Interview with artist and curator Sarah Sparkes at New Art Projects, London

Hi everyone, sorry if I have been this absent from the blog but the past two weeks have been crazy because of university deadlines and other projects, but from now on the situation will go back to normal! The uploads will be more consistent, and sorry again for these weeks of absence 🙂

We go back on track with this interview I made to Sarah Sparkes, an artist and curator based in London and now having an exhibition called ‘The GHost Parlour’ at New Art Projects until April 27. This interview follows the video interview that you can find on YouTube here, go check it out if you haven’t already!

Here we talk more in depth about her works that are now exhibited at New Art Projects in London.

Still from Time You Need © Sarah Sparkes

V: Can you tell me a bit more about the film exhibited?

S: So, it is called ‘Time You Need’ (2015) and it was made for the MERU ART*SCIENCE Award. I was nominated for that award by a curator called Rob la Frenais, who also curated the exhibition ‘No Such Thing as Gravity’. I think there were about five or seven nominated artists, they were all nominated by different curators and I won. I put a proposal for a film, and the jury nominated me to win! That was really exciting, I have had to make the first film I have ever made, which was really hard and intense. Because I make things with my hands, I had to learn about it as a physical medium, so it has a lot of special effects, quite cheesy ones because I was thinking of a 60s 70s sci-fi aesthetics. The special effects are done with me spinning things with my hands and with very simple effects of overlaying. It’s a film that is about time travel, internal time travel, it’s about trying to find a way to slow down time and enter a time that you need. We are always rushing, we are always tearing through life and I was just thinking how wonderful it might be that we could find within ourselves a black hole, a little wormhole in which we could escape to any time, and it would always be the time that we love the most. So, I did a performance in which I explored these themes with people, I just said ‘go to the time you need’. I did this text that I read to them that was quite hypnotic, and then I sung them a little song, the one that is on the film.

Still from Time You Need © Sarah Sparkes

V: So, the one in the film is during that performance?

S: Yes, so it’s kind of re-enacting the performance. I worked with three artists, two of them are performance artists because I wanted performance in the film to recreate the original I had done for a project called ‘Overtime’. I just told them ‘Come as if you were dressed to go time traveling’ so the clothes were entirely their own choice. I also worked with a scientist, an artist-scientist called Pietro Reviglio, he’s an astrophysicist and he has two PhDs in the study of black holes, so he was the science advisor since the film takes the concept, the idea of the black hole and plays with it in the narrative linking it to literature, science fiction, films and television programs in which there are portals or wormholes and they’re able to travel across time. I wanted to bring all of these things together with my own aesthetics and make a film that looked like the rest of my work. It was a challenge, very enjoyable, very frustrating sometimes, and I have had so many brilliant friends to help me, they’re all credited at the end of the film. Oh, it also features my great grandfather’s magic lantern’s lights. He was a magic lanternist, and I inherited his slides.

V: What do you mean by magic lanterns?

S: It is one of the earliest forms of projected images, it is glass slides with coloured pictures painted on them and then they would go in a big wooden box which once had fire behind it, now a lightbulb, that would project the images with a magnifier lens. This was an early form of entertainment and he used to go around south-east London entertaining people by projecting these things. And I inherited them, they’re so magical and beautiful that I wanted to insert them in the story.

Still from Time You Need © Sarah Sparkes
Material Mediums – Margery, Sarah Sparkes © Andy Keate

V: That’s amazing! Please, tell us more about the works made with wallpaper.

S: That’s a series of works called David Soul, maybe a lot of people are too young to remember but he was a 1970s pop star, he was also in a tv show called Starsky and Hutch. I am interested in this poster of David Soul that appears in the background in a very famous photograph of a very famous poltergeist case of the 1970s that involved a young girl, a teenage girl called Janet. She alleged that she was possessed by the poltergeist of an old man, and the whole house in Enfield was haunted by this man. It made the news, there have been documentaries about it and more recently two films made about it [one of this is the second movie of The Conjuring series].

She’s still alive, she still claims all of this happened, and in the photographs of her possession she’s leaping up in the air in her tiny bedroom, with a really big poster of David Soul. It looks like she is leaping towards him in the poster! This iconography of David Soul and the poltergeist girl is jumbled up in my mind and in my memory with research I have done into psychics, parapsychology and animalistic psychology, all different fields of research that come from various levels of belief. Some of them are open minded and believe, and some of them are neutral, or claim to be neutral. Some of them come from the position of ‘it’s all in the mind and we can prove it’. I have worked with people from all these different fields because I guess I am the neutral person, I want to remain neutral about my belief in ghosts and just explore them as a cultural phenomenon.

