In memoriam....

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.



Art &Text: Inscription
copyright © 2000-2005, 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.


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