalinstrumentsandthetransformationofartisthimselfintoaninhabitantMesopo- rimentation wasextendedtoarcheologicalresearch,culminatinginthephilologicalreconstruction of in theother. The processreacheditspeakinthesoundinstallationŠuillakku(2008),whereexpe became asingerandmusician,turninghimselfintoan African herdsmaninonecaseandaChinesegirl of adeceasedrelative,andtheninthesongs,withMbube(2005)MeiGui(2006),where artist the Asincroni (Asynchronies)(2002–04),dominatedbyatrulyspookysmileimposed onthefeatures Cuoghi continuedtoapplythisexperimentalmethodinsubsequentworksaswell:firstthedrawings, the airisfilledwithacidrainoflatecapitalismratherthanmistsmannerism). professional ofalchemicaleccentricitieslikeParmigianino(evenifweareinMilanandnotParma, It seemsasifwearereadingaboutoneofGiorgio Vasari’s Livesofthe Artists, perhapsthatofatrue each workislikethesumofknowledgeacquiredinrelationtoparticularchemicalcombinations. with evil-smellinggluesandsolvents,Cuoghiclassifiedtheresultsofhisownexperiments,sothat painting makesclearCuoghi’s penchantforexperimentation. Likeanobsessivealchemisttinkering ding enamel,pastel,watercolor, pencilandink,combiningavarietyofchemicalreactions,each or withdrawfromit,asifvaporized.Createdbysuperimposingmanylayersofmixedmaterials,inclu ding ontheanglefromwhichtheyareobserved,subjectsmaterializesurfaceofpainting move about,changingthepositionofyourbodyandlettingeyesroveagooddeal. Then, depen- forms—creatures suspendedinintermediatestagesofevolution. To seeaBlackPainting,youhaveto In 2002,CuoghibegantheBlackPaintings,aseriesofworksinhabitedbyhuman,orhumanoid, Marcella Beccaria.«Roberto Vision», Kaleidoscope,n°6,year Cuoghi.The Rules 2,April-May, of 2010. http://1995-2015.undo.net/it/magazines/1272010570 The realitythathesees,andwe - - - Galerie Chantal Crousel irrational presence. see amuseuminthe21stcenturyasperfectsettingformonstrous,metamorphicandirremediably transporting uselsewhere—inthementalandmetaphoricalsense,obviously—unexpectedlymakes us who reveltoomuchinthecomfortsoflife.Butonceagain,itisartist’s eyethatcommands,by the statueremindsusofitscreepingreality, justasHolbein’s skullisawise mementomoriforthose castle thathoststheCastellodiRivoli.Certainly, thedemoncanprotectagainstevil:presenceof function oftheoriginal,Cuoghi’s Pazuzuhasbecomeanamuletonthescaleofimposingbaroque idea thatthedemondwellsinanyofhiseffigiesorreproductionsthem.Maintainingapotropaic of producingprototypes. Appropriating thesuperstitionsof Assyrians, Cuoghiinfactreiteratesthe the statuetteinLouvre. The workwasmadeusingthelaser-scanning technique,aprecisemethod from thefaceofEarth.Inthiscontext,CuoghicreatedhisPazuzu(2008),amonumentalversion of the worst,thatofdestructionbothcities,justbeforeentire Assyrian civilizationwaswiped unfortunately Harranaswell.Isaybecauseofallpossibletimes,Cuoghicoursechose saying thatIdidthesame.Fromonedaytonext,beganseenothingbutNineveh,andthen Contemporary Art, theartistrespondedpositively, headingstraightforMesopotamia.Itgoeswithout When in2006IinvitedCuoghitoprepareasoloexhibitionfortheCastellodiRivoliMuseumof that, fromtheMiddle Ages onward,definedtheiconographicrepresentationofevilin West. of thatregionandtime,aswellinitsaffinitieswiththemostwidespreadimagesDevil