Tobias Zielony, Stairs, 2009-2010

If you've seen the movie Gomorrah, you won't have any difficulty recognizing the location of Tobias Zielony's photos: Le Vele (The Sails) in Naples. Denatured by modifications to the original plans, obstructed by management failures, excessive housing density and insufficient services facilities, the monumental buildings are to be demolished. Three of them have already been razed to the ground. The remaining four "sails" are in an advanced state of degradation. Only about a hundred families still live in buildings which have now been reduced to ghostlike ruins (via.)

Zielony, whose images i discovered at the Artissima art fair 2 months ago, spent several weeks studying and documenting how adolescents "kill time" in Naples suburbia.

Tobias Zielony, Vela azzurra, 2009-2010. Galeria Lia Rumma, Napoli

Trailer of Gomorrah. Le Vele start appearing at 0:34. Btw, did the voice over need to be so tragico-ridiculous?

Tobias Zielony, Mini-Bike, 2010

Tobias Zielony, Structure, 2010

Tobias Zielony, The group, 2010

Tobias Zielony, Vela Rossa, 2010

Tobias Zielony, Le vele di Scampia, 2009

Let's not move away from the 'deteriorating architectural heritage' chapter immediately, shall we? This morning i read in The Guardian that UK's largest surviving estate of postwar prefab houses is set to be bulldozed. Only six of the 187 bungalows, erected from factory-built panels by German and Italian prisoners of war in 1945 and 1946, will be saved. The remainder of the Excalibur estate in Catford, south-east London, will be demolished, along with its tin-roofed prefab church, St Mark's.*

Lara Almarcegui, Relocated Houses, Brittons Yard, 2009. Courtesy Ellen de Bruijne Projects

The story brought back to my mind another project i noticed at the Artissima art fair in November. Over a year ago, artists Lara Almarcegui came across a patchy assortment of cottages, classrooms and villas on the outskirts of Wellington, New Zealand. The houses are moved there from different places and remain on display until they are sold. The result is a ghost-town like street with empty buildings, some in state of disrepair, others in almost pristine condition.

For the One Day Sculpture project, Almarcegui traced the roots and individual stories of each building and communicated it through a tour and a catalogue which was published as an insert in Wellington's daily newspaper, the Dominion Post.

Caught between a distant history shared with an almost forgotten owner and their future reinstatement to another site, each house seems to be out of context.

Lara Almarcegui, Relocated Houses, Brittons Yard, 2009. Courtesy Ellen de Bruijne Projects

Lara _8  pipitea 5_565wide.jpg
Lara Almarcegui, Relocated Houses, Brittons Yard, 2009. Courtesy Ellen de Bruijne Projects

Lara Almarcegui, Relocated Houses, Brittons Yard, 2009

There might not have been as many photographic works as in the previous editions of Artissima, but the ones i saw certainly made it worth the trip.

Hitoshi Nomura, Tardiology, 1968-1969

Thank you McCaffrey Fine Art for bringing Hitoshi Nomura to the art fair. Nomura gained fame in the late sixties with huge works created out of cardboard or dry ice, that he photographed to record their change in shape and aspect over time, thereby manifesting invisible concepts, such as 'gravity' or 'time'. For his Tardiology series (1969/2009), the artist constructed high cardboard towers that he then left to the mercy of gravity, time and weather. He photographed them as they started to sag, bend, and finally toppled. Simple and effective demonstration of the power of gravity over time.

Hitoshi Nomura, Tardiology, 1968-1969

* Nothing to see here points to a lovely PDF about post-war prefabs in the UK.

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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.


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.

