[artinfo] FlashArt International NewsLetter
giancarlo.politi at tin.it
Wed Jul 21 17:47:11 CEST 2004
FLASH ART NEWS
The 'Monumentum' t
Basel is Basel - the unique, the b inimitable
June was a cruel mont July stifled by the h on the art map (local, June, as it's always i passionate followers and slaves track of the serpentine events an paths through Italy and the world.
It would be easy to let it drop (as my daughter Gea does, pre to a certain degree London or the Côte d'Azur). Work is w and then there's always the subtle masochism that leads you to p with life by measuring, by running risks, fragility, limitations, the insufferable.
Villa Manin and the exhibition by F Sebastian for Manifesta; and Basel fo simply THE fair - always an absolute global supremacy - an unblemished and year, as if interrupting a midnight dream was Athens, which owes its "Monument to generosity, and personality of Dakis Joannou, charter flight from Basel to Athens, with sumptuous h the Intercontinental Hotel and return tickets to variou destinations for many people. Great Dakis - always generous, and perfect in his low profile.
Immaturity in the Basque Region?
Manifesta 5 in the Basque region, however, again demonstra immaturity by not knowing how to organize an international ev drowning in a glass of water, citing postal charges as the reaso its catalogue was, embarrassingly, not ready in time. And yet it spent, without saying on what, a 2,500,000 euro budget that should ha ve rendered it more professional and efficient. I believe this was the first time Manifesta was inaugurated without a catalogue, and thi s is a very serious symptom of cultural dilettantism and organization al inability for which, without recourse to appeal, responsibility re sts with the organizers. Not to have the catalogue ready for the op ening of a show that is already known for being voluntarily hermetic, already halfway towards a debacle, for events that were conceived to be experienced during the opening, with people coming from all over, who then, swallowed up by the summer, disperse again.
You hundr exhibiti pathetic) knowing from w work was made is were born, and if the is still linked to th that for me open up the originates or is based. label with the artist's na around for the rest, drifting increasingly detached.
Art people are tired
< orga far-away sp pouring rain. involve suffering exhibition to be lik aged art-worlders? I gaiety, the pleasure, and ( enjoyment of the participants ar ugliness (for men, women, and eve and boredom.
This serious circus that one meets you sad, a pause.
And then this fleeting formula of Manifesta, poss leaving either trace or record, reminds us a little of t blitz, of bourgeois arrogance. Here's a country and a c 2,500,000 euro ($3 million) at your disposal, and you, Manif arrive, organize your show without taking into account the cont and depart without leaving any memory? At least the artists were invited to work for a few days or weeks in situ, possibly in contact with artists from the area and with the place itself. A formula fo r Manifesta more in tune with the times, but above all more ethical, would be one that combines a local curatorial team with the internati onal curators in a way that creates at the least a dialectical
base. a real it to Trento, and Manifesta, wake up, excellent wines offered at your disposal. Look arrogant. The territory in should not be considered a la anthropological and cultural partner.<
At Basel? Only
Better, much better, on this account wa was conceded to rhetoric and the demago simply it presents the best, through 36 ouput, according to a Western lens. And Ar demonstrates that the network of dealers and gallerist always more spot on than those often exhibitionistic, pa and at other times aggressive critics and curators.
It's a thousand times better, therefore, to have a well-organize Art Basel than chaotic and disorganized international exhibitions.
And then in Basel there's also Liste, the most pleasant and agr eeable alternative fair, reserved for young and proactive
galleries. big Art Basel (intelligent) pract years of participat of galleries. Meanw emerging artists the oppo and casual way (sometimes eye).
One reproach for Dakis Joannou concerns the catalogue, which is i an enormous format, coffee table-style, with dimensions so large yo can't keep it on a bookshelf. And today, with the volume of print ed matter around, this is no small problem. A pretentious layout, w ith rampant graphic design that misunderstands and disregards art. A catalogue for an exhibition and a collection must contribute toward s understanding the spirit of both. A catalogue must be a sort of r egister - a dictionary, with all available information - th respects the artist and his/her work and does not try in every way overdo it.
Better, much better, dear Dakis, were the c previous exhibitions!
Via Carlo Farini, 68
20159 Milan Italy
Tel. ++39 02 688 73 41
Fax ++39 02 66 80
IF YOU WISH TO UNSUBSCRIBE F
1. 3D"http://www.rdi.it/APM_T/tk/clickthru.ach?id 2. 3D"http://www.rdi.it/APM_T/tk/subs_
More information about the Artinfo