Image 1: the Enfield poltergeist case

V: What do you mean by neutral?

S: I won’t say if I believe or not in ghosts. For me it’s not about that, for me as an artist it’s not about my belief or skepticism at all, I haven’t even investigated that. I’m exploring how ghosts are made, I am looking for a ghost formula. How to make a ghost. And then I am interested in people that research ghosts. So, the wallpaper I used for these images is actual 1970s wallpaper, the blue wallpaper was on my bedroom walls when I was growing up, and that explains a lot!

V: So it’s the actual wallpaper?!

S: Yes, my mum always kept a spare roll of wallpaper in case we needed to patch up, and when she was clearing up the attic she found it and I said ‘oh no don’t throw it away! I’ll do something with this’. For the past three years I have been making works on it. I have been painting on it, I have been collaging with it, and it is also featured in other things as well, like in digital collages. However, these are actual, physical collages with prints, and it’s the actual wallpaper so it’s kind of vintage, I guess. The blue one was on the bedroom wall, and the orange one on the kitchen wall. So these are kind of found objects that have a memory and an important significance to me, and the imagery on them are of people that have been involved with ghosts in a variety of ways. There is one with Janet leaping towards David Soul, another with Janet and her brother and sister. And in that photo, when you zoom behind them there is a little magazine that says David Soul – part of it is my own myth-making, of course.

Crazy Horses, Sarah Sparkes © Andy Keate

I am also interested in how this myth of ghosts crosses cultures and borders and expands on. As it comes into a new culture it would be adapted into that, and that is what I am doing with the imagery. I am bringing ghosts from different cultures together and creating a new ghost story. Some artworks also feature native Americans: in an artwork a native American ghost dance is represented, which used to be performed in America at the same time as the spiritualist movement started in the States. I think it was no coincidence that spiritualism started in America, where the natives had a spirit based religion – then the invaders came, took the land and religions and massively killed and repressed the native Americans. They had developed a ghost dance, a religious practice where they would dance in a circle and try to bring back the past. It’s very moving: they’re trying to reconnect with the past, wipe away all the damage that had been done by the white people and bring back the buffalos and bring back all their dead relatives. I have brought them in as well along with this 1970s poltergeist possession.

So, everybody, or everything here is something that humans have used to try to contact the dead, that is their connection.

Material Mediums – Helen, Sarah Sparkes © Andy Keate

V: Are they prints on the wallpaper?

S: They are prints: these [the orange ones] are digital images, manipulated digitally and then printed directly on wallpaper – I’ve broken two printers doing this, it’s not advisable! While these [the blue ones] are actual physical collages, sometimes there’s a bit of paint in them. I made a bit of physical collages, a bit of painting on top, changing sizes, playing around the process of collage, and then I scanned them, they became digital images and then they were printed onto the wallpaper. I found that this wallpaper particularly takes the print really well, it’s a lovely surface! Sometimes I have also sanded them, I like how the wallpaper comes through the images. So this is a friend describing it, I am gonna quote her, she said ‘it looks like black mold on the wallpaper’ and I thought that was brilliant! I thought ‘perfect, that’s exactly what it is’! It’s like black mold on the wall of an old house, and then you see shapes in it. I also reprinted on top of some of them, so it’s quite a long process

V: How long did it take to make them?

S: I never time things! I’m quite a labor-intensive artist, I like to do everything myself: I built the infinity tunnel myself in my studio since I don’t like to send things out to fabricators. The horses are cuts in and a more physical collage: I had to cut them out and kind of embed them into the wallpaper. I think this was just an attempt to open the stable doors and let the spirits in, let the energy in, like the wild horse energy. They are like little charms to let the wild horse energy into your home, because I think that everyone needs every now and then stampeding horses running through their living room.

Crazy Horses, Sarah Sparkes © Andy Keate

V: In the end it was sort of the same process, but you cut them and embedded them into the wallpaper.

