Around Milan

 

Domesticated Mountain by Andreas Angelidakis at Gloria Maria Gallery

 

 

Maria Cristina (curator of the show) with Andreas

 

Gloria Maria, Andreas and Mariuccia

a still from the video

 

Here with Andreas, Adelina, Priscilla and Marcelo for orthodox Easter

 

and then some nice party

Ricky, Elena and Gloria

Flavio, Caroline, Stefano, Ricky, Fabrizio, Andrea

 

BYOB Milan

 

Miart : the fantastic Melancolia of Lucio del Pezzo

 

great Luigi Ontani

 

Lucio del Pezzo

 

Lucio del Pezzo

 

a great 70's lego piece in a bookstore

 

 

Bruno Munari for Campari drawing book

 

Bruno Munari

 

Bruno Munari

Lily Van der Stokker at Kaufmann Repetto

On the Silver Couch: Leonardo Bigazzi

Curator and Film Festival organizer Leonardo Bigazzi

Tell us the story of your life in 140 characters.

Florence, 1982 – Love, Art, Friends and Travels – Florence, 2012

Why do you live in Florence?

This is the question I’ve been asking myself more frequently in the last ten years without really finding an answer. The quality of life is incredibly high and Florence is unbelievably beautiful but since I’m working in contemporary art very often I feel totally out of the world because things are happening somewhere else. I try to travel as much as I can and I work for a few stimulating projects. I guess that until I will be able to quench my thirst of contemporary culture by doing this I will still live here.

What's your favorite quote?

“There is no such thing as luck, there is a moment when talent meets opportunity” Lucio Anneo Seneca


Read in greek via Lifo

On the Silver Couch: Asli Serbest

Asli Serbest

Tell us your story of your life in 140ch

Birth in Istanbul. Studies of architecture, visual media and communication design in Istanbul, Stuttgart and Milan. Maus at m-a-u-s-e-r.net. Junk sales at junkjet.net.

What's your approach in print magazines dealing with internet culture?

Our print magazine Junk Jet is a transporter. As transporter it is a container moving contents from one place to another. At the same time, it is an archive that, while moving, stores its contents carefully (a sort of form finding). The net.heart issue, which is the latest one, has transferred internet things from their digital space into a paper jet. This transportation procedure relies on documents in a similar way as the museum relies on photograph and video documenting performance arts. And Junk Jet believes that this analogue documentation is in no way inferior to pseudo-preserving techniques of data migration, emulation, or reprogramming. At the end, Junk Jet says: Transportation is not so much about the artwork as object, but rather about the indication of the subjective decision of the artist. Junk Jet approaches internet as a conceptual phenomenon.


Read in greek via Lifo

MasterOfTheEclipse.com, 2012

MasterOfTheEclipse.com,  currently at KlausGallery.net curated by Duncan Malashock

My first in the series HTML5 canvas.

A monument on the way

On the Silver Couch: Rózsa Zita Farkas

Curator and co-director of Arcadia Missa, Rózsa Zita Farkas

Tell me your story of your life in 140ch:

I am a #dawta of TheMother. She is the wo(man). Gone from one institution onto another, my hedonism and their hierarchy's were at times at odds. I started A_M + am still looking for a #newhierarchy 

What would be the most provocative exhibition you could envisage in your space?

We recently had a provocative exhibition which was a week long duration performance by Thomas Bresolin, entitled Militant Training Camp. Not so much an exhibition, more an experiment into obedience and communisation. The 'militants' lived in the gallery for a week and carried out a series of violent performances responding to current activisms played out on and offline. However, in this moment now, I think that the most provocative exhibition I can see hypothetically, would be a non-exhibition where people are invited to a closed gallery - I don't know why this has come into my head but perhaps it is because shock value is something that has been already 'spent' within contemporary art, and an artwork which shocks is not necessarily anymore a culturally contemporary language. At a non-exhibition, if the roadside/public space/junkspace was 'enough', then maybe the non-exhibition could become an 'exhibition' (or work could be made instantly on smartfones/laptops/with beers). Or collectively all present could try to force the non-exhibition to 'exist' by a mass twitter trend attack - who knows, it could just be a party. And/or it could just be 'provocative' due to the irritation to visitors it may cause :) 

How do you see feminism being played out online?

I am going to answer this briefly and keep it separate from art (although obviously it exists in net-art forms) as it is complex and something I am researching so don't want to personally label it prematurely. 

I do think that the performance of the self and gender identity can be easily exaggerated and therefore enacted more honestly online, as although there are still pervasive and dominant cultures virtually as in irl, there is also more (and more immediate) avenues for escapism online. In essence you can 'be' who you choose to be, and if that's swapping your gender, your sexuality, or even reclaiming an identity of femininity which irl may be too entrenched in consumer culture or recognisable as anti-feminist, the internet allows a space for all and more of these things to take place. And in this sense the notion of reclaiming WHAT it means to be female/feminist/feminine within the plethora of versions all these things inhabit, one has the access, autonomy and personal power within the social context (/urls) to do so online.

Read in greek via Lifo

The Isolator

The Isolator, A Helmet For Encouraging Concentration and avoiding ADD(1925).

Source here

On the Silver Couch: Brad Troemel

Artist, writer and professor Brad Troemel

Tell us the story of your life:
Suburbs > internet > Chicago, art school > New York. 
What inspires you at the moment? 
The potential for the internet to interrupt the conventions of art history.
How do you see the future? 
I feel increasingly bleak about the future, but I try to balance itwith a healthy dose of idealism so I don't fall into pure cynicism.


Read in greek via Lifo

Haus Rucker Co

Radical architectural projects by Haus Rucker Co from the magic era of the late 60's and early 70's. 

Check also this great video here

The Theatre of the World - Aldo Rossi 1979

Teatro del Mundo by architect Aldo Rossi for 1979 Venice Biennial

Read more at Wikiarquitectura.com

On the Silver Couch: Katja Novitskova

Artist Katja Novitskova

Tell us the story of your life in 140ch:

Born in USSR, wanted to be an astronomer, got a computer at the age of 13, became an artist.

How would you define the generation of the artists working in and around the internet?

By now, for me there is no need in a clear definition – it defines itself the by the work, collaborations and hanging out that we do. As there are so many different things emerging, there is no single standard to be met, or a specific code to learn. The sense of our tribal affiliation probably originates in the genesis of the Internet era that we have all experienced simultaneously around the world.

Do you support the Occupy movement?

I do support the Occupy movement for a couple of reasons:

- It made young people think and talk about the basics of resource distributions in the world and their own countries.

- It made young people aware of the fact that they have to fight for their own well-being.

- It hopefully made governments and other large entities aware that severe power abuse eventually endangers their own existence. 

- I think all these and other aspects are necessary for the evolution of  ‘healthier’ socio-economic systems.

I went to Occupy Amsterdam for a few hours.


Read in Greek via Lifo

Ads from File Magazine

Where would we go without it?

Quite big ego-dramas

Canadians are always excited

Underwear solutions

Great Luigi Ontani ad for his Naples' gallery 

On the Silver Couch: Spyros Staveris

On the Silver Couch: Spyros Staveris

Why you became a photographer?

I became a photographer without understanding it and without wanting this. On a whim of a circumstance, and certainly not mine. And from a fatigue, a need to find a new focus in my life.

What's your favorite quote?

I saw something terrible ...

Are you passionate with something lately?

At the end, I am always chasing the picture.

Read in greek via Lifo