mail sent to Antonio Grulli which explains the work of Cuoghi Corsello
Thursday, January 20, 2011
Hello Antonio!
We are a little 'upside down because we have to fix a house and move later this month.
Friday we are in town because we go to Gino and make it one could catch between one thing and the other in a bar type of thing you say at 19.30? Can you give cmq
addresses of bars that we spend a Friday?
I keep thinking of putting the little woman for whom I was banned fb, This is because as I said already fb is like the bar, and my little women that come alive on the field of ceramics are like the bars that are tangible and real and we can meet fisicamente.Noi long we never go to the bar, almost never but even that we have spent time working there, collages, drawings with tables booked, called bar Dicks for us and our friends because the owner showed us his collection of vibrators ... it was the bar of the theater in Via Rialto, then by small bar frequented by Pino Bartman ship ... in short, is this direct experience in the bar now fb for me at the bar to really know a lot of reasons to feel comfort.
I'm telling this job some people are not accustomed to the art and is also quickly realized why I like it.
The gentlemen who are running on the ceramic usually make photos of the dead, and instead make my living maidens.
Every day for two years on my public profile and a tiny woman naked with the date and this had led to let you know so many people making them happy, I speak in the past having been banned because now I had to start and I have very few friends and a few photos .. .
I hope we can meet Friday to determine if the bar also agrees to make a young lady so discovered.
soon, good work Monica.
Claudio agrees, but we data still other possibilities, especially after we were in the bar.
cmq The little woman I did do it takes a little 'time, or rather make me a favor and make me long for
Hello!
here it is guys .... ..... spread the word to the British Isles .....
Mobile Festival 2011
by David Ferri and Antonio Grulli
Saturday, January 29, Bologna
Maurizio Bar, Via Guerrazzi 22
in collaboration with Irene Guzman and Valentina Rossi
Mobile Festival, now in its second edition, is an exhibition, a day of performances and conversations in three bars in the center of Bologna, near St. Stephen's, near Porta Castiglione .
will be held Saturday morning from 29, the opening of the bar, until late afternoon.
Festival Mobile has to do with the idea of \u200b\u200bbar as a place of talks and informal discussions, as a prosthesis of a study or work space.
Quest’anno verrà sviluppata l’idea di conflittualità e scontro, di dialogo sopra le righe, di discussione animata all’interno del bar e possibilmente del mondo dell’arte, anche in forma di aneddoti e racconti.
Una visione del bar come arena, ring, e campo di battaglia.
Interventi di:
Alessandra Andrini, Francesco Arena, Simone Berti / Alessandro Sarra, Chiara Camoni, Ludovica Carbotta, Cuoghi e Corsello, Sara Enrico, Cleo Fariselli, Ettore Favini, Christian Frosi, Andrea Kvas, Chiara Pergola, Marco Rambaldi, Marco Raparelli, Luca Scarabelli / Filippo Pagotto, Lorenzo Senni, Lorenzo Scotto di Luzio, Alice Tomaselli, Nico Vascellari, ZimmerFrei
(la mostra è visibile per tutta la giornata di sabato)
Ore 10.00, Bar Miki e Max
Presentazione catalogo di Sissi " Abitanti " edito da Mousse Magazine in occasione della mostra presso Fama Gallery; parteciperanno l'artista e Laura Barreca
Ore 16.00, Bar Miki e Max
Stati di Agitazione : una conversazione sull'idea di scontro e di conflitto con Francesco Arena, Cerizza Luca, Marco Cingolani, Elisa Del Prete, Vincenzo Latronico, Alessandra Sandrolini, Pier Luigi Tazzi
David Ferrie - We decided that Mobile Festival will take place in some of the bar last year. Why should not he be? Frequented the bar has to do with the habit. We, too, at the end we have continued to meet in the same places. Now even the bartenders know me and greet me. They sometimes asked if we would have redone Festa Mobile . We liked the idea of \u200b\u200bdeepening one of the issues raised last year. Regards the size of lively discussion, dialogue over the top, the potential conflittualità che può sprigionarsi in luoghi come il bar. È un po’ un topos dell’aneddotica sugli artisti e i movimenti almeno fino alle avanguardie. Ricordo certi passi del libro di Timothy Clark – Immagine del popolo - dove si racconta delle litigate di Courbet con altri artisti, nelle osterie. Anche il saggio di Rewald sull’impressionismo mi è sempre piaciuto molto perché descrive dettagliatamente le dinamiche di certe discussioni animate che avvenivano tra i pittori, con il seguito di scazzottate e, talvolta, di duelli. Tutto iniziava quasi sempre nei caffè e nelle osterie, manco a dirlo. Poi questa dimensione del confronto, anche sopra le righe, risponde al bisogno di un scambio more frontal, direct, within the art world, we realized during the round table is Gold Painting in Milan. Simpleton
