On Tuesday, it was almost sunny, i was bored, i thought that a few moments at Franco Soffiantino would sort me out. The Turin art gallery's ongoing show has indeed a very promising title: Thai Body Massage and other works.

Jens Haaning bought every single object that happened to find itself in a thai massage centre. Body oil, painting reproductions of Thai landscape, portrait of the King of Thailand, carpet, chairs, etc. Even the handbag of the owner of the massage center. Every object has now found a new home in the gallery. Haaning had previously moved that same massage studio to Kunsthal Nord in Aalborg, Denmark where it was fully operational. Visitors of the art center could thus book an appointment and get a massage.



Anyway, the work that i found most interesting in this exhibition deals also with relocation, immigration and integration. In 2009, the artist went to Albania, caught dozens of pigeons, put them in cardboard boxes, loaded the boxes in the truck of his car and drove to Greece. He released the birds in a square of Thessaloniki where pigeons usually gather. Simple. Yet he had performed an illegal act: bringing live animals inside the European Union borders is forbidden to avoid "the transmission of diseases to either the public or other animals" unless you carry the relevant health certificates. Yet, pigeons, migratory birds, even seeds cross borders every day.

This post is dedicated to the stern customs officers who stop me after immigration in the US because i forgot that i have an apple in my handbag.


Images from the show.
Thai Body Massage and other works runs until April, 23 at the Franco Soffiantino gallery in Turin.
Photo on the homepage: Jens Haaning, Albanian Pigeons, 2008, 2nd Biennial of Contemporary Art Thessaloniki, Thessaloniki, Greece, 2009, photo by Dorte Krogh, courtesy Franco Soffiantino Gallery.

Sponsored by:

While i ponder on my inability to be the queen of sexy titles, i'm going to give you a last breath of Artissima:


Photo: Max Tomasinelli

The first time i saw Jan Håfström's work was at the Venice Biennial. I remembered thinking that i wouldn't mind seeing it over and over again. The Brändström gallery in Stockholm has no idea how happy when they decided to fill their booth with Paradise Lost, Walker, Incidents of Grandma's Travel and The Eternal Return to Artissima. The cut-out wood panels create an instant dark cult atmosphere evoking Gustave Moreau, Edgar Allan Poe, secret burial ceremonies and Boris Karloff's hypnotic eyes in The Mummy.






What happened? Why did i miss Francis Upritchard at the last edition of the Venice Biennial?



Now the question i like to ask myself when i'm in an artfair is "if money was no object which work would i want to bag for my penthouse?" At Artissima, i'd have bought a Damien Deroubaix.

Damien Deroubaix, Sans titre (Lion rouge), 2008. Courtesy In Situ / Fabienne LeclercCrédit photo: Rebecca Fanuele

Damien Deroubaix, Der Neue Mensch 2, 2007

Damien Deroubaix, World Downfall, 2007

Damien Deroubaix, Babylon, 2007

I came across the work of David Shrigley at Galleri Nicolai Wallner's booth. I'm now very fond of his Modern Thought animations.

David Shrigley, Untitled (Hey you!), 2009. Image Galleri Nicolai Wallner

David Shrigley, Untitled (My operation was a success), 2010. Image Galleri Nicolai Wallner

Jennifer Allora & Guillermo Calzadilla, Intermission (Halloween Iraq 2), 2008. Lisson Gallery

Honza Zamojski, Untitled (Pigeons), 2010

In 2007, Daniel Knorr decorated four trams in Bucharest with the symbols of key institutions: The Army, The Orthodox Church, The Red Cross and the Police. This intervention materializes the Kafkian relationship between institutions and citizens who live physically such relationship in regard to the tram (either if they are inside or outside it, either if it is empty or crowded), always repeating the same run (via.)

Daniel Knorr, Trams and Institutions, Bucharest, 2007

Gianni Pettena was one of the leading figures of "radical architecture" in Italy. The little i've seen of his work makes me think that he was a brilliant man, to say the least. Carabinieri were giant word-objects built out of corrugated cardboard erected in a courtyard and abandoned to the wear and tear of time and weather. 'Carabinieri' (the national gendarmerie of Italy) is an old word and it evokes authority. Rain and humidity have quickly and quietly reduced it to pieces.

Gianni Pettena, Carabinieri, Novara, Palazzo Comunale, 1968. Courtesy Enrico Fornello, Milano

Catherine Opie, Self portrait

Marcello Maloberti, Raptus

Zebiba, by Hrair Sarkissian, is a series of portraits of pious men in Egypt who all have the 'Zebiba' or prayer scar on their foreheads, caused by kneeling on a prayer rug or a Mussallah (Stone of God) and touching the ground with one's forehead. On one level, the worshipper aspires to disinvest himself from earthly culture. Paradoxically, the desire to become invisible when facing God, renders him more visible within his social environment.

