lunedì 25 aprile 2011
NEWS
In una recente intervista lei ha dichiarato che le farebbe piacere avere un figlio gay. Dichiarazione curiosa, perché una così decisa scelta di genere?"Il discorso era più ampio ed è stato semplificato. In un momento in cui il machismo dilaga, e non mancano esempi tanto negativi ai livelli più alti di mercificazione della donna, dicevo che non mi dispiacerebbe affatto avere un figlio gay, anzi ne vorrei due, un bassista e un batterista, così li porterei in tour con me. Anzi, aggiungo che mi piacerebbe fossero gay e neri, tanto per non farmi mancare nulla".
"A Galan è stato rappresentato un quadro del tutto falso di cui è vittima, ma non dispero di chiarire ancora con lui. Così si tradisce tutto. Si tradisce il senso del mio mandato alla Biennale e il senso di quello che era stato il progetto del predecessore di Galan, Sandro Bondi, che mi aveva chiamato alla soprintendenza di Venezia e, insieme, al Padiglione Italia".
Tarantino Quentin - L'ultimo movimento letterario percepito dai mass media è stato quello del pulp e dei cannibali. Perché preventivamente confezionato come operazione editoriale; perché supportato dal riferimento comune a un film di grande successo come Pulp fiction; perché i media hanno cavalcato l'immagine "giovane" degli scrittori coinvolti. È questo che devono fare la letteratura, la critica, l'editoria per sopravvivere in un contesto dominato da logiche spettacolari? Ovvero: come si fa a incidere sulla realtà se non si risveglia l'interesse dei media e dunque del pubblico? E soprattutto: esiste ancora un pubblico della letteratura? (oggi va più di moda dire mercato).
Si siede sul letto di fronte a lui e dice: «Vuoi sapere la verità?».
Sul podio in abito lungo o in pantaloni?
"Il vestito da sera va saputo indossare. Quando dirigo non posso occuparmi del portamento. Molto meglio i pantaloni".
"Il vestito da sera va saputo indossare. Quando dirigo non posso occuparmi del portamento. Molto meglio i pantaloni".
"A Galan è stato rappresentato un quadro del tutto falso di cui è vittima, ma non dispero di chiarire ancora con lui. Così si tradisce tutto. Si tradisce il senso del mio mandato alla Biennale e il senso di quello che era stato il progetto del predecessore di Galan, Sandro Bondi, che mi aveva chiamato alla soprintendenza di Venezia e, insieme, al Padiglione Italia".
Tarantino Quentin - L'ultimo movimento letterario percepito dai mass media è stato quello del pulp e dei cannibali. Perché preventivamente confezionato come operazione editoriale; perché supportato dal riferimento comune a un film di grande successo come Pulp fiction; perché i media hanno cavalcato l'immagine "giovane" degli scrittori coinvolti. È questo che devono fare la letteratura, la critica, l'editoria per sopravvivere in un contesto dominato da logiche spettacolari? Ovvero: come si fa a incidere sulla realtà se non si risveglia l'interesse dei media e dunque del pubblico? E soprattutto: esiste ancora un pubblico della letteratura? (oggi va più di moda dire mercato).
Sant'Agostino amato da Bob Dylan
Si siede sul letto di fronte a lui e dice: «Vuoi sapere la verità?».
E Troisi risponde con un conclusivo, liberatorio e rivoluzionario: «No!».
domenica 24 aprile 2011
Motivation
At
The
End
of
Times
Mårten
Spångberg
A
programmer
of
dance
comes
up
to
me
and
says:
“-‐What
do
you
think
of
the
program,
it’s
nice
don’t
you
think?”
What
can
I
say?
As
we
know,
within
the
neo-‐
liberal
predicament
that
we
now
live,
to
object
is
unthinkable,
to
have
an
opinion,
to
show
attitude
is
a
no
no
of
severe
magnitude.
Metaphorically
speaking
my
answer
could
only
be:
“-‐I’m
available.”
If
I
am
in
the
program,
I
can
obviously
not
not
comply
and
support
it,
and
if
I
am
not,
any
objection
would
propose
that
I’m
jealous
of
those
that
are
in
and
can
thus
only
comply.