ANTONIO - Well, yes, I think it only made sense if repeated more or less at the same bar. It has to do with the idea of \u200b\u200ba community of people. To which we belong in some form. And with the idea of \u200b\u200bbar as a prosthesis of a working space of a study, where it makes the press every morning (how many times I have put aside the papers on my request for an article in which I kept), and where you meet people. In fact, maybe the interesting thing would be precisely to explore this dimension the conflict that last year we had touched some part in meetings together under the concept of "hostility." A sort of vision of the bar as the arena, ring, the battlefield of ideas, but sometimes even fistfights. Like those that you mentioned you or as the most famous of the futurists in punitive mission to Florence for a settling of scores with the group of Florentine Soft and Papini. Punch that has become one of the founding myths of Italian art. It is also very interesting what you say dell'aneddotica, as if it were a bar of the main sources, where everything gets a little 'play and where the main protagonists of the stories we are. As if they become "characters" da bar; come se il bar fosse una nuova dimensione narrativa; come un libro o una piece teatrale appunto. Ma questa cosa dell’aneddotica mi ricorda anche alcuni passaggi molto belli proprio di una delle conferenze di Milano sulla pittura, in cui Cingolani faceva notare (parlando della dimensione narrativa della pittura) che anche la Bibbia in fin dei conti si basava proprio su un insieme di aneddoti.
DF – Se penso a quel che dici, sul ruolo di una scazzottata nell’arte italiana, mi vengono in mente i discorsi che facevamo durante quella cena a casa di Sissi, ricordi? Era poco prima del natale scorso, e con Flavio Favelli e altri si giocava a tirar fuori, a turno, almeno un ricordo di un litigio o di una rissa nel mondo nell’arte a cui ci era capitato di assistere di persona. Non è che venisse fuori granché. Una volta, a San Gimignano, io vidi Mario Merz colpire con un pugno un critico più giovane (ma era una cosa scherzosa, anche se quel pugno deve avergli fatto male), ed era proprio in un bar. Certo le persone non debbono necessariamente litigare, o ancor peggio picchiarsi, ma il fatto che certe forme di confronto così emotive, o viscerali, siano state espulse dal mondo dell’arte è un segno dei tempi. Ha a che fare con l’impressione che non ci sia nulla, un’opinione o una divergenza di natura teorica, per cui valga la pena, ogni tanto, uscir fuori dai ranghi e diventare un poco più diretti. Soprattutto, in Italia, è mancato that generational confrontation, in the form of dialogue or even conflict, which usually come a lot of interesting things. The other night I spoke at a dinner with Ludovico Pratesi asking me "but what do you milf what you really think our generation of critics and curators? Are you sure you know so well? ". I could revolve the same questions. This generational dialectic between artists, curators and gallery owners is something that perhaps we need to wake up in Italy a critical debate the boundaries a bit 'wider (think of what was produced in America in the sixties by a desire and minimal generation of pop artists to kill their fathers, that is, the American Abstract Expressionists ...).
AG: In art, perhaps this is not as lively debate on a generational conflict that instead of investing a lot of other fields such as political, for example. Also because I think that with regard to the generational shift of the artists, in fact, there may be differences of style or content, or poetic, but all in all, things change up to a point. As for what concerns the curatorial world there was a huge jump. In the sense that only a generation before we were to do this job in very few, and the ideas were pretty confused about what it meant to be a curator. Not that the ideas now are clearer (because anyway we are still in their infancy of our profession), but at least started a debate at the international level on curatorial practice, in which Italy participates actively, also for the first time there is a large number of curators around 30-40 years who work and which in part is also formed abroad, in short, begins to be a healthy competition of ideas and projects, whereas before the shows "cured", there were on the tip and fingers were very few people who organized exhibitions, we are the first generation that could count on the internet, low cost and a whole system of distribution of books and magazine non esisteva. Anche a livello di poetiche mi sembra che dall’inizio del nuovo millennio si stia delineando comunque un cambiamento molto forte.
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