S: Yeah, exactly the same process. The orange wallpaper cut down and then embedded into the other wallpaper. And each time they’re different, every time you have a different colour. By the way, this is the last roll of orange wallpaper, people should come just for that! This is the last work I can do on this wallpaper. The very last one is going to be at the Venice Biennale, two matchboxes with David Soul’s eyes on them. The David Soul’s eyes on this wallpaper are exhibited in a show called ‘Miniscule’. At the moment it’s in Cross Lane project in the Lake District, and then another version of the exhibition is going to the Venice Biennale from May through to July.

V: Is it in the Biennale…?

S: It’s a collateral event.

The GHost Tunnel, Sarah Sparkes © Stephen King

V: What about the tunnel?

S: This is the GHost Tunnel and is part of a much bigger installation that was made for FACT (Foundation for Art and Creative Technology) in Liverpool and the National Taiwan Museum of Fine Arts, for an exhibition called ‘No Such Thing as Gravity’, curated by Rob la Frenais. We visited Liverpool and he wanted me to do something about ghosts: he had the name of the exhibition and he knew he wanted to explore areas of science where a bit of magic comes in the practice. A science where there is not necessarily concrete material or answers but more unmaterial processes in order to find answers.

Science and magic combined, so ghosts: I am interested in how ghosts are made and I do research in this kind of element of psychology, parapsychology and neuroscience. The room was transformed in a ghost research area, it had this [the tunnel] in it, it had a robot that replicated a neuroscience experiment that created something called ‘feeling of presence’: you pushed one lever in front of you and you had to imagine you were poking someone in the back, and then behind you another robot poked you in the back corresponding your movements, so it was mirroring what you were doing with a slight delay. People have reported feeling as if there was really something behind them, they got spooked out! Even people that don’t believe in ghosts, they tested it with people that had neurological problems and people that did not have problems, and people equally went ‘Oh my god, there’s someone behind me!’. That was something I couldn’t make myself, I worked with a robotic artist called Sarah Angliss and she did the robotics for me.

Another room was a library, a whole library with books about ghost research from all different disciplines: there was an area with shelves that had an amateur ghost hunter’ equipment on it, there were all the gadgets that he used. Behind the shelves there was a little room, and in there a puppet that I had made, called the Host Ghost. It looks like a ghost of sheets, with its hands up, and people could point the equipment at the puppet and test all the ghost hunting readings on the puppet. There were also monitors on the shelves of the local group of ghost hunters ‘Mersey Paranormal’: I went on an investigation with them and there were footages of the investigation on the monitors.

Finally, there was another area where people could read ghost stories I had collected in Liverpool, it was a little office space with the screen and people could upload their ghost stories or read them. That element of the exhibition still exists, and we can still read the Liverpool ghost stories, they are on a website online called the ghostportal.co.uk. And when I went to Taiwan with the exhibition, the whole thing went in a ship! The ghost tunnel has been in a ship twice. So, this is the original one, it’s the first time it has been shown in London. If you look really closely you can see all the way to Taiwan!

V: That’s impressive! How is it made, can you say it?

S: No, it’s just magic! It is all smoked mirrors, it’s an old optical illusion, but I have my twist to that optical illusion that I can’t possibly reveal! It makes the tunnel go deeper than other infinity tunnels. It goes back a long way, but actually it doesn’t.

V: Yes, otherwise installing it would be a problem!

S: But I like the idea that you can imagine it goes to Liverpool and Taiwan, it’s like it has brought together all the people that have looked in it in those places. So yeah, it was part of this big installation and New Art Projects has always wanted to show it here, so they have built it into the wall. It was installed the same way in Liverpool and Taiwan, down a long corridor.

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ART♀STS

Among the artists included in the list of the 100 most expensive artists at auctions, do you know how many of them are women?

Seriously, think about it.

Are you thinking?

Do you have a number in your mind? Keep it there.

The right answer is 2. Out of 100, only 2 of the most expensive artists at auctions are women. Anyone guessed right? Let me know in the comments!

© Artsy

Quite impressive, isn’t it? That number speaks for itself, I believe.

Some say that actually price is not the right, or only, way to judge and have a perception of today’s art world, meaning that there are other factors that come into play when we enter the world of the art market and artwork prices. So, on one hand, the majority of artworks that are now valued as the most expensive are usually made by deceased artists from the past century or more, and thus were produced in a time where women were less considered and had less opportunities to become known for their artistic talent. This, then, reflects on the artworks purchased nowadays – fewer female artists’ works are sold in auctions.