Yet,
I
try
to
formulate
an
answer
that
uses
a
double
rhetoric,
proposing
that
the
program
is
congenial
and
at
the
same
time
saying
it’s
not.
My
argument
could
be
based
on
an
asymmetry
between
established
and
not
so
established
acts,
the
lack
of
representation
of
non-‐western
artists,
weak
contingency
in
the
program
and
so
on.
It
doesn’t
matter,
independent
of
my
response
the
answer
I
receive
in
return
is
always
the
same:
“-‐Yes,
you
are
right,
but
you
know
our
budget
has
been
very
pressured
this
year.
We
had
enormous
cuts
for
this
season,
and
I’m
really
happy
that
we
got
it
together
at
all.”
I
accept
the
argument
and
nod
understandingly.
A
few
months
later,
the
same
programmer
shows
up
after
seeing,
let’s
say
the
premiere
of
a
new
show
of
mine,
insinuating
that
it
didn’t
entirely
fulfill
expectations
or
was
simply
not
a
masterpiece.
I
respond:
“-‐Yes,
you
are
right
but
you
know
our
budget
was
very
pressured.
We
really
had
enormous
cuts
for
this
season,
and
I’m
really
happy
that
we
got
it
together
at
all.”
I
don’t
think
so!
Such
a
line
of
argumentation
is
not
acceptable
emanating
from
the
mouth
of
an
artist.
The
artistic
act,
it
is
assumed
is
independent
of
budgets,
and
if
there
are
cuts,
subsidies
missing
or
similar,
the
artist
is
supposed
to
change
the
format,
come
up
with
solutions,
sack
the
producer.
Make
a
duet
or
solo,
use
less
rehearsal
hours,
get
another
co-‐producer,
hire
faster
dancers.
But
who
would
expect
a
programmer
to
sack
some
people
in
the
organization,
do
the
cleaning
or
accounting,
double
as
a
technician
or
wardrobe
assistant?
Programmers
are
victims
of
external
circumstances,
whereas
artists
only
have
themselves
to
blame.
For
programmers
to
gain
my
respect,
stop
using
budget
cuts
as
an
argument.
So
my
response
is
always
implicitly
“-‐I’m
available”.
Whatever
the
price,
whatever
the
circumstances,
whatever
the
proposition
is,
in
the
era
of
projects
we
are
all
always
available.
In
our
current
economic
flow,
as
Boris
Groys
recently
argued,
it
doesn’t
really
matter
if
one
is
in
the
program
or
not,
what
matters
is
to
have
a
project,
in
particular
to
have
a
project
that
can
attach
to
enough
many
surfaces
and
connect
to
enough
many
other
projects.
In
fact
it
doesn’t
matter
what
the
project
is,
as
long
as
it
promotes
a
specific
identity.
What
the
artist
today
is
busy
with,
is
not
primarily
to
make
pieces
or
to
articulate
concepts
but
to
produce
identities
that
are
at
the
same
time
specific
enough
to
make
a
difference
and
conventional
enough
to
maintain
a
rather
romantic
image
of
what
the
artist
should
be
occupied
with.
The
really
clever
artist
has
stopped
making
pieces
at
all,
but
jumps
from
residency
to
residency,
from
lab
to
lab,
project
to
project.
What
matters
today
is
not
products,
pieces
or
premieres
but
activity
and
At
The
End
of
Times
Mårten
Spångberg
A
programmer
of
dance
comes
up
to
me
and
says:
“-‐What
do
you
think
of
the
program,
it’s
nice
don’t
you
think?”
What
can
I
say?
As
we
know,
within
the
neo-‐
liberal
predicament
that
we
now
live,
to
object
is
unthinkable,
to
have
an
opinion,
to
show
attitude
is
a
no
no
of
severe
magnitude.
Metaphorically
speaking
my
answer
could
only
be:
“-‐I’m
available.”
If
I
am
in
the
program,
I
can
obviously
not
not
comply
and
support
it,
and
if
I
am
not,
any
objection
would
propose
that
I’m
jealous
of
those
that
are
in
and
can
thus
only
comply.