Hrair Sarkissian, Zebiba

Hrair Sarkissian, Zebiba

Best discovery for me was the work of Andrea Salvino at the booth of Antonio Colombo Arte Contemporanea.

Andrea Salvino, 
Histoire(s) du cinéma, 
. Courtesy Antonio Colombo, Milano

I had always associated Romanian artist Dan Perjovschi with sarcastic political drawings so i was surprised to see documentation of his tattoo "anti-performance."

In 1993, while his country was facing a national identity debate, and a negative image abroad, Perjovschi participated to a Performance Festival in Timişoara with an "anti-performance" for which he had the name of his country tattooed on his shoulder.
The unspectacular branding procedure reminding one of concentration camps and the confrontation with the loss of one's own identity by the brutal regimentation under the name of a country, was one of the most sincerely desperate forms of manifesting a post-December trauma, a form of protest against a "collective amnesia" manifested by the general indifference for the great problems which remained unsolved during the transition from communism to another stage (via.)

Ten years later, he removed the tattoo in a surgical procedure that involved a laser bombardment of the tattoo, each black dot splitting into millions of pieces and each of the pieces carried away through his skin by molecules. The tattoo was not erased but instead spread throughout the whole body of the artist.

Dan Perjovschi, Removing Romania, 1993‚ 2003-2006 (detail). Photo: Nils Klinger. Galerija Gregor Podnar

And that's it for the 17th edition of Artissima!


Elmgreen & Dragset, Jason, 2009. Courtesy Nicolai Wallner, Copenhagen

Vlassis Caniaris, Arrivederci - Willkommen, 1976. Courtesy Kalfayan Galleries

Previously: Artissima - the installations, Artissima: Architecture, photo, decay, Artissima - the House of Contamination and Artissima, first images.

Olala! I'm ridiculously late with the remains of my reports from the Artissima art fair which took place in Turin last November. I posted a couple of quick stories a while back then got on a plane and left catalogues, scraps of papers, hasty notes and memories home. I know new year's resolutions are made never to be respected, but i do hope 2011 will see some form of organization in the way i schedule my reports.

Photo: Max Tomasinelli

The last edition of Artissima was good. But then i'd usually say such thing because i love art fairs. The booth ladies always wear fancy, sexy attires, none of them has ever heard about the existence of art blogs, i see free booze in my fancy press bag, the concept of a fair makes it possible to ask questions you'd never dare to ask in a gallery or museum, and there are more artworks than even i can absorb. The event this year took place at at the comfortable and luminous Oval - a pavilion built for the 2006 Olympic Winter Games in Turin.

I got lost on my way to the venue

Once i finally got to the fair, a wealth of information awaited me at the entrance of the bathroom

Artissima offered dance shows, performances, mega structures made of trash (see Artissima - the House of Contamination) and a few young galleries and artists i was happy to discover. This post will focus on the installations i found particularly striking:

One of the most amazing, yet simple, works at the art fair was a light projection by Ulrich Vogl. Neatly aligned projectors from all brands and sizes were casting onto the wall of the booth slide images that, seen together, suggested the night-time skyline of a distant metropolis.

Ulrich Vogl, O.T., 2010, Courtesy of the Artist and Opdahl, Stavanger, Berlin

Ulrich Vogl, O.T., 2010, Courtesy of the Artist and Opdahl, Stavanger, Berlin

In 1997 Carl Michael von Hausswolf initiated a series of works under the title "Operations of Spirit Communication", inspired by his research on Electronic Voice Phenomena techniques. His ready-made machines were showing the possibilities of ghosts and other kinds of life forms living inside a certain space or inside the electricity grids. Unfortunately for me the lovely person in charge of the Niklas Belenius booth was a friend of the gallerist and he could not give me much information about this particular piece. He merely gave me the name of the artist and had me press a couple of buttons.



Superflex was showing the Anti-Piracy Machine, from its Free beer / Counter game strategies series. Anti-Piracy Machine models the struggle against counterfeit goods. One player (the 'pirate') places bootleg material (represented by potatos) into the marketplace (represented by the launching tube). The other player (the 'police') uses the subtle and finely-tuned instrument of the law (represented here by a hammer) to remove pirate material from circulation. Five points to the pirate for every potato missed, one point to the police for every potato hit.