On the other hand, however, it is no excuse, and it is important to recognise that there can be no excuse so that nothing is ever taken for granted. The worst that could happen in the future is that we accept what we have achieved, and we stop being aware of those inequalities that could happen around us. From my point of view, what really matters is awareness, knowing how the world was and is, and what we can try to do to change it in the future. What matters is being true to one’s beliefs.

Do Women Have To Be Naked To Get Into the Met. Museum?, 1989 © Guerrilla Girls

The Guerrilla Girls have been one of the first group of artists to address inequality in the art world. Formed in the mid 80s, they write:

‘We are a group of women artists and art professionals who fight discrimination. We’re the conscience of the art world, counterparts to the mostly male traditions of anonymous do-gooders like Robin Hood, Batman, and the Lone Ranger. We have produced over 80 posters, printed projects, and actions that expose sexism and racism in the art world and culture at large’

They have attracted more and more attention and now their posters have been awarded with places in the most famous modern and contemporary art galleries of the world, like Tate Modern and MoMA. Are they bringing change from the inside or have they just accepted fame and been victim of those same art institutions that they used to criticise? They say it’s the former, I like to think the same.

You’re Seeing Less Than Half The Picture, 1989 © Guerrilla Girls

However, I don’t think that you necessarily have to be a feminist collective to become a popular female artist. That is why I feel that it is important to try and let people know that there are a lot female artists out there. For contemporary art, I have noticed that there are SO MANY whose work is AMAZING, but they are less known, and their work is not yet exhibited in major museums. Maybe this is also because I am growing more and more interest in digital art, and I am focusing on those contemporary artists that are working with video, 3D, VR, photography, or whatever medium that is slightly less traditional than usual, and thus not yet exhibited by major museums.

So – to conclude, in the next articles I am going to help you discover some female artists that you HAVE to know. I want to attract people’s attention not only on female figures that have been an important part of history of art, but also on those who are becoming popular right now, or are still considered as emerging artists. The majority of them working with digital mediums, not yet that famous to be exhibited in museums. I hope, most of all, that it can be an interesting source of information, and that you can discover new things and broaden your horizons.

ART♀ST

REVIEW: Shinkai’s The Garden of Words

Is anyone else thinking that today’s American culture is going through a bit of a crisis? Not only Hollywood – I can’t actually think about the last time I came out of a cinema thinking “Oh, finally a really good movie!” – but also literature, or tv series, even if these last ones are still not that bad. I have grown up watching mostly Disney cartoons, followed by a passion for Hollywood movies developed during my adolescence, and now, after years and years spent watching more or less the same narratives being repeated over and over again with just slight changes, I have grown more tired of those themes so loved by American producers, of those happily-ever-after endings or those banal storylines focused on the same social and family plots that should be shared by a global audience.

In the last few decades we have finally witnessed a flow of culture going not only from the US and Europe towards the rest of the world, but also the other way round: cultures that until that moment could not have gone through an international expansion because of historical and political barriers, now have opened – more or less – to the West and have started exporting intercontinentally their cultural products. First of all, Asia, with the Japanese and Korean phenomenon. And that is why I did, too, take some time to step back and turn east, hoping to find new inspirations and stimulus. It seems like a cliché, but that is what you experience when first reading a manga, or watching an anime: you feel thrown into a different world because of people’s behaviour and sensibility.

Japanese poster of Garden of Words

Yesterday evening I watched The Garden of Words (2013), directed by Makoto Shinkai, also director and writer of the more famous Your Name. It is surprisingly a short movie, it lasts only 46 minutes, and tells the story of Takao Akizuki, a 15-year-old boy whose dream is to become a shoe maker (not like our teenagers, who want to be footballers or youtubers). On rainy days he always skips school and goes to Shinjuku Gyoen park, in central Tokyo, where he takes shelter under a small pagoda to draw shoes. One day, he finds another person sitting in the park, Yukari Yukino, a mysterious 27-years-old woman with whom he starts a strong friendship.

What can you say about this anime? I am not sure either, I am still trying to find words to describe it. One thing for sure is that I still feel melancholy and sadness: Japanese movies have this talent in making you feel small and lonely. The movie is in fact based on the traditional Japanese word for ‘love’ – apparently one of the kanji that now signify love (恋) in the past was written as 孤悲, or ‘lonely sadness‘.

