Milano (IT), 1981
THE CHIEF CHARACTERISTIC OF YOUR ART RESEARCH.
I think it’s the mistake, but I could be wrong, in fact. This list of words could help understand it: Limit, Instability, Precariousness, Clash, Conflict, Inexorability, Echo, Depth, Apnea. I think what interests me the most is the inner possibility within Instability, and drawing is a perfect instrument to convey that because of the double issue of movement and stillness which characterizes it.
YOUR FAVOURITE OCCUPATION.
Right now I’m very much into boxing, which I do as an amateur but I’m studying it carefully. I like the Russian and Mexican schools a lot.
YOUR IDEA OF HAPPINESS
Some places come to my mind: one of these is a plateau down the hill of Entrelor, in Rhemes Valley.
YOUR MAIN FAULT
I’ve never learnt how to dance.
WHAT YOU HATE THE MOST.
Fake rappers and fake painters.
WHAT YOU APPRECIATE THE MOST IN A CURATOR.
There are many curators I really appreciate and to whom I’d love to steal things off, but what I like the most about them is their uncommon ability to drop their own viewpoint and take on someone else’s. Not all artists can do that.
YOUR IDEA OF A GOOD EXHIBITION.
I like visiting painting exhibitions in the morning, where there are only few visitors and plenty of natural light, but I’m really impressed only when I find myself in a sort of disadvantage, feeling left behind; when works, concept and setting are better than what I’d do, and make me feel inadequate, envying, competitive.
The days after this happens, I manage to work hard and well.
YOUR IDEA OF A WRONG EXHIBITION.
When space is invaded rather than activated.
IF NOT AN ARTIST, WHO WOULD YOU BE?
Boxer or free-diver.
YOUR FAVOURITE ARTISTS.
Three masters: Arshile Gorky, Walter Sickert and my friend Claudio Olivieri.
YOUR FAVOURITE WORKING SPACE AND TIME.
I can draw anytime anywhere, I just need some time and concentration to get into the right mood.
YOUR FAVOURITE MUSEUM.
The memory of the Rembrandt room at the British museum gives me goose bumps, I like to get there walking through the rooms in the wrong direction. But I also remember well the little, dusty rooms at Fondazione Calderara, in lago d’Orta.
YOUR FAVOURITE ART CRITICS.
I like the book by Jonathan Littell, Triptych: Three Studies After Francis Bacon.
YOUR FAVOURITE ART BOOKS.
John Berger, Berger on Drawing.
YOUR FAVOURITE MUSICIANS.
Recently I’m listening a lot to Prodigy by Mobb Deep.
YOUR HEROES IN REAL LIFE.
I don’t think I have any.
YOUR FAVORITE TITLE OF AN ART WORK.
YOUR IDEA OF THE FUTURE.
When art will function as an NGO.
YOUR DRAWING FOR MOULD.
It’s a double self-portrait drawn on the pages of an old ancient-carpet catalogue, by a BIC pen ink, which I broke into pieces.
Once I get the “mould” drawing, I close the book pressing it tightly and I get a print, which has the same shape as the original though the sign is altered, indirect, reproduced. I like to consider it a ghost drawing, something that becomes other and develops into the mysterious symbol of the “double”, in a space that is either archive and heterotopia.