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#0

less work, more play

OCTOBER/NOVEMBER 2009

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EDITORIAL TEAM

DIRECTOR
Kiki Sideris
CHIEF EDITOR
Alix Doran
ART, CULTURE, A.S.K. & ALUMNI EDITORS
Neri Bastiancich
Camilla Pietrabissa
Giovanni Saladino
MEDIA & ENTERTAINMENT EDITORS
Livia Andrea Piazza
Filippo Nava
PHOTOSPECTIVES EDITOR
Stephanie Serra
UPSIDE DOWN EDITOR
Sonia Fanoni
BLOG
Rosa Plijnaar
COMMUNICATION
Matteo Zanetti
Julia Westermann
Valia Xanthopoulou-Tsitsoni
FINANCES
Sofia Adamantopoulou

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CONTENTS

INTRO 4

EDITORIAL 5

ART 6

OUR PHOTOSPECTIVES 12

CULTURE 24

UPSIDE DOWN 30

MEDIA 32

YOUR PHOTOSPECTIVES 38

ENTERTAINMENT 46

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WHY BOB?
Be Objective

BOB stands for Be Objective. Why Be Objective? Ironically the contents of this magazine are anything
but objective. In fact the title isn’t describing the magazine at all, but is intended as an instruction
to the readers to please be objective when reading BOB; to free themselves of prejudices and predis-
positions and just enjoy the contents of this publication.

BOB is an idea that came to me last spring, when in a moment of grand folly, I became convinced
that our student body is an overflowing resource of information and creativity. My solution for man-
aging this oversupply of resources? A bi-monthly, online, PDF-magazine through which this energy
could flow and spread.

Looking back, it was more a moment of clarity than silliness, of inspiration that hindered any ratio-
nal thought and erased my perception of time and space for the next few months. I was hooked. I
managed to convince 13 other individuals to partake. It wasn’t hard. They came willingly and most
importantly enthusiastically. They invested their time and energies to this challenging experiment.

Eventually, undiscovered elements started to emerge, heat was applied, double carbon bonds formed,
and POOF! Out of the test tube emerged ISSUE #0, “less work, more play”.

So, it is with sincere gratitude, that I dedicate this “pilot” issue to my 13 colleagues (and friends) that
generously poured their creativity into these 54 empty pages without a moment’s hesitation.

-Kiki Sideris
DIRECTOR

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ISSUE #0
Less Work, More Play

‘Less work, more play’ seemed to be an appropriate title for the first issue of BOB magazine for
a variety of reasons. This new magazine, for the people involved in its production, combines both
work/studies and play. For students in management of arts, culture, media and entertainment, all
these fields can be approached in two ways: they represent our personal and professional interests.
These fields evoke work for today in terms of studies and work for the future in terms of career, and
hopefully expertise! But arts and culture are also part of play because they are something that also
brings fun and enjoyment in our everyday life. For most people events related arts, culture, media
and entertainment are moments of free time and leisure, unrelated to their professional lives. For
us, these events embody both work and play, ‘professional’ and personal, rational and emotional. I
do not believe that any of us could attend such an event and not think about his/her future career
choices, about how this event relates to what we have studied and at the same time feel free to sim-
ply enjoy the event. This double interpretation of arts and culture as objects of play and work fol-
lows us everywhere, whether we are working or on holidays, as this issue I hope shows. The articles
were written about events and places we have seen during our free time and for our own personal
benefit.

We might play while working, and work while we play, because our professional interests are so
closely related to our personal interests, but ‘less work, more play’, I believe, does not only speak to
cultural management students because ‘work’ and ‘play’ can take on so many different meanings.
We have just seen the ‘professional work’, but isn’t the ‘work of interpretation’ work too? Indeed, an
artistic and cultural experience mixes the work of interpretation of the experience with pure emo-
tions. Whether you are looking at the most recent contemporary art production of the most exciting
artist of the century, or whether you are watching a movie, you will always have your own way of
relating to, and interpreting, the experience, which is the ‘work’ part of ‘play’.

The production of this magazine is, in itself, both work and play. It is a new and exciting experience,
or ‘play’, for us to create an entire magazine, and think about all the things we could do or write
about, but it is also work because we have to remain rational to build a project that makes sense
for the team and for others.

Because people and tastes are different and change, BOB magazine offers articles written about a
variety of topics and events. The overall structure of the magazine has been designed especially to
reflect the diversity and richness of arts, culture, media and entertainment. It also presents people,
pictures and projects that are somehow linked to the articles of the issue and its theme.
In this particular issue you will be able to discover and read about events taking place in Italy, as
well as abroad. ‘Less work, more play’ is a story of holidays that are never quite free from work. BOB
magazine, I believe, is a way to convey that arts, culture, media and entertainment are, whatever
way you look at them, and for everyone who becomes involved with them, more play than work.

-Alix Doran
CHIEF EDITOR

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ART
We are continuously being exposed to
all kinds of art products; collections,
exhibitions, fairs, biennials, confer-
ences, and the list goes on. But what
do such experiences really give us?
How can we avoid just being passive
users and instead adopt a more in-
quisitive approach? Books, academic
journals, and university lectures can
help, but ultimately the most power-
ful tool we hold, is our individual abil-
ity to process the images that invade
our field of vision on a daily basis.
In this issue we will discover a mys-
tical refuge in the south of France,
and go for a stroll through a desert-
ed, but heavenly Athens.
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LITTLE FACES
by Stephanie Serra