In the end, that is the essence of this movie, that love, yes, can overcome every barrier and age gap, but that in the end loneliness is a fundamental part of everyone’s lives. You could meet people on the way that could change your life and make you grow, but future aspirations and dreams are always the priority. And it was Shinkai himself that said in an interview that loneliness is not treated here as something that has to be fixed. On the other hand, the movie wants to give support to all those people that feel bad at social relations.

Still image from Garden of Words

And maybe this is even a more educational way of seeing life, not giving in to passion or fondness, the right opposite of what Disney teaches. And that is also why I feel discomforted by this movie, because the ending doesn’t follow my expectations, but only because my way of seeing has been shaped by our own Western media. And as soon as I watch something that sends messages that are different from what I would expect, I don’t know what to make of them. When I interpret the whole movie as melancholic, others with different points of view could see it as educational or inspiring.

Still image from Garden of Words

Just to compare, it is as if at the end of Snow White, she left the prince and went to the city to open a pie shop because her calling in life is making people happy with cakes. It would be weird, right? But at the same time, it could teach children to be more realistic and practical, push them to think what to do with their lives. In the end, I don’t think it is a matter of right or wrong, it’s more about cultures and traditions. For me, it’s amazing how just a 46-minutes-long anime can reveal so much about Japan.

BACK TO THE MOVIE ITSELF animation is amazing, to recreate rain more realistically as possible they chose to use a mix of hand-drawn animation and CGI (computer animation), that is why it is so astonishingly real. The soundtrack is quite good, apart from the ending song that was waaay too cheesy (and loud) and maybe a bit inappropriate for the dramatic but emotional moment. Lastly, I feel that characters have not been developed that much, and don’t have much depth. But at the same time, not a lot more could have been done in 46 minutes.

Still image from Garden of Words

And here the main question: why only 46 minutes? Not enough money? Not enough time? I would actually love to see a longer version of it, less rushed at the end and with more time to understand develop the characters.

But animation is really what makes it so wonderful, and what pushes me to advice it to everyone interested in knowing more about Japanese culture.

REVIEW: Bill Viola / Michelangelo

Aaand for art lovers, we’re back with another review of an exhibition! (This review is also on Youtube, click here to see it!)

I spent yesterday morning at the Royal Academy of the Arts in Piccadilly, London, at the exhibition ‘Bill Viola / Michelangelo: Life, death, rebirth‘, which opened on January 26 and will be on until the end of March.

Michelangelo’s The Lamentation over the Dead Christ, c. 1540 © The Trustees of the British Museum

‘Bill Viola / Michelangelo’ is an exhibition where video works from the visual artist Bill Viola are put in conversation with drawings made by Michelangelo (which – note – are owned by the Queen!!). I must say I was quite sceptic, it’s not something common to see works by one of the most famous artists of the world exhibited together not only with contemporary artworks, but with videos! I wasn’t sure about this contrast, but at the same time it was made by such a famous institution that I had to see it, at least. I also started appreciating more and more video art – my love for everything digital is getting stronger – so I decided to give it a chance.

I am actually still struggling in deciding where to start, it is not one of those straightforward exhibition where personal interpretation doesn’t really matter. In this case, the themes explored touch us all, and I suppose that the whole experience depends on how we perceive those particular themes. What I felt during the exhibition and that didn’t fade during the rest of the day is… I don’t know how to put it into words. It’s a sort of peace, simple, natural, but not positive; there is melancholy, there is fear, and death to some extent.

Viola’s Tristan’s Ascension (The Sound of a Mountain Under a Waterfall), 2005 – Courtesy Bill Viola Studio. Photo: Kira Perov

(I probably didn’t get the part about rebirth, did I?)

Bill Viola was born in 1951 in New York, and he’s one of the first generation of artists that started working with the digital medium thanks to the introduction of portable and cheap cameras in the 60s. I feel that one of the most important elements of his practice is to understand his view of ‘time’, which he considers one of the central revolutions of image-making – he also compares it to the introduction of perspective in Renaissance art. And time actually has a central role in his videos, which are usually extremely slow-motion scenes representing people in different contexts, often underwater. And it is that same, soft sound of being underwater, that sense of slowness, that follows the visitor through and out of the exhibition, as if time had been stretched. At the same time, his videos are continuously looped, giving a sense of suffocating eternity.