Superflex, Free beer / Counter game strategies (anti piracy machine), 2006. Courtesy Enrico Astuni, Bologna

Niklas Belenius's booth (again!) had photo documentation of John Duncan's installation The Rage Room, part of The Dream House in which each room is specifically designed to evoke a specific state of consciousness.

John Duncan, Rage Room, 2010. Courtesy Niklas Belenius, Stockholm

Susan Norrie's stunning video installation was dedicated to the people of Porong and East Java who are battling the biggest mud volcano in the world. In 2006, an eruption at the Banjar Panji 1 gas and oil drilling well created an environmental disaster in the region that continues to this day. Company officials claimed that a distant earthquake had triggered the eruption; others believed that the catastrophe was primarily due to the mining company's operational negligence.

Susan Norrie, Havoc, 2006-2008. Giorgio Persano Gallery

Susan Norrie, still from Havoc, 2006-2008

Susan Norrie, still from Havoc, 2006-2008

Susan Norrie, still from Havoc, 2006-2008

The toxic fumes spreading from the well include hydrogen sulphide, which causes long-term neurological and physical effects. The mudslide inundated villages, leaving more than tens of thousands of people homeless. It is expected that the flow will continue for the next 30 years.

Susan Norrie, still from Havoc, 2006-2008

Susan Norrie, still from Havoc, 2006-2008

Lou Reed lighting a cigarette on the first track, side one, of the LP Take No Prisoners, recorded live at the Bottom Line, New York, May 1978. The sound is played through a microphone connected to the headphones output of a 1970s reel-to-reel tape recorder.

Pavel Büchler, Lou Reed live, 2008

And a very happy new year to you dear readers.

Previously: Artissima - the House of Contamination and Artissima, first images.

Yesterday i paid a visit to the Piemonte Share festival, at the Science Museum in Turin. The new media art event might have its flaws but its energy and focus remain pretty unique in the country. Sunday was the day i wouldn't have missed for the world: i knew that neither Bruce Sterling nor Siegfried Zielinski would have disappointed the audience.


I wish i could have spent more time at the festival and dedicated a more generous space to it on this website but since all the art events are now taking place during the same weekend in Turin (and once again i believe that the person behind this idea should be hanged, drawn and quartered on Piazza Castello), all i'm going to blog is a series of bits and pieces from yesterday.

My first stop was for the exhibition which featured works from both the Smart Mistakes theme and the Share Prize.

Like every year, there were works that fascinated the public and works that made me happy (I feel like an old bat when i realize that nowadays they almost never coincide.) Let's start with an example of the former, shall we?

Kuai Auson, 0h!m1gas, 2008

0h!m1gas (migas being the spanish word for ants), by Kuai Auson, is one of the latest addition to the long (long!) line of artworks in which the movements of animals perform a task usually fulfilled by human beings.

Some activate vehicles (think of Ken Rinaldo's Augmented Fish Reality, Garnet Hertz's Cockroach Controlled Mobile Robot or Seith Weiner's Terranaut). Others control the arrival of your emails (RealSnailMail by boredomresearch). Some can even play musical instruments. The mice of Gail Wight's Rodentia Chamber Music Chamber play the piano, carillon, drum, harp and cello. The fish in Keny Marshall's Apophenia play brass horn.


0h!m1gas harnesses the relentless activity of an ant colony into a DJ scratching performance.

Just as the DJ/VJ culture is characterized by movements and noises expressing a human state of mind and feelings, these social agents engage in turntablism activated via motion tracking and contact microphones, so that the communication network in the colony can be analyzed as a form of biological data that produces a new form of emerging music.


My pictures are the crappy usual. Apologies to the artist.

knowbotic research, macghillie_ just a void, 2009-10, © Knowbotic Research

And now for the project that made me happy.

Inspired by the proliferation of surveillance technologies, knowbotic research's macghilie - just a void transports into a more urban setting the ghillie suit. This type of camouflage clothing, first used by hunters and then by soldiers in WW1, is covered in loose strips of cloth or twine, so that its wearer will be confused with heavy foliage.

Here's what i wrote about the project a while ago: One of the battle cries of KR is that they want to see the development of new zones of in-transparency in which people can fully experiment and circulate, where one is neither representable nor identifiable. A bit like the character (some kind of Cousin Itt alter-ego) that appears in their projects macghilie - just a void. What would happen if we fight surveillance society with transparency?

Knowbotic Research, Macghillie - just a void, 2010. © Knowbotic Research

But let's get back to Smart Mistakes, the theme of the festival which elevates glitches and errors to a more noble status. Bruce Sterling gave a new perspective on our notion of mistake with a presentation of 3 inventors (somewhere in his presentation he also managed to mention Carla Bruni):


The first one is Alexander Graham Bell, the inventor of the first practical telephone but also the author of many less successful inventions and experiments.