I've just spent the afternoon at the professional sneak peek of Artissima, Turin's contemporary art fair. Since i'm still uploading the hundreds of pictures i took, going through the catalogue, trying to identify the performances and screenings worth attending over the coming days and wondering whether i shouldn't get away from this screen and head to the Share festival right now (whoever decided that the few interesting art events in this town should be crammed together in a couple of days should be submitted to the ordeal of hot water), i'm going to do the lazy thing and give you an easy preview of Artissima using a selection of the press images i received a few hours ago. I promise to be more diligent tomorrow. In the meantime, here are the goods:

Vimmie Durham, Africa and Antinomianism, 2010. Courtesy of the Artist and Opdahl, Stavanger, Berlin

Gianni Pettena, Someone call him pig, Minneapolis, USA, 1971. 
Courtesy Enrico Fornello, Milano

Eva Kotatkova, House Arrest, 2009. Courtesy Conduits, Milano

I loved this one and i'll add that the Polish galleries rocked the fair this year:

Radek Szlaga, Survivors, 2010. Courtesy LETO, Warsaw

Emily Jacir, Ramallah Mall, 2006. Courtesy Alberto Peola, Torino

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

Birgit Jurgenssen, Ohne Titel (Olga), 1979. Estate of Birgit Jürgenssen, ph347
. Courtesy Hubert Winter, Wien

Tomoko Sawada, Decoration/Face
. Courtesy Connoisseur Contemporary, Hong Kong

Liam Gillick, Structured Projection, 2008. Photo: C. Delory. Courtesy Air de Paris, Paris

, 1998/2006. 
Courtesy Lovett/Codagnone and September, Berlin

Mel Bochner, Crazy, 2010. Courtesy Nelson-Freeman, Paris

goldiechiari, Dispositivo di rimozione #3A, 2010
. Courtesy Gonzales y Gonzales, Santiago

Regina José Galindo, Looting, 2010
. Performance. Image courtesy 
Prometeogallery, Milano, Lucca

Anna Maria Maiolino, Por um Fio [By a Thread], (serie fotopoemação), 
. Photo:Regina Vater. 
Courtesy Galleria Raffaella Cortese, Milano

Georges Rousse, Vilnius, 2009. Courtesy Photo&Contemporary, Torino

Gareth James, Turning Serious, 2006. Courtesy Franco Soffiantino, Torino

Artissima, Turin's contemporary art fair is open to the public on November 5, 6 and 7 from 12.00 to 8.00 pm.


I've written about Artissima, Turin's contemporary art fair, in my previous post (Artissima, Turin's contemporary art fair), I'll let the photos do the talking this time, except when they document performances or installations.

Matej Andraž Vogrinčič's installation Untitled (56 Boats) was a collection of 56 upturned rowing boats placed inside the bombed ruins of the Gothic Era St. Luke's Church in Liverpool.

Matej Andraž Vogrinčič, Untitled (56 boats) at Skuc gallery

Kutlug Ataman's two-channel projection Journey to the Moon is a docu-fiction about an urban myth that in 1957, a group of villagers in eastern Turkey were conned by a politician into believing he would build a spaceship factory in cooperation with the US, in return for their votes. The film explores the idea that the villagers were the victim of American style westernisation in Turkey in the late 50s and perhaps also of the early stages of globalisation.

Kutlug Ataman, Journey to the moon, 2009, at Francesca Minini

In 2006, a gas and oil drilling well created an environmental disaster in East Java that continues to this day. Experts speculated that an earthquake in central Java had triggered the eruption of this unstoppable "mud volcano"; many believed that the catastrophe was in fact primarily due to the negligence of mining company Lapindo Brantas.The toxic fumes still spreading from the well include hydrogen sulphide, which causes long-term neurological and physical effects. The attempts at stopping the mud flow, whether they involve inadequate 15ft high dams of earth or the sacrifice of animals, have all failed.

Since the first eruption, 13,000 families (some 50,000 people) have lost their homes and land. Susan Norries dedicated Notes from Havoc to them.