animal, thedemonissurprisinginitsdissimilarityfromanyotherartifactproducedbycivilization tive defenseforthehome,newbornorpeopleingeneral. With hybridfeatures,atoncehumanand the demonhimself, Assyrians wereconvincedthatstatuettesofPazuzucouldfunctionasaneffec- ancient populationsofMesopotamiaasprotectionagainstdeadlythreats.Identifyinghiseffigieswith sified asarepresentationofPazuzu,demonassociatedwiththewinds,fearedbutalsoinvokedby bronze statuetteinthedepartmentof Assyrian Antiquities. Notevensixincheshigh,thestatueisclas On avisittotheLouvre,amongmanymasterpiecesondisplay, Cuoghi’s attentionwascaughtbya Marcella Beccaria.«Roberto Vision», Kaleidoscope,n°6,year Cuoghi.The Rules 2,April-May, of 2010. http://1995-2015.undo.net/it/magazines/1272010570 - Galerie Chantal Crousel Andrea Viliani.Andrea «Roberto Cuoghi.DoMeAFavor», Frog , n°8,February, 2009,pp. 94-103. Galerie Chantal Crousel Andrea Viliani.Andrea «Roberto Cuoghi.DoMeAFavor», Frog , n°8,February, 2009,pp. 94-103. Galerie Chantal Crousel Andrea Viliani.Andrea «Roberto Cuoghi.DoMeAFavor», Frog , n°8,February, 2009,pp. 94-103. Galerie Chantal Crousel Andrea Viliani.Andrea «Roberto Cuoghi.DoMeAFavor», Frog , n°8,February, 2009,pp. 94-103. Galerie Chantal Crousel Andrea Viliani.Andrea «Roberto Cuoghi.DoMeAFavor», Frog , n°8,February, 2009,pp. 94-103. Galerie Chantal Crousel Andrea Viliani.Andrea «Roberto Cuoghi.DoMeAFavor», Frog , n°8,February, 2009,pp. 94-103. Galerie Chantal Crousel Andrea Viliani.Andrea «Roberto Cuoghi.DoMeAFavor», Frog , n°8,February, 2009,pp. 94-103. Galerie Chantal Crousel Andrea Viliani.Andrea «Roberto Cuoghi.DoMeAFavor», Frog , n°8,February, 2009,pp. 94-103. Galerie Chantal Crousel Andrea Viliani.Andrea «Roberto Cuoghi.DoMeAFavor», Frog , n°8,February, 2009,pp. 94-103. Galerie Chantal Crousel Andrea Viliani.Andrea «Roberto Cuoghi.DoMeAFavor», Frog , n°8,February, 2009,pp. 94-103. Galerie Chantal Crousel «Roberto Cuoghi,The ICA,Londres, CastellodiRivoli, Turin», Frog , n°8,February, 2009,pp. 32-35. Galerie Chantal Crousel «Roberto Cuoghi,The ICA,Londres, CastellodiRivoli, Turin», Frog , n°8,February, 2009,pp. 32-35. Galerie Chantal Crousel «Roberto Cuoghi,The ICA,Londres, CastellodiRivoli, Turin», Frog , n°8,February, 2009,pp. 32-35. Galerie Chantal Crousel «Roberto Cuoghi,The ICA,Londres, CastellodiRivoli, Turin», Frog , n°8,February, 2009,pp. 32-35. Galerie Chantal Crousel Andrea Bellini.«L’Andrea improvvisazione èviva, ingiro portare gelitin lapuoisempre », Domus, n°930,November, 2009, pp. 97-100. Galerie Chantal Crousel Andrea Bellini.«L’Andrea improvvisazione èviva, ingiro portare gelitin lapuoisempre », Domus, n°930,November, 2009, pp. 97-100. Galerie Chantal Crousel Andrea Bellini.«L’Andrea improvvisazione èviva, ingiro portare gelitin lapuoisempre », Domus, n°930,November, 2009, pp. 97-100. Galerie Chantal Crousel Andrea Bellini.«L’Andrea improvvisazione èviva, ingiro portare gelitin lapuoisempre », Domus, n°930,November, 2009, pp. 97-100. Galerie Chantal Crousel Laura Cherubini.«RobertoLaura Cuoghi.Liturgieedemoni»,Flash Art Italia, n°270,June-July, 2008,pp. 73-75. Galerie Chantal Crousel Laura Cherubini.«RobertoLaura Cuoghi.Liturgieedemoni»,Flash Art Italia, n°270,June-July, 2008,pp. 73-75. Galerie Chantal Crousel Laura Cherubini.