On the hills behind Nice, far from the crowd and and nature, he found a very special type of clay and
movement from the Promenade des Anglais, I arrive in started making sculptures out of it.
the house of the French artist, Alain Boullet. White sky, From then on, Sologne has unconsciously been the
strong light, nothing else than green trees and bushes point of reference, present in each one of his paint-
everywhere, except for some surprising sculptures hid- ings and in the colours of his sculptures. Ever year, he
den here and there, little faces coming out of pots of brings back that particular clay to the South of France.
cactuses, all here to be discovered. He must then work the material, wet it and extract all
In the intimacy of his house, Alain gives me time non-fluid textures. Only then can he start to sculpt. The
alone, some special time in silence to look. The sculp- combination between nature and art is present during
tures, for most of them, are outside, exhibited next the entire creation process.
to one another. They correspond, interact, and meet In the garden, some of the most impressive sculp-
while I walk and observe the strange dialogues. In this tures are represented by “little rock faces”. Once the
wonderland of fantasy, the artist acts as the hand of sculpture has integrated the rock and the work looks
the four elements in order to create Artworks. like one entity, it is baked. The fire has to create its
After the moments for thoughts, we sit down for a colours on the materials. The little characters are then
conversation and Alain starts talking about his life as left outside, polished by the rain, the sun and the wind.
an artist. From the youngest age, his inspiration came Slowly the colours evolve. For Alain, Art has no time
from the lakes in Sologne where he used to spend his and it is therefore very common for him to work on
summers. In the centre of France, surrounded by peace a piece that he created 20 years ago. What counts

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"Being an artist means
not numbering or count-
ing, but ripening like a
tree, which doesn't force
its sap, standing con-
fidently in storms, not
afraid that summer may
not come."
The sculptures are presented with painting in the
background, a “mise en scene” that fits in perfectly
with the art works.
The most impressive room of all is a small dark
area where all of Alain’s works are displayed, a life
of labor organized in little white boxes. It almost
feels religious because the extract of a life is con-
densed in a room. All those different decades of
characters are staring at me with the most pro-
voking look. All is there, condensed in a peaceful
and intimate room. The sun hits me, going back
out in the strong daylight, out of this little area of
thoughts and meditation.
The garden is quiet and I can now see better the little
faces hidden in the cactus plants. I do not want to
leave. This is an artist who followed his talent in the
most elegant way, far from the market and its fluctua-
tions and who is today looking back on a life of work.
He saw something most people do not see and was not
afraid to continue his search. I have met a very special
is for it to fit its ideal. artist and I hope he will one day be recognized for his
The trip continued to his studio. Surrounded by work. For now, I had to leave, but I knew that in my
faces, he works with a few books and postcards back, many little faces were looking at me.
or images he likes to go back to. He shows me a
picture of a satellite view from earth that looked
exactly like the texture of one of his sculpture: “If
you look closely, the same images appear in micro
and macro all the time, it is just a question of look-
ing.” Henri Moore is one of Alain’s major inspira-
tion. He studied the forms but most of all, Moore’s
techniques of sculpting. It’s all about the size: “You
see, it has to fit in the hand in order to work with
it, Henri Moore had his sculptures enlarged but his
creation was done in little sizes.”
The house is also full of surprises. On the 1st
floor, there is a little exhibition space, next to his
archive. Walking through the corridor, I spot a
framed sentence from Rilke (Letter to a young Art-
ist):

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15th of August. Athens is deserted and the heat oppressive. My Greek
friend is driving on one of the many motorways that cross the city. “After
the Olympic Village turn right…Heaven should be there, shouldn’t it?”. I

HEAVEN?
was a little bit surprised by the question and immediately I replied “No,
I guess. Or, at least, I have never imagined Heaven as a huge empty
parking in front of a gigantic stadium. Abandoned.” We parked and we
started looking around. Nobody, nothing. Just skeletons of the empty
buildings used for the Olympic games in 2004. No signals “Heaven” or
“Entrance” or “Where’s Wally”. “I’m sure it is here. I checked twice. I read
articles and saw advertising everywhere. It has to be here, how can we
not see a Biennale?!”. Ironically, the fourth pavillon of the the 2nd edi-
tion of the Athens Biennial is called «Splendid Isolation, Athens». “That’s
Greece! I’m sorry if our Biennale is not in Venice in Giardini or Arsenale
but in a ghost neighborhood”.
By Neri Bastiancich

After a long walk around the Faliron Olympic Complex, we saw a little
door under an overhead street. The Esplanade Building. Yellow lights and
a desk. “Tickets to Heaven?”- “Two thanks”-“If you want, you can rent a
bike for free and…take an iPhone as a guide”. Not bad, I thought. A cone
of mirrors is indicating the entrance. Ok, here we are.
The Athens Bienniale is curated by Xenia Kalpaktsoglu, Poka-Yio and
Augustine Zenakos. The three curators chose “Heaven” as the theme for
this edition. Really brave choice and challenging for the 150 artists. In
the turbulent and chaotic contemporary world it is difficult to imagine
something that could mirror paradise. The sources of inspiration are re-
ally limited. Only looking at the personal and individual insight, or at sin-
gle and bright moments, maybe it is possible to go close to an intimate
and private happiness, something close to heaven. Be able to express
and represent this is a hard job. The artist needs to “have” a genius.
The event is divided into six exhibitions curated, each one, by a differ-
ent curator that gives his own interpretation of the theme.
The first space is titled “World Question Center” curated by Chus Mar-
tinez. The works of the 23 artists are exposed on separè disposed in a
geometrical way. Therefore, the shape of the room becomes rigid and
straight. Heaven is here a complex net of words and thoughts that criti-
cally look at the past, as showed by the work of Lisi Raskin (“Hiroshima”),
philosophically analyze the present (Erick Beltràn, “4 inflection points”)
and hope in the future (Dorothy Iannone, “The next great moment in his-
tory is ours”).