Michelangelo’s The Risen Christ, c.1532-3 © Her Majesty Queen Elizabeth II

Viola’s art explores different themes, often having philosophical and spiritual significance. He engaged with Renaissance art (he went to Florence to study during his education), with religious mysticism, and he combines contemporary technology with ancient tradition. He seeks to explore life, death, religion. Viola suggested that films could “function both as aesthetic objects of contemporary art and as practical objects of traditional contemplation and devotion”.

However, while he explores these themes, it is not entirely clear what he wants to say, what his artworks are suggesting the viewer. No doubt that they easily attract the eyes of the audience because of the subjects and the aesthetic; they invite the viewer to stand still and forget the world for a few moments, but then? What is there after this? Does he want to recreate a sort of mystical experience? Does he want to tell a story? Is he sharing his view of the world? Or he actually didn’t want to do any of these things, and just underline the connection between life and death?

Bill Viola’s Nantes Triptych, 1992, right, opposite Michelangelo’s Taddei Tondo – Photograph: David Parry © Royal Academy of Arts
The Virgin and Child With the Infant St John the Baptist (the Taddei Tondo), c1504-5 by Michelangelo © Royal Academy of Arts, London

Moreover, the conversation between his works and Michelangelo’s is, sometimes, forced, and the dialogue created is not achieved completely. The Nantes Triptych, formed by three different videos representing a woman giving birth, a body floating in water and Viola’s dying mother, is installed in front of Taddei Tondo (1505) by Michelangelo, where the Virgin Mary is comforting baby Jesus, scared at the sight of a goldfinch – symbol of the crucifixion. If from one point of view the two artworks seem to be in a close connection because of the coexistence-of-death/life-theme, on the other there is something unconvincing about it – isn’t it too straightforward? And what is the connection between Viola’s view of daily life – a man floating underwater – and Michelangelo’s?

And the same happens in the other rooms where the artists’ works are installed together, the dialogue is not convincing and appears just thanks to the clues in RA’s information boards on the walls. To me, it seems that, despite the shared themes of spirituality, materiality and life/death, Michelangelo’s works were diminished. It is as if they were reduced to the most appropriate interpretation for this particular exhibition, and for Viola’s video.

At the same time, I liked the show: Viola’s videos need to be experienced on a big screen, with the right light and the right atmosphere, in order for the audience to enter in contact with the artwork itself. I must admit that it does require some time, but it reveals itself to be a poetic experience. Especially when you accept the stillness of the video, and you start realising that you, first of all, have to experience the exhibition itself with slowness and calm in order to fully appreciate it.

But it is also important to notice that, in those rooms where both Michelangelo’s and Viola’s work were installed, the drawings totally eclipsed the videos because of their undeniable beauty.

I mean, it’s Michelangelo.

The story begins

Finally took the big step forward – can’t believe I am writing my first post!

Let me introduce myself: Virginia, nice to meet you, I am 23 and at present I am living between London and Bologna, in Italy. In London I am studying at KCL in the course Cultural and Creative Industries – if you are asking yourselves what it is, it can be considered as management of cultural institutions, sort of. We will probably be talking about it more in details in the months to come, when I will be towards the end of my degree (O.O), but in the meantime I am happy to give advices to anyone interested in the course!

I have always been attracted to the online world and one year ago I had the vague idea of opening a YouTube channel, but in the end I never did it because of the fear of exposing myself – I have always wondered, how can they go around filming themselves and talking to a camera?? Isn’t it super awkward? Well, I guess you get used to it, but eh. Moreover I have never had the right perseverance to keep a thing like that going. Not that perseverance is not required in writing a blog – but at least it is more discreet. And now I also feel that London made me more mature and self-organized, and determined. And, now, I feel I can keep up with a project like this.

Culturush, my little creation – I already consider it as a real human being – is the platform where I will share cultural articles, reviews, interviews (hopefully!) and muchmuchmuch more. The main focus will be on art and art galleries and I plan to write an article each week about this topic – uploaded on Sunday. The Wednesday post, on the other hand, will be about other cultural themes which could range from cinema to videogames (yes, videogaming is culture!) and books. But it is not a strict schedule, we will see how it goes!

I want to keep this first post short, so I will close it here – I am always open to feedbacks so feel free to comment, or follow me on whatever social platform, or message me, or send me an email… everything works!

Hope to see you around!