«RobertoLaura Cuoghi.Liturgieedemoni»,Flash Art Italia, n°270,June-July, 2008,pp. 73-75. Galerie Chantal Crousel Laura Cherubini.«RobertoLaura Cuoghi.Liturgieedemoni»,Flash Art Italia, n°270,June-July, 2008,pp. 73-75. Galerie Chantal Crousel elementary styleandresembled thecreationsofasmallchild. the painprovokedby prisms. The resultantdrawingsandpoemswereaccordingly executedinan experience oftheseexceptionalcircumstances,including theeffects ofthemedicines hetooktoease self-portraits andanumberofbitterlyironic,occasionally melancholic,shortpoemsthatrelatedhis completely redefinehissenseofsightandorientation. Theprojectgeneratedavideo,seriesofdrawn 1997). The glasses providedCuoghiwithacompletelydistortedvisionoftheworld,obliginghimto them by180degrees–mountedontowelders’ gogglesforfiveconsecutivedays(IlCoccodeista, for instance,CuoghiworeapairofSchmidt-Pechan prisms–whichrotatewhateverisviewedthrough his physicalcapacitiesinaratherextremefashion. While stillastudentatMilan’s Brera Art Academy, In someofhisearlyprojects,Cuoghisubjected bodytoavarietyofmetamorphicprocesses,testing artist. change, thehybridizationofformsandidentities,isarecurrentthemeinworkthisMilan-based tify acommondenominatorintheconceptofmetamorphosis. The idea of constanttransformationand To radically simplifythediversityofformsandappearancesRobertoCuoghi’s arttakes,wecouldiden- Luca Cerizza Issue 116 June-August2008 Metamorphosis and‘life-sharing’;decadenthumourdemonkings Roberto Cuoghi Luca Cerizza.«Roberto Cuoghi»,Frieze, n°116,June-August, 2008. http://www.frieze.com/issue/article/roberto_cuoghi/ Galerie Chantal Crousel The symbolicrelevance of Cuoghi’s projectbecomes clearer whenweconsiderthatthelamentation around 612bcinvoking the protectionof Assyrian gods. of ancientmusicalinstruments, whichhethenusedtoaccompanyhimself singingalamentationfrom voices ofCuoghi’s overwhelmingsoundinstallation. The artistresearchedandreconstructedanumber and thevideofor‘RockIt’ (2004)byGorillaz.Insidethemuseum,roomsresonatedwith themyriad and hasamillenaryhistoryofreincarnationsthat inrecenttimeshasextendedto wind. Followingtheprinciplethatevildrives away, Pazuzu wasfrequentlyinvokedasprotector, gement ofatinybronzestatuefromtheLouvre the Assyrian deityPazuzu,kingofthedemons cated onthemuseum’s monumentalstaircase, thesculpture,whichisoverfivemeterstall,anenlar cologists, linguistsandindustrialdesigners,Cuoghi producedasculptureandsoundinstallation.Lo- and mythology. After anextendedperiodofresearchinvolving historians,archaeologists,ethno-musi- at theCastellodiRivoliContemporary Art Museumin Turin, focuseson Assyro-Babylonian history It thereforecomesasnosurprisethatCuoghi’s latestproject,‘Šuillakku’ (2008),whichrecently opened every residualconceptofpurityisredundant:themythicaleraBabelrevisited. dark, almostdecadenthumour, Cuoghi’s artalludes to thefactthatwearelivinginatimewhich increasingly influencedbytheforcesofglobalizationanddigitalization. form orstory, hisworkquestionsidentity, authorityandauthorship,originoriginality, inaworld highbrow andpopularculture.Byrevealingthelevelofadulterationcorruptionhiddeninany given In Cuoghi’s world,hybridizationexistsatevery level,betweenpastandpresent,naturetechnology, Redon