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The second exhibition room, curated by Diane Bal- iste. Thus, we entered. The first work is an interesting
don, is spiral shaped and follows the more classical collage, made by Christian Tomaszewsky, “Hunting the
travel of the Divine Comedy. The visit is a mental loop pheasant” that is an homage to all the people killed
that brings the visitors through a wide range of media. during the “hunting season”, from Rosa Luxenburg to
From the political interpretation of hell in the work of Aldo Moro, and then J. F. Kennedy, Martin Luther King
Athanasios Argianas and Mark Aerial Waller to the pur- and others. The exhibition path continues with Angus
gatory of Adam Chodzko. Fairhurst, student from the Goldsmith College, that
The exhibition continues with the third pavillon printed many times the same page of a newspaper
curated by Cay Sophie Rabinowitz situated on a large “1st-7th July 2002”. The result is an interesting con-
steep open space that goes up to the second floor. In demnation against the strong power of the media that
this section is exposed Ettore Sottsass with the series are able to manipulate the reality and our imagination
“Architettura Virtuale”, amusing photographs in which by building fake paradises and true hells. The biennial
the artists add some elements to the landscapes. tour of Heaven ended with a nice ride around the new
Another work is the mountain made by little pieces of port of Athens where outdoor works were installed
banknotes of Republic of Cyprus, work of the artist forming the “Live” pavillon curated Dimitris Papaioan-
Christodoulos Panagiotou. nou and Zafos Xagoraris.
The fourth pavillon is titled “Hotel Paradise”. The ex- In the end it turned out to be a pleasant afternoon.
hibition reminded me of Pink Floyd’s “So you think you The overall organization was good, considering the low
can tell Heaven from Hell”. In this section absolutely budget (€2 million), wastes were avoided and the cre-
not. Grotesque and satanic visions, black art, mystery ativity increased; a good start. Concerning the art, the
and nightmarish figures surround the whole section. In general impression is that the Muses abandoned the
order to find a little bit of peace, both for the eyes and Greek lands, at least on the contemporary art scene.
the mind, the visitor has to be saved by two important However, we need to appreciate the effort, and surely
artists. The immortal American master Robert Smithson something good will come out in the future. There are
with the slideshow “Hotel Plenque” and the young and already some promising signals coming from spaces
famous Paul Chan (Triennale Turin 2008, Whitney Bien- like “taf - The Art Foundation”, an amazing little space,
nial 2006) with its “Cemetery Keyboard” and the funny dedicated to contemporary art.
videos “Sex and the New Way”.
The last pavillon, “How many Angels can Dance on
www.theartfoundation.gr
the Head of a Pin?” hid nice surprises that saved the
whole Biennial. On the door there is a quotation of
Dante again “Lasciate ogne speranza voi ch’entrate”
work made by the Parisian cooperative Société Réal-

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PHOTOSPECTIVES
This is not a professional photographical out-
put, but a place to merge subjective points of
view to build a more objective one. So Be Ob-
jective, as BOB said! Look around. Images ev-
erywhere. We take pictures, we share them, ex-
change them, stock them, look at them, forget
about them and pull them out of an old drawer
to reminisce. In the era of digitalization, pho-
tography has become a new game where the
objective can be pointed at anything, from the
most serious to the most futile subject. The
freedom of a quick “click” is sometimes abused
so choices have to be made in order for the
images to start interacting and, by speaking a
common language, build a common sense. OUR
PHOTOSPECTIVE: Black and White. Do you trust
us? YOUR PHOTOSPECTIVE: Your time to play.

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FAKING WORLDS

Location: Venice
Day: October 3rd, 2009
Playground: 53rd Venice Biennial
Photographers: Sonia Fanoni - Stephanie Serra

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From left to right: Spencer Finch, Big Bang (Mars Black), 2003. Luis Roldán, Dominios Del Lobo, 2009. Raquel Paiowonsky, Mutantes, 2009.

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Hans Peter Feldmann, Schattenspiel (Shadow Play), 2002-2009.
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Elmgreen & Dragset, Death of a Collector, 2009.

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Luca Samaras, Doorway , 1966-2007.

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Michelangelo Pistoletto, Seventeen Less One, 2008.
Bruce Nauman, Fifteen Pairs of hands, 1996. Bruce Nauman, Hanging carousel (george skins a fox), 1988. Akira Kanayama.

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CUL-
TURE
Sometimes we take culture for grant-
ed. People, history, traditions, dia-
logues, heritage. Other times, in-
stead, an analytical thought crosses
our minds and we stop and reflect. Be
Objective magazine offers this par-
ticular space to just such reflections;
entering our everyday lives in order
to offer a glimpse into some common
cultural encounters: trips we went on,
food we ate, urban centers we visited,
old traditions we rediscovered, sens-
es of fashion we express, and so on.
So let’s get started with a trip to the
traditional and quaint, but neverthe-
less evolving Italian south and then a
rushed visit to a highly structured and
complex museum in the Big Apple.
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CONTEMPORARY ISLAND
by Giovanni Saladino

Contemporary art is finally reaching the traditional ising contemporary art gallery from Milano, AreaB. The
lands of Sicily. In February 2009, with the opening Di Vincenzo family, that own and manage the company,
of Palazzo Riso, the new regional contemporary art approached this new challenge zestfully. The old han-
museum, we have witnessed the most significant event, gar, that only a few months earlier was jam-packed with
from both the national and international point of view. olive oil processing equipment, turned into an open-
But to be clear, we already had in the last few years space gallery surprisingly suitable for contemporary
some innovative galleries and private institutions that art. Currently, a collective exhibition with a selection of
carried on a discussion about art from a contemporary young Italian artists from AreaB gallery (Vanni Cuoghi,
perspective. Paolo De Biasi, Massimo Gurnari, Tiziano Soro and Siva)
The new initiative of Azienda Agricola Mandranova, is being held in the space. The location is very sugges-
a small agrotourism company near Agrigento, is one tive, thanks to the contrasts that emerge between the
such example. They chose to dedicate some spaces of surrounding countryside and the inner exhibition set
the farmhouse to contemporary art. The project started up. Guests generally come from outside Italy, usually
in June, through a partnership with a young and prom- from USA or Britain, and are often surprised and aston-

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ished by this unexpected vision.