Susan Norrie, Untitled (video print from Notes from Havoc), at Giorgio Persano gallery

Roger Ballen, represented by one of the most interesting galleries i know, Kamel Mennour

Roger Ballen, Room of the Ninja Turtles, 2003

Roger Ballen, Brian and pet pig, 1998

The Bruce High Quality Foundation's photographs, Public Sculpture Tackle, documents an ongoing series of performances in which the artists dressed in makeshift sports attire and padding hurl themselves and lunge against various public sculptures in Manhattan. In a contest between individualistic energy and engineered public adornment, we all know who will win.

The Bruce High Quality Foundation, Public Sculpture Tackle, Beuys, 2007, at DUVE gallery

Martina della Valle, Urban Traces 3, 2007 at the Jarach Gallery

Paola Pivi, Leopard sleeping uncropped, 2008, at Galleria Massimo De Carlo, Milano

Kelly Nipper, Pipsan Saarinen's Theater Curtain, 2008, at the Francesca Kaufmann gallery

Lara Almarcegui used the debris of a demolished house from the center of St Truiden in Belgium to raise an antimonumental sculpture.

Lara Almarcegui, The Rubble Mountain, Sint Truiden, 2005, at Ellen De Bruijne Projects

Seen at the booths of Laura Bartlett and Bugada & Cargnel, the Cairns series by Cyprien Gaillard. The photographs depict the aftermath of the demolition of high rise social housing in Glasgow and the Parisian suburbs, shot and printed after Düsseldorf school of photograph's codes and photographers such as Andreas Gursky and Thomas Struth, while pushing them to their ultimate stage: monumentality, frontality, absence of narration and time reference - ie impossibility to identify the season of the year or the time of the day; but instead of picturing an arrogant modernist building, only remains a pyramid of ruins.

Cyprien Gaillard, Cairns (251/261 Résidence Provence, Dammarie-lès-Lys, 1973 - 2008)

Cyprien Gaillard, Cairns (12 Riverford Road, Pollokshaws, Glasgow, 1967-2008), 2008

Talking of Thomas Struth...

Thomas Struth - Pasaje Gaspar Lima / Peru - 2003 - © Thomas Struth, at Monica de Cardenas

Anne Hardy, Coordinate, 2009, at Maureen Paley, London

Every picture shot by Hans Op De Beeck for his "Room" series features only one protagonist presented in interiors that are computer-designed but which provide information about the presumed life and social background of the person portrayed, as well as about the specific moment and the stage of life that the individual has reached.

Each of the characters has that kind of introspective gaze one can observe in Old Masters such as Rogier van der Weyden. The references do not end there. The series also alludes to the film noir.

Hans Op De Beeck, The Room, at Galleria Continua

Let's end with a picture seen at the booth of my favourite gallery in Turin

Leigh Ledare, Hot Licks, at Guido Costa Projects

And hop! Another photo set.
Photo on the homepage: Guy de Cointet, At sunrise a cry was heard...
performance view, 1976, Biltmore Hotel, Los Angeles
. Performed by Mary Ann Duganne-Glicksman
 © Estate of Guy de Cointet / Courtesy Air de Paris.

Atelier van Lieshout, Course of Life, 2009 (Galerie Krinzinger)

Spain has ARCO in Madrid, France FIAC in Paris, the UK do Frieze in London, Germany has Art Cologne and art forum in Berlin, etc. But what is the main contemporary art fair in Italy? Do sit down please because the list is getting longer. There's a contemporary art fair in Bologna, one in Milan, in Bolzano, in Verona. And then there's Turin. Surely there must be one in the South of the country but i don't think i've ever been told about it. I only go to Turin, not just because i have the misfortune to live there, but because Artissima, which closed a few weeks ago, never disappoints me. It is decidedly the edgiest and most exciting contemporary art fair in the country. In fact, you'd almost think that people come here because they love art, not just because they want to buy, invest and speculate.


There were feisty gatherings of fire extinguishers in every corner


Over 45,000 visitors visited the fair and the sales went fairly well (at least that's what you tend to hear and read in times of crisis.) Not everybody was ecstatic though. There was the scandal of the catalogs (one of them compiles interviews with gallery owners some of which were not present at the fair and were therefore not contributing to the financing of the catalog printing, the gallery owners who had not been interviewed for the booklet felt they had been cheated), others lamented Turin's decision to focus many of the city's art events in November, with the effect that collectors and visitors had less time to spend at the fair than gallerists might have hoped.


