Elia Alessandro Greggio,
1968-2005
Fall.......This
time of year is particularly melancholic. Especially when someone disappears
, when someone falls, takes that large step into the void. I only know three
people who fell in the void. Each one for a different reason. Each one is
a particular case. When Yves Klein leaped into the void he filled an empty
page in the history of art. When Gilles Deleuze ended his life by throwing
himself into the void I knew that a great philoshopher was gone. But when
the phone rang last month and I found out that Elia fell from the window of
his second floor flat I was left out of breath. A friend had fallen. He wasn't
famous yet, he hadn't changed the history of painting yet, but he knew well
what life and painting was about. Elia didn't commit suicide, as far as we
know he was not this type of guy, he didn't make that step into the void,
he simply turned over while sleeping, falling into the silent gravity of canvas.
Read more on http://nyartsmagazine.com
K.B
Art
&Text: Inscription
copyright
© 2000-2005, www.art-omma.org and the authors, unless otherwise stated,
In this issue
we have invited Sharon Kivland and Jaspar Joseph-Lester, who
curated Art and Text: Inscription in the theory and Lucy
Harrison who curated the project room section. Contributions
in the theory section include:
Artlab (Charlotte Cullinan and Jeanine Richards), Sean Ashton, Dave Beech,
Pavel Buchler, Vera Dieterich and Caroline Rooney, Steve Dutton and Steve
Swindells, Lucy Harrison, Jaspar Joseph-Lester, Sharon Kivland, Simon Morris,
Sally O'Reilly, Elizabeth Price, Jane Rendell, Mark Titchner. The project
room features projects by Jamie
Shovlin,Chris Gibson, Simon Morris, Marko Maetamm, Brigid McLeer, Redell
Olsen & Susan Johanknecht and
the Budget Bureau for language and Applications project.
We would like
to apologise to our readers, contributors and guest editors for the delays
in publishing issue 11.
Due to changes
in the editorial team and the irregularity of publishing time, we decided
to remove the news and the feature section, and focus instead on the theory
section and the project room.
the editors
|
"Petites miseres de la
vie humaine"
from Simone's Diary
|
...o
tempora o mores... What's more inspiring than returning every two years
and spending a few days at the same place, meeting almost the same people,
tasting the same food and always missing a few turns on the way back to the
hotel? That's Venice Biennale. Some of you would say: In art we have seen
it all. Some others would expect more. However, if the istitutional proposal
of every country fails to fulfil our intellect and aesthetic standards, we
expect from the curators to spice up the predictable and to give it a bit
of a twist. And if this fails again, I suggest we forgot the Venice Biennale
and Venice itself with the smelling canals, the pigeons -San Marco's square
residents-, the carnival masks and the dumpness of a sinking history, the
glossiness of a postcard... We left Venice a few days later after spending
a night on Lido and having a good puff of fresh air coming from the Adriatic
sea shadowed by Death. That was it. We decided to go south digging
up Tuscany, Umbria and Latio. On the way back to Venice our senses were building
up layers of yellowed hills, dense woods, medieval tastes and Etruscian death
tombe-dump all mixed up with a twist of melon. We didn't stop in Bologne but
we made a stop-over in Verona before leaving Venice. On board the ship on
the return trip, Venice Biennale was a forgotten destination of printed matter
- reference catalogue on the bookself. While enjoying a good spot on the deck,
all of a sudden we returned to reality: loud and drank slovenian youths were
enjoying nightlife onboard till they crashed early in the morning. What is
more interesting is that we have already planned our next trip to Venice,
for the 52nd Venice Biennale.It is always worth it.
S.R