Between July and August another interesting


project took place, more linked to the promotion
of young Sicilian artists. The first step involved
a collaboration with Marco Bonafè*, a young art-
ist from Palermo. The artist spent a short period
in residence, so as to develop some work linked
with the territory. The exhibition ALTER-ECO is the
final output of this experience. It is a collection of
three different interventions, all site-specific. Using
natural elements and old furniture found around the
ruins of the Di Vincenzo country, Marco gave new
meanings, and new life, to something that was sup-
posed to be dead.
Il Giardino del Campiere, the great installation in-
side the old Frantoio, honors the dialectic between
natural and artificial, light and shadow, stillness
and movement. All the elements are in a charming
equilibrium, creating a special atmosphere inside
the room that captures everyone who enters.
Pennate, the installation placed inside the common
spaces of the main building, aims to alter a familiar
setting, destabilizing the vision of the viewers, giv-
ing shape to a sort of surreal corner.
Last but not Least, Famiglia Di Vincenzo Don Tan-
credi, is the most moderate and apparently ironic
intervention. The inclusion of a picture of an old
codger (found by Marco in a local street market)
among those of the Di Vincenzo ancestors could
seem at a glance just a game of contrasts, but in
reality it goes much deeper than that. Don Tancredi,
a name borrowed from the Gattopardo, a novel writ-
ten by Giuseppe Tomasi di Lampedusa, is not an ac-
cidental reference. The agrotourism farm is situated
in the Palma di Montechiaro neighborhood, where
the majority of the novel takes place. Within the
story, Don Tancredi is certainly the most innovative
character, inclined to change but at the same time
aware of his origins. In my opinion, this is exactly
the right mood to have in order to keep on going
with a grave and concrete discussion about contem-
porary art in Sicily.

* Marco Bonafè is a young Sicilian artist born in Pal-


ermo in 1981. In spite of several experience abroad
(exhibition in New York, London, Barcelona), he
choose to live and work in Palermo, his city born, in
order to catch stimuli and live experiences that are
precious sources of inspiration.

www.palazzoriso.it
www.mandranova.it
www.areab.org

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THE PERFECT MUSEUM by Camilla Pietrabissa

This past summer I spent two weeks in New York City. coming from Gubbio and a two floors Spanish Renais-
As a tourist, and as one with a taste for contemporary sance patio. All this would already be enough to fill an
art, I was in the right place to see cutting-edge galler- entire museum, but the Metropolitan has an infinite
ies and alternative spaces, which I did relentlessy. Since collection of never-ending surprises, perfectly displayed
the friend I was staying with lived in Williamsburg – the and labyrinthic enough to trap the visitor, while always
Brooklyn neighbourhood selected by various young making it easy to find your way out. Damn, for four
artists to live and hang out in – I had the opportunity years now I have read books on museum studies and
to see where the origin of the art world I have dreamed museum management, visited exhibitions and collec-
of for years actually lies. After several days of studio tions wherever I go, but never had I imagined seeing all
and gallery visits, of highly conceptual exhibitions, I had learned in front of my eyes! Amazing architecture,
challenging – not to say indecipherable – installations, I great conservation of all the pieces, clear and user-
finally made up my mind and decided to go to the Met- friendly directions, entertaining educational apparatus,
ropolitan Museum of Art. Not that I did not like what and the possibility to easily jump from exhibitions to
I had seen so far, it's just that sometimes you need the permanent collection, not to speak of the consis-
a break from the ubiquitous dogma of progress and tent appeal of the price: with the ‘suggested donation’
experiment, and feel a desire for the other dogma, that system, you can get in with just a few cents!
of ‘conservation’. The sudden love for what I had in front of my eyes
I knew that the MET had a Francis Bacon exhibition, was soon replaced by two orders of consideration: first
which I wanted to see, and one about the ‘Pictures gen- about the story behind such a collection, and second
eration’ (John Baldessarri, Cindy Sherman and Richard about the comparison with the Italian management
Prince amongst others) that appealed to me. Since I had model.
the opportunity to go around the city with people that On the one hand, I was faced with one of the institu-
proved to be amazing guides, I had not previously read tions that the Italian government had recently fought
anything about the museum or prepared myself in any against, and beaten in an attempt to bring back sev-
way about what to expect from the visit. I only imag- eral supposedly ‘stolen’ artefacts to their country of
ined that the Metropolitan museum would be a big, provenance. A museum like the Metropolitan depends
‘encyclopaedic’ compound, like the Louvre or the Art precisely on the assumption that through the acquisi-
Institute of Chicago. tion and the accessible display of pieces coming from
When I entered the museum, escaping the fresh sum- different cultures it is possible to have an overview of
mer rain, I found it extremely crowded, even though world history and culture. This is a very Western way
closing time was only an hour away. With the map in of thinking about history and culture, but no-doubt an
my hands, I ran to the second floor to see the exhibi- effective one. The history of every American museum
tion about the ‘Pictures generation’. On my way there is interconnected to that of its donors and its board,
and back, I passed through the immense Reja (choir its ability to attract the general public, and to have an
screen) from the Cathedral of Vallaloid and stood in economic return in order to broaden the museum’s
awe. Along with the amazing rooms from Egypt, Meso- activities. There is a fine line between what should and
potamia and Greece on view at the British Museum, this should not be bought and transported from one conti-
was one of the most impressive pieces I had ever seen. nent to the other. We can be on Francis Haskell’s side,
I didn’t know that the next day, coming back to see the valuing the artwork’s safety as a criterion to decide on
famous terrace – a raft on Central Park’s fluffy green its movements. In this view, collections are okay, but
sea –, I would also be seeing an Egyptian temple wholly big moving retrospectives are not. Or, we can stay on
reconstructed, Duke of Montefeltro’s wooden studiolo the Italian government’s side, nationalistically calling