As i mentioned a few weeks ago, the fair had the objective of being affordable, introducing young artists at "prices you can buy." The definition of 'affordable' being open to debate, Artissima opened THE STORE, a shop curated by Adam Carr, at the back of the exhibition space. Plebeians like you and me could snap a poster, bag, lollipop, video, postcard, mug or balloon for 0 to 450 euro (i was told you were even allowed to bargain) by artists such as Nina Beier, Stella Capes, Tomas Chaffe, Claire Fontaine, Ryan Gander, Liam Gillick, Loris Gréaud, Arunas Gudaitis, Henrik Plenge Jakobsen, Jonathan Monk, Paola Pivi, Mario Garcia Torres, etc. I got the Jonathan Monk bag with the press kit so i'm as happy as a clam (never inquired about the degree of felicity of a clam but i found the expression on google and thought it sounded adequate.)

Thorsten Kirchhoff, Ipnoinducente, 2009 at the booth of Alberto Peola

Now I'll just throw a few pictures and artworks at your face, go back to my "English Period drama tv series" viewing and come back to you tomorrow with a post focusing on the photographic works i discovered at Artissima.

Kristof Kintera, I see, I see, I see, 2009 at the Jiri Svestka booth. Photo Artissima

The entrance of the fair was particularly eye-catching thanks to the Constellation section which presents a museum-style selection of installations, sculptures, videos, and large-format works selected by Heike Munder, from the Migros Museum Für Gegenwartskunst, Zurich. I only paid attention to it at the end of my visit when i saw these alpine lads falling half-asleep during a dancing marathon on a rotating podium:


Seb Patane, Absolute Körperkontrolle, 2006. Maureen Paley, London - Fonti, Napoli

Stas Volyazlovsky's artworks are painted on bed-sheets, pillow-cases and towels dipped into a strong tea which is very popular among inmates of Russian prisons. They figure Pushkin, Hitler, "lolitas", mutant nurses and Dracula among obscene words and motives that remind criminal tattoos.

Stas Volyazlovsky, Carpet 1, at the Gallery Regina

Sandra Vásquez de la Horra, at Sprovieri's booth

Naïma Bourquin, Johan Wacquez, and Vassili Lavandier are three fictive persons. Artist Jonathan Delachaux sculpts then photographs them for the realization of his paintings. Everything in the painting is very realistic. Except the characters, they retain their eerie puppet appearance.

Jonathan Delachaux, La nouvelle chambre de J.W., at New Galerie de France

Carsten Höller reminded us that he was trained as a biologist by filling a series of vitrines with Doppelpilze (Double mushrooms). Each replica of mushroom was halved and then coupled with a different kind of mushroom.


Carsten Höller, Doppelpilzvitrinen, 2009 (Detail) at Esther Schipper

Amusingly, this slot machine which seemed to work like your usual slot machine was defined "an interactive sculpture." You'll notice an artwork featuring skulls just behind this -now that i think of it- rather uninspiring 'interactive sculpture'.

Giuseppe Stampone, Passepartout automatico, 2009

I saw an awful lot of skulls at Artissima.

Ronald Ventura, Untitled, 2009. At the Primo Marella gallery booth

Gelitin, Untitled, 2007. Gallery Massimo de Carlo

Michael Fliri, From the forbidden z, at the Raffaella Cortese gallery

See you tomorrow!

Picture on the homepage: Seb Patane, Absolute Körperkontrolle, live audio-visual mixed media installation, 200. Courtesy Maureen Paley, London and Galleria Fonti, Naples
installation shot from While Interwoven Echoes Drip into a Hybrid Body, migros museum für Gegenwartskunst, Zurich, 2006.

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