Yet,
I
try
to
formulate
an
answer
that
uses
a
double
rhetoric,
proposing
that
the
program
is
congenial
and
at
the
same
time
saying
it’s
not.
My
argument
could
be
based
on
an
asymmetry
between
established
and
not
so
established
acts,
the
lack
of
representation
of
non-‐western
artists,
weak
contingency
in
the
program
and
so
on.
It
doesn’t
matter,
independent
of
my
response
the
answer
I
receive
in
return
is
always
the
same:
“-‐Yes,
you
are
right,
but
you
know
our
budget
has
been
very
pressured
this
year.
We
had
enormous
cuts
for
this
season,
and
I’m
really
happy
that
we
got
it
together
at
all.”
I
accept
the
argument
and
nod
understandingly.
A
few
months
later,
the
same
programmer
shows
up
after
seeing,
let’s
say
the
premiere
of
a
new
show
of
mine,
insinuating
that
it
didn’t
entirely
fulfill
expectations
or
was
simply
not
a
masterpiece.
I
respond:
“-‐Yes,
you
are
right
but
you
know
our
budget
was
very
pressured.
We
really
had
enormous
cuts
for
this
season,
and
I’m
really
happy
that
we
got
it
together
at
all.”
I
don’t
think
so!
Such
a
line
of
argumentation
is
not
acceptable
emanating
from
the
mouth
of
an
artist.
The
artistic
act,
it
is
assumed
is
independent
of
budgets,
and
if
there
are
cuts,
subsidies
missing
or
similar,
the
artist
is
supposed
to
change
the
format,
come
up
with
solutions,
sack
the
producer.
Make
a
duet
or
solo,
use
less
rehearsal
hours,
get
another
co-‐producer,
hire
faster
dancers.
But
who
would
expect
a
programmer
to
sack
some
people
in
the
organization,
do
the
cleaning
or
accounting,
double
as
a
technician
or
wardrobe
assistant?
Programmers
are
victims
of
external
circumstances,
whereas
artists
only
have
themselves
to
blame.
For
programmers
to
gain
my
respect,
stop
using
budget
cuts
as
an
argument.
So
my
response
is
always
implicitly
“-‐I’m
available”.
Whatever
the
price,
whatever
the
circumstances,
whatever
the
proposition
is,
in
the
era
of
projects
we
are
all
always
available.
In
our
current
economic
flow,
as
Boris
Groys
recently
argued,
it
doesn’t
really
matter
if
one
is
in
the
program
or
not,
what
matters
is
to
have
a
project,
in
particular
to
have
a
project
that
can
attach
to
enough
many
surfaces
and
connect
to
enough
many
other
projects.
In
fact
it
doesn’t
matter
what
the
project
is,
as
long
as
it
promotes
a
specific
identity.
What
the
artist
today
is
busy
with,
is
not
primarily
to
make
pieces
or
to
articulate
concepts
but
to
produce
identities
that
are
at
the
same
time
specific
enough
to
make
a
difference
and
conventional
enough
to
maintain
a
rather
romantic
image
of
what
the
artist
should
be
occupied
with.
The
really
clever
artist
has
stopped
making
pieces
at
all,
but
jumps
from
residency
to
residency,
from
lab
to
lab,
project
to
project.
What
matters
today
is
not
products,
pieces
or
premieres
but
activity
and
VERTICALITY threshold/soglia the quality of emptiness pedestal Phil Niblock abstract PIN
VEGETABLE virtual origin "The movement of pre-verbal small/big SHELL
people working"
PLATFORM tessera universal immage anus "the magic sun" narrow passage ANUBA
PYRAMID
BLACK labyrinth nervure operating by jerk flickering hard JUNGLE
3 PARTS map one act-play to pour out diapason pattern POMPEI
EVIDENCE the posture of the tree to be thing the possibility to "I'M NOT THERE"
instrument mistake
CLOTHES sensitivity-bearer surface 4 chemical letters contractual mondo VAUDEVILLE
OUTFIT practice
APPAREIL
ENTRANCE verticality boundary linoleum speedy large MEDULLA GYMNASTIC
EXIT substance outline "I strongly believe art "Good times" time out MARINA ABRAMOVICH
will arrive to a point
in which objects will
be removed, there will
be only the artist who
will give his/her energy
to the audience, without
objects."