28
for a property right that is desperately trying to rein- comfortable. I could never have done what the protago-
force its national museums. But, as many others have nists do in Jules et Jim, running through the Louvre,
said, culture is living culture, and one cannot easily with that many people everywhere. Nor could I fully
claim an artist to be of one culture or another, as is the appreciate the renaissance saloon with that smell of
case with many Greek sculptures being made in Italy in food coming from the nearby cafè. I felt a subtle nos-
ancient times. It is a matter of recognizing, once and talgia for the Uffizi, with its long lines, bad lights, and
for all, the necessity of a simultaneous local and global its sense of refusal for the public horde which gives
identity that goes far beyond the use of political power the visit a personality, a sense of imperfection that is
and reads culture as the product of a continuous inter- the essence of history in place. I had realized, through
relation of individual histories and colonial empires. great amusement and consequent disgust, that I did
On the other hand, I started pondering about the not want to become a disposable visitor, a throwaway
perfect display, the immense management apparatus, element ready to consume, seeing all the masterpieces
the majestic equilibrium between the parts that make at once, buying the reproduction of a Caravaggio or
up the whole. All the principles I have so often thought a Manet, and easily finding my way out. Somehow, I
about were perfectly in place: the quality of the ‘ser- think we still need the art experience to be a little more
vice’ provided was at its best, the spectator was placed complex in order to remain engrained in our minds... at
on a pedestal. Nevertheless, for some reason, I felt un- least for a while anyway.

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Jules et Jim (1962), François Truffaut
UPSIDE DOWN
Cutural exchange is such an abused concept in our globalized age. We read, study and hear about it, often
in very theoretical ways, but before all that, which is nevertheless of extreme importance, sometimes we
should just notice the small episodes of exchange that are constantly occuring before our eyes. The “ex-
change programs” in universities and schools are one such instance. So, this section is dedicated to those
who left, and those who came, those who turned their worlds upside down and agreed to tell us how they
did it. Ilaria, from Milan is now in Copenhagen and Emanuel from Copenhagen recently came to Milan.
NAME: Ilaria Montorsi

HOMETOWN: Milano

CURRENT LOCATION: Copen-


hagen (non ho ancora impar-
ato a scriverlo nel modo cor-
retto)

WHAT'S YOUR CURRENT


STATE OF MIND? Discovering
myself and the world outside

WHAT MAKES YOU FEEL AT


HOME? Stepping in my house
and being able to smell my
mom cooking while my dogs
run up wagging their tails

WHAT'S THE GREATEST DIF-


FICULTY YOU HAD SINCE
WHEN YOU ARRIVED IN CO-
PENHAGEN? to find a funnel
(imbuto)

WHAT'S THE FUNNIEST


THING
THAT HAPPENED TO YOU
SINCE WHEN YOU ARRIVED
IN COPENHAGEN? Having
party inside the CBS univeristy
building

WHO'S THE FIRST PERSON IN


COPENAGHEN YOU SPOKE
WITH? The employee of the
shop chain "7eleven"

WHERE YOU THINK YOU WILL


BE WITHIN ONE YEAR? Who
knows?

AS A CHILD, WHICH WAS


YOUR FAVOURITE TOY? Do-
ing puzzle and play with my
fake kitchen

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PSIDE DOWN
netfo ,ti tuoba raeh dna yduts ,daer eW .ega dezilabolg ruo ni tpecnoc desuba na hcus si egnahcxe larutuC
ew semitemos ,ecnatropmi emertxe fo sselehtreven si hcihw ,taht lla erofeb tub ,syaw laciteroeht yrev ni
-xe“ ehT .seye ruo erofeb gnirucco yltnatsnoc era taht egnahcxe fo sedosipe llams eht eciton tsuj dluohs
esoht ot detacided si noitces siht ,oS .ecnatsni hcus eno era sloohcs dna seitisrevinu ni ”smargorp egnahc
yeht woh su llet ot deerga dna nwod edispu sdlrow rieht denrut ohw esoht ,emac ohw esoht dna ,tfel ohw
.naliM ot emac yltnecer negahnepoC morf leunamE dna negahnepoC ni won si naliM morf ,airalI .ti did
NAME: Emanuel Schwartz

HOMETOWN: Copenhagen

CURRENT LOCATION: Milano

WHAT'S YOUR CURRENT


STATE OF MIND? Re-adjust-
ing to my new life in Milano

WHAT MAKES YOU FEEL AT


HOME? Recognition, an envi-
ronment that is friendly and
welcoming.

WHAT'S THE GREATEST DIF-


FICULTY YOU HAD SINCE
WHEN YOU ARRIVED IN CO-
PENHAGEN? To find Farina di
Segale and to figure out the
bureaucracy of Italy

WHAT'S THE FUNNIEST


THING THAT HAPPENED TO
YOU SINCE WHEN YOU AR-
RIVED IN MILANO? Me trying
to speak italian

WHO'S THE FIRST PERSON


IN Milano YOU SPOKE WITH?
The taxi driver at Malpensa
airport.