Alexander Graham Bell

Samuel Langhorne Clemens, aka Mark Twain, who invested and lost the fortune he had earned with his books in the Paige typesetting machine, a device designed to replace the human typesetter of a printing press with a mechanical arm. Twain was hoping he would turn into a media mogul by selling the machine to all the newspapers in the country. Unfortunately, the Paige composer took too much time to be perfected and was made obsolete by the Linotype.

Telharmonium console by Thaddeus Cahill 1897

The most interesting character however is Thaddeus Cahill, an engineer who invented the telharmonium. Together with Alexander Graham Bell, Cahill dreamt that the telharmonium music would soon be broadcast into hotels, restaurants, theaters, and even houses via the telephone line. As we know, this never happened.

But what if we got it all wrong? What if the man whose genius should be celebrated in this trio was Thaddeus Cahill? He might never have achieved his dream of rocking ball rooms with music played over phone lines but maybe we should herald him as the god father of electronic music. His telharmonium after all was the first electromechanical musical instrument ever created. And if we look closer in history, how will upcoming generation view the walkman which has recently put out of production after 30 years of activity? Will they look at it the way we look at the telharmonium today? Will they see it as nothing more than a clunky, cumbersome assemblage of plastic in which you had to insert boxes containing rolls of magnetic tape? Will they see it as a failure of engineering?

Of course, I took pictures.


Another update from Artissima, the contemporary art fair taking place this weekend in Turin. There's vodka in the press bag, the art girls wear Melissa shoes, they still rock those pointy shoulder jackets, the men are strongly encouraged to make sartorial efforts, and photography seems to have fallen out of favour.

Meanwhile half of the public is either walking up and down the scaffoldings of raumlabor's life-size maquette of an experimental museum or relaxing with friends on the huge heap of smelly discarded clothes that the Berlin-based collective has 'erected' by the bar. When i saw the mountain of clothes from afar i actually thought it was a scaled-down version Christian Boltanski's Personnes at the Grand Palais in Paris.

raumlabor's construction -which you can find at the back of the exhibition space- was designed to host the fair's cultural offer, a program mixing dance performances, literature, film screenings and architecture. The idea is brilliant and the structure certainly attracts more passersby than the white rooms where the conferences usually take place.


The House of Contamination forms a parallel architecture in clashing contrast both with the sleek volumes of the Oval building where the fair is hosted and with the squeaky clean walls of the gallery booths.


The walls of this experimental museum are built with compressed stacks of plastic, paper, metal, fabric and wood. All the material is recycled. The books of the library are kept inside disused fridges, tables are installed on top of upside-down washing machines. A huge fan intermittently blows wind that moves the fabric walls of the corridor. Up there, a rudimentary skywalk allows visitors to get a better idea of the architecture of the museum.




As the description of the House of Contamination states, all rooms are intercommunicating, the only dividing wall can move merging cinema and theatre, simultaneously sealing the literary salon.

Let's see if this experimental museum gets a life beyond the 4 days art fair.


raumlabor, House of Contamination, 2010


Abitare has interviewed members of raumlabor about the House of Contamination.
More images of the House of Contamination.

Previously: Permanent Error.

If you're under 14 and eager to visit the exhibition Disquieting Images at the Triennale in Milan, then i'm afraid you'll have to convince your parents to accompany you.

Sahla. Severely injured Iraqis live and get treated in the Kaser Jaddah hotel in Amman as part of an MSF run operation. Jordan 2008 © Paolo Pellegrin/Magnum Photos

Diane Arbus Russian Midget Friends in a Living Room on 100th Street, N.Y.C 1963

Nan Goldin, Skinhead with Child, London, 1978

The show is indeed disturbing. Not so much for the images but for the issues they uncover: domestic violence, decaying corpses, mass graves for cattle, post-war trauma, pollution, nonconformist sexual practices, etc. I'm almost ashamed to admit how much i enjoyed the show. It was extremely moving even if it made me feel sometimes as if i were a voyeur and a vulture.

Curators Germano Celant and Melissa Harris have hung on the white walls of the Triennale 260 pictures from 24 contemporary photographers. Each of these images follow the footsteps of the photos which surfaced from Vietnam in the '60s and '70s and were so shocking that they played a crucial role in changing public opinion about the war.