TODO needed dead ringer accomplice undefined lost body DISCIPLINE
WHATYOU
ARENOT
ABLETODOBUTDOINGITWELL
FURROW stratfication of being blood perception to assemble standstill angles TWIST
DRILL moving messages
TODO to inhabit recreation identifiable to dissolve a blind immage of the GUS VAN SANT
WHATYOU oneself in present
AREABLE the gesture
TODO
VERYWELL
A VOLUME drums,electric acoustic surface auricle electric impulse JAPAN
THICK OF bass guitar,
SOUND trombone
TO ACT to shade a run geometric figure simple cognitive squaring off IN SPITE OF ME
FOR function
PHISYCAL
SCRIPT
THE POSITION no perspective displacement circular eyeball the vision is THE GARDEN OF
OF THE everywhere HERONYMUS BOSCH
AUDIENCE
NOMADIC DNA the reality of electric "She said" the body thinks TADAO ANDO
SPACE a face the mind feels
EVERYTHING to light up preparing vertebrate components sinusoid THE FOUR LITTLE
IN BETWEEN figure types SWAN
A AND B
TRAVEL to introduce entanglement "Rip it up" drone haemorrhage "JAM WITH SAM"
BODY sound
CIRCULATION grace clear thinness electric neurochemistry DREAM HOUSE
muscle molecule
PERFORMER/ instrument simple interpretation mechanistic particle OPERA HOUSE
TRANSFORMER base
VEGETABLE virtual origin "The movement of pre-verbal small/big SHELL
people working"
PLATFORM tessera universal immage anus "the magic sun" narrow passage ANUBA
PYRAMID
BLACK labyrinth nervure operating by jerk flickering hard JUNGLE
3 PARTS map one act-play to pour out diapason pattern POMPEI
EVIDENCE the posture of the tree to be thing the possibility to "I'M NOT THERE"
instrument mistake
CLOTHES sensitivity-bearer surface 4 chemical letters contractual mondo VAUDEVILLE
OUTFIT practice
APPAREIL
ENTRANCE verticality boundary linoleum speedy large MEDULLA GYMNASTIC
EXIT substance outline "I strongly believe art "Good times" time out MARINA ABRAMOVICH
will arrive to a point
in which objects will
be removed, there will
be only the artist who
will give his/her energy
to the audience, without
objects."
TODO needed dead ringer accomplice undefined lost body DISCIPLINE
WHATYOU
ARENOT
ABLETODOBUTDOINGITWELL
FURROW stratfication of being blood perception to assemble standstill angles TWIST
DRILL moving messages
TODO to inhabit recreation identifiable to dissolve a blind immage of the GUS VAN SANT
WHATYOU oneself in present
AREABLE the gesture
TODO
VERYWELL
A VOLUME drums,electric acoustic surface auricle electric impulse JAPAN
THICK OF bass guitar,
SOUND trombone
TO ACT to shade a run geometric figure simple cognitive squaring off IN SPITE OF ME
FOR function
PHISYCAL
SCRIPT
THE POSITION no perspective displacement circular eyeball the vision is THE GARDEN OF
OF THE everywhere HERONYMUS BOSCH
AUDIENCE
NOMADIC DNA the reality of electric "She said" the body thinks TADAO ANDO
SPACE a face the mind feels
EVERYTHING to light up preparing vertebrate components sinusoid THE FOUR LITTLE
IN BETWEEN figure types SWAN
A AND B
TRAVEL to introduce entanglement "Rip it up" drone haemorrhage "JAM WITH SAM"
BODY sound
CIRCULATION grace clear thinness electric neurochemistry DREAM HOUSE
muscle molecule
PERFORMER/ instrument simple interpretation mechanistic particle OPERA HOUSE
TRANSFORMER base
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