WHERE YOU THINK YOU


WILL BE WITHIN ONE YEAR?
I will be living in Berlusconis
mansion at lago como or just
be writing thesis at Bocconi

AS A CHILD, WHICH WAS


YOUR FAVOURITE TOY? He-
Man and G.I.Joe

31
32
MEDIA
Media is a pivotal term in our con-
temporary reality. From private rela-
tionships to public power, from pro-
duction to marketing, from cultural
production to cultural consumption,
media is constantly evolving and mod-
ifying our behaviours, perceptions,
lifestyles and expectations. Appropri-
ate reflections are necessary. Through
the eyes of its writers, this section will
follow the evolution of media such as
cinema, internet, radio and publica-
tions.
First, we are going to live an Indian
cinema adventure and then we will try
to understand some of the complexi-
ties intrinsic to being a young film-
maker.
33
MADE IN INDIA By Alix Doran

When landing in India last July, my planned trip did to 40C° in the shade, and the sun was high in the sky,
not include Mumbai and I therefore did not particularly but all these people kept on moving around, operating
think about Indian cinema, although it is something hardly modern equipment. I cannot help but wonder
I am naturally curious about. I thought the Indian what the images will look like, considering this archaic
cinema industry was more or less all in Mumbai, ‘Made equipment, but most of all, I wish I knew what the film
in Bollywood’, and so... end of story. I was, however, was about...
wrong, and I could very quickly sense the importance Although we were present while this film was being
of cinema and films everywhere. made, disappointingly, neither me nor my friend were
I was based in the city of Pondicherry, in the state asked to participate in this film. This might sound
of Tamil-Nadu, in the South-East of India, and I was weird and presumptuous but it is not, and here is the
consequently over 1300 kilometres away from the reason why: I discovered that it is quite common for
world-famous Bollywood. But the importance of cinema white people in India to be asked to be part of movies
was just as clear in Pondicherry. On my second day of and tv ads. You might walk around, anywhere in India,
exploring the city, I stubbled across the making of a be completely absorbed by your sightseeing, and sud-
film in the former French part of the city, the so-called denly be approached by someone working on a film
‘white quarter’. At a street corner, surrounded by fancy- project who asks you to participate, against payment,
looking square greyish-white houses, there were about in an Indian production. You may wonder, ‘But what
twenty Indian men and women, actively trying to shoot exactly would be expected of me...??’. And you would
a scene and struggling with the wind. My friend and be right to wonder.
I stopped to watch people trying, with the help of an If you spend a little bit of time in India and care to
old ventilator, to make long and colourful clothes blow watch even just a few minutes of television, or watch
in a specific direction. It certainly was not a Hollywood a movie, you will probably realise that white people
super-production (as some French tourist mockingly in Indian productions play various roles: it might, for
remarked), but it was great to see, and quite admirable instance, simply and innocently be the presentation of
in its own way: The temperature must have been close a new toothpaste, but it might also be to dance in a big

34
film production. Let me explain the latter. While in India, I went into a dvd shop and asked an
When we realised how cheap and easy it was to go to employee to show me which films he thought were
the cinema, my friend and I decided to go and see a worth watching. Most of the films he pointed out, were
movie. We ended up going with some French students films that I had already heard of or even seen at the
we met, and a couple of Indian guys they knew. To cinema back home, which just confirmed what I already
say the film was great would be lying. It was, unfortu- suspected: with the recent European interest in Indian
nately, simply boring. We all fell asleep, including the cinema, the films we get to see at the cinema or buy
two Indians we were with, and although I can usually on dvd, are films which have been very successful in
appreciate Indian films, with the dancing, singing, pas- India, and which are therefore thought likely to attract
sion, drama and tears, I could not enjoy this particular European audiences. The price of the dvd in itself was
one. There was, however, something very interesting: also an indication of how successful the film had been
when the male protagonist sang his first song, he was in India: some dvds cost four times as much as other
suddenly surrounded by a group of white women danc- ones! The films exported are often Bollywood films,
ing in a rather suggestive manner, wearing mini-shorts made in Hindi, but I now know this is only a part of
and extremely low-cut tops, clothes Indian women the Indian film production, and regional films, made
would probably not wear in a country where shoulders, in local languages, are also culturally very important
and most of the body, should be covered at all times. and reflect the different influences and identities of the
It reminded me of what I had read about early Indian various regions: for instance, I was told that movies
films and the fact that some female characters, at that made in the region I visited were usually very violent
time, were played by men dressed as women. However, and bloody, something the movie I saw there was not,
as society evolved, women were allowed to act, though although perhaps, the dvds I brought back with me will
obviously were not allowed to dance the way European confirm this rather ominous observation. But even if it
actresses might dance. is not ‘violent and bloody’ I am pretty much guaranteed
The history of Indian cinema is as long as the history to spend 3 hours in front of my television, watching
of Occidental cinema. Over time, commercial cinema passionate lovers and possessive families being torn
has become prominent in India and it is indeed this apart, the evil Englishmen being fought against by
cinema that we are exposed to in Europe. The lower brave Indian peasants, fate acting its part as it must, all
budget productions do not yet hit our screens but we merged into a great story told with songs and dances.
can still get a flavour of India thanks to the commercial
films being exported.

35
WANNA BE A FILMMAKER? By Filippo Nava

Filmmakers usually do everything by themselves,


they build up a production, they write the script, they
look after the photography and direct their own mov-
ies. Films are like big projects, very difficult to manage
and as a matter of fact one single person is unable to
direct the entire project alone, without being helped
by a professional staff. The difficulty in shooting short
movies for example, is that the filmmaker cannot pos-
sibly cover in the best way all the roles involved in the
production: surely some technical and artistic aspects
could eventually be neglected because not enough
attention and capabilities are dedicated to everything
that is needed to create a product of quality. Once a
filmmaker decides to take care of the direction himself,