Images that emerge from conflicts are so powerful that in the early '90s, at the start of the Gulf War, the U.S. government has restricted the photographing or filming of dead soldiers or their caskets and its subsequent broadcast in the U.S.

Philip Jones Griffiths, from the series Agent Orange. © Philip Jones Griffiths/Magnum Photos

Philip Jones Griffiths knows about military censorship. Following the publication of Vietnam Inc. in 1971, he was banned from re-entering Vietnam. Until 1980 when the photographer traveled back there to document the effect of the U.S.'s chemical warfare. Griffiths spent several months in the country to meet some of Vietnam's estimated 1 million victims of Agent Orange, one of the herbicides and defoliants used by the U.S. military to defoliate forested and rural land, depriving guerrillas of cover and forcing peasants to leave the countryside.

"Spending time with the affected children is never easy - twenty year-olds living in ten year-old bodies. Some howling like animals, some giggling hysterically while others search with catatonic stares for meaning in the heavens... Giving birth becomes a game of roulette". --Philip Jones Griffiths.

Tran Ngoc, photographed in Vietnam in 1998, suffers from Spina Bifida and is mentally retarded. His father lived in an area sprayed with Agent Orange during the war. Philip Jones Griffiths, from the series Agent Orange. © Philip Jones Griffiths/Magnum Photos

Philip Jones Griffiths, from the series Agent Orange. © Philip Jones Griffiths/Magnum Photos

Nina Berman's wedding photo of wounded Iraq War veteran Ty Ziegel and his bride, Renee Kline, has become one of the most iconic images of contemporary warfare. The young US marine suffered horrific burns after a suicide bomber blew himself up by his truck in Iraq. After months in hospital, he went back home and married his high school sweetheart. A few months later, the couple divorced. The portrait is part of a series that follows Ziegel's recovery, homecoming and wedding day.

Tyler and Renee, 2006 © Nina Berman/NOOR/Galerie Jacques Cerami

Also present at the Triennale is her Purple Hearts series which portrays American soldiers who were submitted to heavy surgery after having been wounded in Iraq.

Ty and Flags, 2006 © Nina Berman/NOOR/Galerie Jacques Cerami

As Alfredo Jaar's Untitled (Newsweek), 1994 demonstrates, images documenting horrifying events do not necessarily get to the front page. A painful contrast to the images that James Nachtwey took in Rwanda (see b&w picture below), Untitled (Newsweek), 1994 brings side by side the covers of Newsweek published during the unfolding of the Rwandan genocide and the historical facts pertaining to the genocide. Yet, for months, the genocide will be absent from the covers of the American news magazine. The focus is instead on the deaths of Kurt Cobain, vitamin pills, the trial of O.J. Simpson, etc.

Alfredo Jaar, Untitled (Newsweek), 1994

By the time the magazine finally devoted a headline to Rwanda, in August 1994, more than one million people had been killed.

James Nachtwey, Rwanda, 1994

"The boy is saying to his father, 'I hate you for hitting my mother, and I hope you never come back to this house.' Nobody, even the parents who signed a release for this picture, realized how powerful it was going to be until they saw it in the magazine and they flipped out." --Donna Ferrato.

The Arrest, 1987 © Donna Ferrato

Donna Ferrato's Living with the Enemy documents domestic violence in the early '80s. At the time, women abused by their partner didn't talk about their suffering. They didn't call the police either, police officers seldom intervened anyway. It is partly due to Ferrata's series that the issue of domestic violence finally gained significant attention in the USA .

Donna Ferrato, Living With The Enemy, Copyright 2009 Donna Ferrato/AbuseAware.com

Donna Ferrato, Living With The Enemy, 1982. Lisa and Garth fighting over a cocaine pipe. Copyright 2009 Donna Ferrato/AbuseAware.com

With Cocaine True, Cocaine Blue, Eugene Richards chronicles the usage and effects of hard-core drugs in North East USA through the 1980's and early 1990's.

Eugene Richards, from the series Cocaine True, Cocaine Blue

Richard Misrach's photographs of The Pit follow the process of decomposition at three mass graves for dead animals in the Nevada desert. The reason for the sudden death of the horses, sheep and cattle may be related to a nearby nuclear test site. The highly aesthetic images are so distressing that they resulted in an investigation by the U.S. Bureau of Reclamation.

Richard Misrach, Dead Animals #1, 1987

Images on La Repubblica and Il Corriere.

Disquieting Images, an exhibition co-curated by Germano Celant and Melissa Harris, remains open at the Triennale in Milan through 9th January 2011.

 1  |  2  |  3  |  4  |  5  |  6  |  7  |  8  |  9  |  10 
sponsored by: