FRANCESCO ARENA ADAM AVIKAINEN BETTINA BUCK TOBIAS COLLIER RÄ DI MARTINO GRAHAM HUDSON URSULA MAYER ROBERT ORCHARDSON ANTONIO ROVALDI MARINELLA SENATORE GUIDO VAN DER WERVE NICO VASCELLARI ZIMMERFREI 21 May - 18 September 2007 “9 or 10 works I used to like, in no order” MONITOR Stefan Brüggemann I Sean Dack I Simon Dyb- video&contemporary art broe Møller I Jacob Dyrenforth I Nicola Pecoraro Falke Pisano I Frédéric Post I Jeremy Shaw I Izet Viale delle Mura Aurelie 19 00165 Rome Sheshivari I Alexandre Singh I Meredyth Sparks. Tel/Fax (+0039) 06 39378024 curated by Luca Lo Pinto [email protected] GALLERIA LORCAN O’NEILL ROMA PIETRO RUFFO SIX NATIONS 24 MAY - SEPTEMBER 2007 MANFREDI BENINATI DON BROWN FRANCESCO CLEMENTE MARTIN CREED TRACEY EMIN ANSELM KIEFER RICHARD LONG LUIGI ONTANI MAX RENKEL KIKI SMITH SAM TAYLOR-WOOD JEFF WALL RACHEL WHITEREAD MATVEY LEVENSTEIN 2 OCTOBER - NOVEMBER 2007 1E Via Orti D’Alibert Rome 00165 - +39 06 6889-2980 - [email protected] - www.lorcanoneill.com SPECIAL ISSUE Nero Free Magazine [email protected] Editor-in-Chief: Giuseppe Mohrhoff This is a special english issue of NERO, for the first Editors: Francesco de Figueiredo ([email protected]) time distributed internationally. This issue has been Luca Lo Pinto ([email protected]) Valerio Mannucci ([email protected]) conceived as a ‘best of’ the top rated stories narrated Lorenzo Micheli Gigotti ([email protected]) by NERO up to now. Collaborators: Gianni Avella, Emiliano Barbieri, Carola Bonfili, Dr. Pira, Rudi Borsella, Francesco Farabegoli, Roberta 02 IO CHE INTERVISTO JONATHAN MONK... Ferlicca, Ilaria Gianni, Antonio Pezzuto, Andrea Proia, Giordano Simoncini, Francesco Tatò, Francesco Ventrella. 06 LIGHTNING BOLT, CONSCIOUSNESS AND PASSION Contributors: Justin Bennett, Edoardo Caruso, Cristiano Cenci, Silvia 10 MASQUÉRADE Chiodi, Marco Cirese, Marco Costa, Dennis Cooper, Filippo Gualtieri, Brandon Labelle, Alberto Lo Pinto, 12 AIR MADE VISIBLE. RICCARDO PREVIDI AND TOMAS SARACENO. Federico Narracci, Piero Pala, Anna Passarini, Silvia Pirolli, Leandro Pisano, Marta Pozzoli, Filipa Ramos, Francesco M.Russo, Davide Talia, Federico Tixi. 16 SILENCE IS SEXY Artistic Contributions: IN ORDER NOT TO DIE OF TELEVISION... Chris Bianchi, Gustav Deutsch, Zdzislaw Beksinski, 20 Blu, Gardar Eide Einarsson, Robert Lippok, Mario Garcia Torres, Tommaso Garavini, Andrew James 24 END OF THE YEAR TALE Jones, Scott King, Emiliano Maggi, Nial McCelland & Lukas Geronimas, Taylor McKimens, Henrik Olesen, Joao Onofre, Nicola Pecoraro, Gabriele Picco, Cesare 26 JUSTIN BENNETT & BRANDON LABELLE TALKING Pietroiusti, Giuseppe Pietroniro, Frederic Post, Izet Sheshivari, Riccardo Previdi, Andrew Schoultz, Terre 30 ARIEL PINK Thaemlitz, The Lions, Cerith Wyn Evans, Ed Young. Translation by: Adrienne Drake, Nicola Pecoraro. 33 SPECIAL PROJECT: PIERO GOLIA Pagination: www.industriegrafiche.biz Daniele De Santis 37 TERRE THAEMLITZ: THE CRISIS OF POST-SPECTACLE “LIVE”... Advertising Sales and Production: Luca Lo Pinto +39 3397825906 38 A WOMAN Lorenzo Micheli Gigotti +39 3391453359 [email protected] 40 AVANT-GARDE IS ONE THING... Distribution: [email protected] Publisher: Produzioni NERO soc. coop. a r.l. 42 DIARIES, NOTES & SKETCHES. PIP CHODOROV Iscrizione Albo Cooperative n° A116843 46 CRYSTAL DISTORTION NERO Via In Caterina 83c 00186 ROME Tel. / Fax +39 06 97271252 50 HERE LIES HARD ROCK [email protected] Registrazione al Tribunale di Roma n. 102/04 del 15 A PORTRAIT OF... WILLOUGBY SHARP marzo 2004 52 Printed by Fratelli Spada S.p.a. in May 2007, Rome 56 ŠKUC GALLERY via Lucrezia Romana, 60 Ciampino Supported by Fondazione Baruchello 58 CONSUMPTION Thanks to Buchhandlung Walther Koenig LES RÉFLEXIONS DANGEREUSES for the distribution 62 Cover by Chris Bianchi, Blu, Nicola Pecoraro 68 SPECIAL PROJECTS / TAPES WWW.NEROMAGAZINE.IT Jonathan: Dear Luca, I will consider your question over the weekend. I leave for France for a couple of days. IO CHE INTERVISTO JONATHAN MONK VIA E-MAIL I am making a small show in Nantes at the art school. Will discuss my power system with my financial adviser. TRA IL 6 MARZO E IL 9 APRILE 2005 Until then Luca: OK. Bon voyage! AND I WILL HAVE AN ALTERNATIVE TITLE BEFORE 80 DAYS Take care Jonathan: Dear Luca, from NERO n.05 may/june 2005 by Luca Lo Pinto Back from my travels...but only just. I am not sure I’m a power broker, but I do play with different structures, whether they are power structures is up for debate. The only real position of From: [email protected] power the artist has in today’s society is freedom, even if the market, the critics, curators and dealers would sometimes see it differently. Freedom is a Subject: ready to start? powerful force and it is important for it to be used wisely and with understanding. To find a place to be free to think about what we are going to do. Date: 04 March 2005 17:18:57 CET Marcuse via Barry, which I think has become easier in recent years or at least more expectable. I think if we can banish the idea of (creating) a product we To: Jonathan Monk have won, but what will we have? Nothing? And then we are back where we started. P.S. I am not sure I am making any sense, but this is normal... Hi Jonathan, Are you ready to start our conversation? Luca: FREEDOM! Let me know when I can send you the first question. I think you have freedom when you have power. If your work didn’t create the results it does (from an artistic and/or economic point of view), you wouldn’t have the freedom that you are given when invited to think of a work or exhibition. I believe it’s difficult to consider the idea of creation as not Best, tied to the production of a product with a specific value. Paradoxically, you are freer inside the system than outside. Everything depends on how you Luca use your freedom and your power. I’ll give you an example in the artistic world: you as artist, Jan Mot as gallerist, Jens Hoffman as curator. Everyone works with intelligence and freedom (more/less) at a high level in the system. But they have a value and are free to act because they produce something From: Jonathan Monk for the system in which they live. They don’t produce what the system wants, but something that is OK for the system. Subject: Re: ready to start? The system wants you to produce something and it’s not important if it’s intelligent or not if you are able to get the same results. Date: 06 March 2005 21:12:28 CET I don’t want to make a political speech, but I think it’s important to reflect a lot on the field we’re working in… To: [email protected] Luca Dear Luca, (I am not sure I am making any sense, but this is normal?...) I am ready to start now! Jonathan: Dear Luca, Until then, I agree, up to a point. I am not sure that the position I am in has made things easier for me. I hope that what I produce is not always made ready for the JM market, even if that is where it ends up. I am thinking more in terms of the opportunity to be able to think freely and I did that before I was stuck in an economic structure that helped me survive. I do though, except that my parents did encourage my direction, but I am pretty sure they didn’t think much Luca: OK. Let’s start with my first question: would come from it. My mother still asks me if I have any work. I am working class. When asked to make a work for an exhibition my first question is we all know about your great passion for conceptual art, which is also a leitmotiv of your work. I’d be interested to know how it started. Where does this never...is there a production budget? Ideas are free and it is possible to make them available very cheaply. I do believe that the system I am involved in is great attraction come from? I mean in an emotional, not a critical way. Is it related to your studies or was it born independently from them? important to the way I work and intellectually it supports what I do. I still think that the product (an actual object) is not important. Most of the work I appreciate I have never actually seen. Maybe seeing is believing, but you can’t keep your eyes open all the time. Jonathan: Dear Luca, Until then, we can add and subtract at a later date...I am just writing...not sure it makes any sense... JM Until the next question, JM P.S. You probably see my situation differently. I never go to art fairs and I avoid politics. More soon...good night. I went to art school in Glasgow (1987-91) and studied environmental art, like most of the artists you might have heard of from Glasgow. At the time my thoughts were more focused on the second generation of American conceptual artists...Richard Prince, Jeff Koons, and particularly Sherrie Levine. At that Luca: I’m imagining this interview as a DJ set. We put on a track mixed with another one, remove the first and leave the second one playing. Jeff Mills, time my work didn’t make direct references, but played more with a system of communication. It was very difficult for us to actually see work; most of what the “father” of techno music, always said that he plays a single track for just for a few seconds to take the best part and then change. I saw came from the pages of art magazines and catalogues.