Lars Von Trier


he should give others the chance to contribute, to each
specialize on different specificities of film production
so that the best competences from everyone can be
exploited. Movies are conceived as collective works that
should be managed by different people, each with its
specific role, and not only by single filmmakers. fully every single aspects of what they want to produce
However, beginners should be selfish and arrogant in order to generate a well-groomed product. Printing
in order to build up their own outlined personalities a 35mm film in a master copy costs a lot of money, but
in the specific field of movie-making. Short movies are new technologies enable a reduction of costs in terms
sort of weird contraptions to test ourselves: tools to of time and money. They also give filmmakers the pos-
check our capabilities to handle big projects. Once we sibility to focus and concentrate on all the production
discover our talents and strengths we can then focus aspects of movies. By dedicating to production more
on what really could be the appropriate role for us, for time and attention, filmmakers can be perfectly ready
example such as the one of directors or producers. By on the day of shooting to shoot a good work, from the
gaining experience with short movies, beginners can point of view on the artistic research that lies behind
understand which direction they can chose to follow in the moviemaking itself.
the film industry. According to this, everyone can become a filmmaker,
Moreover, it is, nowadays, easier to shoot movies, a producer or run an independent company to produce
thanks to the most innovative and particular, but yet its own movies. But not everyone is able to become
affordable, new technological devices. In the past, an artist, someone with something to say, and charac-
film-quality was lower than that of today, and the time terized by his particular mode of expression and his
needed to edit a small project was so long that no more specific way of framing and looking at the world.
than one movie per year could be produced. Today, But how does it work if someone wants to enter the
digital cameras and video cameras, and upgraded edit- film industry, intended in a broader sense and also in-
ing software, enable young film-lovers to shoot their cluding television, documentaries, video clips and com-
own amateur movies without devoting to it as much ef- mercials? First of all, there is a big distinction between
fort and time as before. Filmmaking has become easier actors working in the higher end and those working in
and more accessible to all. It can therefore easily be a the lower end. While the high end refers to very struc-
way to experiment and have fun, as well as a means tured managers working together as organizations,
through which to learn about oneself and about the such as specific production or distribution companies,
mechanisms of an industry. the low end, on the other hand, concentrates on all the
Consequently, the big challenge for filmmakers is to creative imaginary that is generated by the auteurs. In a
be aware of the big potential they have in hand, and way we can distinguish these two ends as, on one side,
once they are conscious of that, to start planning care-

36
the ones who create, the producers, and, on
the other side, the others who really make the
movie, the filmmakers.
The more naive creators, most of the time,
start their professional path, by self-producing
their own work. Once someone has been no-
ticed by a person who is interested in his work,
commissioned video clips or documentaries
are used as a tools to spread the voice of his
professionalism and after a while the doors of
the commercial market open up, to further as-
sess his ability as a director.
Here, the word of mouth appears to be
fundamental and once a filmmaker has suc-
ceeded in building up a name, he can decide
whether he wants to work in the commercials
or television market or whether he wants to
risk it in the actual movie industry, where he
has to fight to keep his identity untouched,
as he would be a new-comer. It also happens
that filmmakers become known through other
artistic channels, like, for example, the field of
contemporary art, where a lot of visual artists
challenge themselves with the new experience
of video-making, intended as a more dynamic
and avant-garde means of expression.
For what concerns the Italian film sector,
there is a big problem caused by the distribu-
tion channel, where debutants are not helped
by the industry itself. Most times, the films
produced by these artists therefore seem like
they could not interest the public, and so many
distributors decide not to bet on them, and
prefer to give space and visibility to already
well-known products like the “Cinepanettoni”
and plenty of vain teenager comedies. In fact,
the majority of films, once edited and finished,
remain closed in drawers, because no distribu-
tor seems ready to bear the risk. Many movies
therefore remain unpublished and will never
see the darkness of the cinemas.
It appears justified to question ourselves
about what could be done to face this penal-
izing, and limiting, condition for the national
movie sector, that unconsciously presents a
proper vivacity and a new generation of au-
thors numerically considerable. The only thing
that new producers and distributors should
do in the future is to bet on, and give voice to,
young and innovative filmmakers in order to repopulate the industry, now considered poor in valuable contents,
and to look at the past, so the industry can find and redefine again a well defined identity.
For most people, filmmaking remains a personal leisure because the industry is not yet flexible and open
enough to accept new ideas and talents for what they are, but this has to change, if the industry wants to regener-
ate itself and survive in the long run.

37
38
“LES ENFANTS SEULS SAVENT
CE QU’ILS CHERCHENT.”
Antoine de St Exupery,
Le Petit Prince

Photographer: Stephanie Serra


Locations: Zurich, Venice
39
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43
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46
ENTER
TAIN-
MENT
Performing arts are about stories. Big stories
of small characters and little stories of big
characters. Some of these stories are hidden
within music tunes while others live just for
a few hours on a stage. Their collective na-
ture, is made up of a complicated texture of
creative individuals, people who enjoy mix-
ing and molding different artistic genres into
one work. By writing about entertainment, we
hope to recreate the moments of interrac-
tion and exchange, that occur before a con-
cert, during a festival, or after a performance;
those short encounters in public spaces, that
leave us with long lasting memories.
In this issue we will take a peek at the small
but dramatic story of a big character, Myrtle,
in ‘Opening Night’ by Toneelgroep Amster-
dam. We will also reflect on the pornography
of information with the three little non-char-
acters from ‘Pornobboy’ by Babilonia Teatri.

47
[Images (c) Jan Versweyveld]

THE SHOW MUST GO ON...


BUT CAN IT? by Rosa Plijnaar

Entering the theatre you almost feel like you are in- makes Myrtle feel useless. What is she still doing on
truding. Instead of being fooled by huge stage-tricks, stage? Faking grief? Try-outs fail, and dramas occur
fake backgrounds of mountains, a living room in the when she walks offstage in the middle scenes, chang-
sixties or any other setting, this stages shows you es all her lines, and starts talking to her public directly
back stage. about how ridiculous her co-actor looks with his fake
Opening Night is a new theatre play by Ivo van Hove, mustache. When she is offstage in the dressing room,
based on the film of the same name by John Cas- or at home with a glass of wine, she starts talking to
savetes. The film made in 1977 is not the first film the ghost of her dead fan, Nancy (Hadewych Minis).
Ivo van Hove converted into a theatre play, in the past Maybe Nancy can help her understand the character
years this has become part of his brand. Stories with she has to play. How was it to be young and sexy? And
complex characters, inner battles and without many how do you change over the years? But what started
changes in settings, become even more impressive out as a good idea, turns 180 degrees when Myrtle
during a live act. Examples of his conversions are becomes always more dependent on Nancy. She starts
'Scenes from a Marriage' by Igmar Bergman and 'An- drinking more and more to forget her problems, and
gels in America' by Tony Kushner. However, 'Opening when the premiere of her play approaches, there is
Night' is one of the more complex conversions so far only one thing left to do: Completely drunk, she stag-
because it actually contains live video images of the es a fiscal fight with Nancy and eventually 'kills' her
actors while they are playing. imagined helper. Reciting her text all the while, she
The play in the play ends up playing a magnificent première and, there-
The play tells the story of Myrtle (Elsie de Brauw), the fore, giving e twist of her own liking to the play.
leading actress in the broadway-play The second wife. Theatre families
Myrtle has a lot of difficulty playing her role because But even more than the underlying battles Myrtle
this character is a woman struggling with getting old- fights with herself, her relationships with her direc-
er, but she doesn't completely collapse until a devoted tor, ex-husband and leading male, and producer are
young fan dies in front of her eyes in an accident. This complicated enough by themselves. The story of a

48
theatre-family which completely collapses when
their main star loses it. Ivo van Hove explains
in an interview that this is exactly what makes
this play interesting. A sneak peak behind the
scenes of an ordinary play. The director who al-
ways tries to make and keep everybody happy;
The producer who, in the end, just has to make
money; the playwright who feels nobody under-
stood what she really wanted to say with her
play; and hear/make-up personnel and stage
managers who feel they are the only ones really
understanding what the actors need, but do not
have the power to make it happen.
The setting
The stage setting and decors create the pos-
sibility to understand when you are seeing bits
of Opening Night and when the actors are act-
ing the play in the play, The second wife. The
one hundred audience members sit stage right
as the audience of the play in the play. On top
of this construction, the video screens placed
all over the stage and theatre makes you feel
you are watching a live documentary and mak-
ing-of. Ivo van Hove decided on purpose not to
see the actual film of Cassavetes, but to work
from his screenplay to avoid comparison. It is
refreshing to see that theatre and video-images
can work together, not just for aesthetics, but
to support the goal, message and feeling of the
play. If you know what a theatre-family works
like, this play will give you numerous laughs of
recognition. Know what it takes when the show
must go on...

The theatre play ‘Opening Night’


by the Toneelgroep Amsterdam
(Theatre Company Amsterdam) and
NTGent (National Theatre Gent).
Concept: Ivo van Hove
Leading roles: Elsie de Brauw, Jacob Derwig,
Hadewych Minis and Fedja van Hûet.
Seen: 26 August 2009,
City Theatre Amsterdam, The Netherlands
Tour until June 2010
Info: www.toneelgroepamsterdam.com

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50
BABILONIA GOES IN
FOR PORNOGRAPHY
by Livia Andrea Piazza

Babilonia Teatri, a young theatre company that became is the performance's essentiality, which makes the mes-
famous by winning the Premio Scenario with their play sage and the experience for the public much stronger.
Made in Italy, was hosted by CRT Teatro dell’Arte to Lists and enumerations go on giving the impression
play their new production Pornobboy. Babilonia Teatri of being in front of a newscast you can never switch
has always focused on social issues and this time the off, and you eventually realize that pornography of
pornography of information is the main and only char- information is not as banal as you thought. Watching
acter on stage. You may think that this is nothing new: Pornobboy makes you feel the physical sensation of the
we all know about the “media-bombing” we everyday media-bombing and this is a queasy sensation that is
go through, we are all aware of the infinite number of everything but banal. This impression is reinforced by
boobs and butts we see everyday, even in the most the fact that there are no characters on stage who give
unexpected places, and we find ourselves attracted an interpretation of the blob. Interpretation is com-
by the need to know every single useless detail about pletely left to the public, together with the latent aware-
everything we couldn’t care less about, from the cruel- ness that if we are forced to watch and hear all about
est murder to the newest couple of the star system. crime news and gossip columns, it may be because
The banality of this topic may be a matter of fact but there is something hidden, something that TV news
this doesn’t imply that it is not worth talking about and and newspaper cannot talk about. Why is this con-
most importantly, before criticizing this choice, you nected to ‘less work and more play’? It’s just because
must see Babilonia Teatri in action. On a stage occu- this performance is really fun. Throughout the show,
pied just by an empty billboard, three actors wait for the public is overcome by uncontrollable laughter and
the public to sit, they then begin to cover the billboard moments in which terrifying aspects of reality find a
with promotional posters of “Pornobboy”. When the bill- balance between drama and irony. What is best is that
board is all covered and the three actors, dressed just the final scene in which the three actors are submerged
like in the posters, take an attitude which is just like by an ejaculation of huge proportion which is the result
the one they have in posters, it all starts. A “theatrical of forty-five minutes of hypnotic media-bombing: the
blob”, there are no better words to describe the juxta- ejaculation invade the whole stage, completely covering
position of lists made by wordplays (lists of newspaper the actors up. This is the way used by Babilonia Teatri
names, names of magazines for women, national days to tell their public that they are not in the position of
dedicated to something, soccer players and whatever judging or giving a solution for all this, that they are
else you can imagine) and tongue twisters which recall just where everybody else is and that they are using in-
childhood as well as horror movies. The enumeration formation in the same way everyone else is. Personally,
of things seems to be never-ending and during one of I really appreciate this humble position which is some-
the funniest moments, it alternates news referring to thing uncommon in many theatre companies that work
a soccer game with the two public letters exchanged on socio-political issues. So, keep an eye on Babilonia
between Silvio Berlusconi and Veronica Lario. What is Teatri’s next move, they will be at CRT until October 18
most impressing, besides the incredible actors’ vocal with another production “Pop Star” and then they will
technique and the unnatural immobility of their bodies, be bringing their performances all around Italy.

51
THAN
K YOU

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