I am glad to say that the first exhibition that I have had the honour to step into has been Geumhyung Jeong’s Upgrade in Process at Fondazione Modena Arti Visive. Jeong boasts an impressive list of shows, having exhibited at Delfina Foundation London, Kunsthalle Basel and Tate Modern, and discovering her works so close to home has been such a pleasure. She is a South Korean choreographer and performer whose work is constantly… on the edge.
Mona Hatoum is a Palestinian artist, now based in London. The exile, the theme of belonging to different cultures and, at the same time, to none of them, are some of the ideas she explores: a contributing factor is, for sure, her life and her continuous movements around the world. At the same time, however, it is interesting noticing how not one of the works she creates is explicitly autobiographical.
Yesterday I had goosebumps. I was about to go to sleep, checking out for the last time my Facebook dashboard, when I read ‘… artisti, che ci fanno così divertire’ – ‘… artists, who entertain us’.
Said by the prime minister of probably the most artistically rich country in the world.
Is that really what they do? Entertain?
How have we come to this point? How did it happen that art is now in the background, that it is only followed by such a narrow niche of people generally considered as a bit crazy, who have their head in the clouds? How did it happen that now art is simply not necessary?
Metro and bus stops are located a few minutes away from Tate Britain in Millbank, London. For this reason, while walking towards the museum, the visitor unintentionally experiences the installation The Depth of Darkness, hearing its roaring sound effects without knowing where they come from. The nearer to the entrance, the more the visitor wonders what those blaring sounds can be, which evoke the roar of waves and cover the loud noises of the metropolis.
At present – not sure if you know – I am attending a curatorial course in Venice and I am constantly entering in contact with the process of organizing exhibitions that make sense. It may seem banal and obvious, but finding the right concept for an exhibition – a concept that works, that is not too straightforward but not even too inexplicable, that has (almost) never been explored before – is SO complicated.