dreamgonebad. images –fromevilsmilingcreaturestounreadablegeographicalmapstheworksevokeanOdilon layers ofglassandvariousmaterialsaresuperimposedontooneanothertocreatearangedisquieting more disturbingpaintings.Executedemployinganexquisite,painstakingtechnique,inwhichmultiple cing aparadeofgrotesque-yet-comicalfigures.Cuoghisubsequentlycompletednumberdarker and Tunes andPeanutswiththosefrommorerecentseriessuchas The SimpsonsandSouthPark,produ- among othermonstrousbodies,createdbycombiningcharactersfromclassiccartoonssuchasLoony portrayed himselfasanoldmanwearingdarkglassesandafatIndiandivinity, ahybridcreature as acartooninnumberofworks.Inthevideoanimation The Goodgriefies (2000),forexample,he In anattempttomoveawayfromemployinghisbodydirectlyinart,Cuoghirepresentedhimself cal operations. himself overtheyearsrenderedprocessextremelyslowandpainful,evennecessitatingsomesurgi- passed away, theartiststartedtoreverseprematureaging,butstresswhichhehadsubjected Cuoghi’s imitationsurvivedtheoriginal,buthisbodypaidahighinheritancetax:whenfather consequently prolonganotherexistence,spreadbywordofmouthuntilitpassedintoart-worldlore. Although itgeneratednofurtherartworks,newsofCuoghi’s attemptto‘life-share’,duplicateand maintained hisnewpersonaforseveralyears,inanambiguousstrugglebetweenfictionandreality man: thenumbershadbeeninverted,timeaccelerated.Neitheraperformancenordisguise,Cuoghi dressed andactedlikehisfather. Within afewweeks,theartisthadtransformedhimselfintoanold became seriouslyill.Cuoghigainedsixandahalfstone,dyedhishairwhite,grewlongbeard, reverse thenaturalprogressionoftime,heassumedappearancehisfatherwho,shortlyafter, In 1998,attheageof25,Cuoghiembarkedonanotherradicalfirst-handexperience.anattemptto Luca Cerizza.«Roberto Cuoghi»,Frieze, n°116,June-August, 2008. http://www.frieze.com/issue/article/roberto_cuoghi/ Although itistingedwitha The Exorcist(1971) . - Galerie Chantal Crousel Babylon ispavedwithanguish,despairanddeath. a moremetaphoricalfashionaboutourfearoftheunknownandworldgonewrong. The roadto that theglobaldominationof American empirewillendabout20yearsfromnow;Cuoghispeaksin lations. InUnebrèvehistoiredel’avenir(A BriefHistoryoftheFuture,2006),Jacques Attali predicted dates fromatimewhenoneoftheworld’s firstgreat empireswasunderthreatfromneighbouringpopu Luca Cerizza.«Roberto Cuoghi»,Frieze, n°116,June-August, 2008. http://www.frieze.com/issue/article/roberto_cuoghi/ - Galerie Chantal Crousel Maurizio Cattelan. «MaurizioCattelan intervistaRoberto Cuoghi»,MousseMagazine, n°5,December, 2006, pp. 24-26. Galerie Chantal Crousel Maurizio Cattelan. «MaurizioCattelan intervistaRoberto Cuoghi»,MousseMagazine, n°5,December, 2006, pp. 24-26. Galerie Chantal Crousel Maurizio Cattelan. «MaurizioCattelan intervistaRoberto Cuoghi»,MousseMagazine, n°5,December, 2006, pp. 24-26. Galerie Chantal Crousel Maurizio Cattelan. «MaurizioCattelan intervistaRoberto Cuoghi»,MousseMagazine, n°5,December, 2006, pp. 24-26. Galerie Chantal Crousel Alison M.Gingeras. «Roberto Cuoghi»,Artforum, Summer, 2005,pp. 316-317. Galerie Chantal Crousel Alison M.Gingeras. «Roberto Cuoghi»,Artforum, Summer, 2005,pp. 316-317. Galerie Chantal Crousel Diego Perrone.Diego «Roberto Cuoghiinconversation with Perrone, Diego Wrong Times, 2003.