A project by Gianandrea Poletta and Bianca Stoppani
The first issue includes visual and text essays by Alessandro Agudio, Mara Oscar Cassiani, Michele D’Aurizio, Andrea De Stefani, Massimo Grimaldi, Sam Korman, Andrea Magnani and Andrew Norman Wilson.
Check it out >> http://www.momentum-journal.com
Exerpt from a dialogue with Daniela Bigi, published on Arte e Critica 83 / Autumn 2015
DB: Among the numerous definitions of landscape that the last decades have provided within the many disciplines that have dealt with it, there’s one that sees it as the place in which the symbolic forms of a civilization project themselves. What’s the role played by the geometry that you introduce in your landscapes, through that governing thought that rereads and is able to englobe everything, and that is probably able to transfigure everything? I’m thinking of the “horizon of expectation” of which Reinhardt Koselleck speaks…
ADS: I believe that my practice is comparable to a sort of determined calligraphic exercise directed to learning, where learning to write goes hand in hand with learning to read. To me the landscape is an open book that expresses the peculiarities of a culture or a society that works in function of a culture, with its needs and perversions and its specific environmental relationships. For this reason i’d like to menage to better interpret the data that everyday appear before my eyes, in as many languages as possible because – you put it well – in the last decades the landscape has been investigated, deconstructed, sifted through by many fascinating disciplines. Anyway, it’s not one of my priorities to pass ethical and quality judgments with respect my “readings”. That’s not the point. I don’t want, and probably i cannot imagine or structure a world neither better nor worse than it is, i’m just saying that it would be an achievement to be able to see what is under my nose, and probably this attitude implies the only judgment that for now i can express. I consider my works as a mash-up of various aspect of reality.
Full article HERE
Diego Marcon, A script for Dick, Roma, Cura.books, 2014
With scripts by: Basma Alsharif, Laëtitia Badaut Haussmann, Michele Bazzana, Camille Besson & Shqipe Gashi, Cristina Bogdan & David Gibson, Lia Cecchin, Federico Chiari, Marta Collini, Michele D’Aurizio, Andrea De Stefani, Francesca di Nardo, Priscila Fernandes, Chris Fite-Wassilak, Francesco Fonassi, Anna Franceschini, Christian Frosi, Francesco Garutti, Riccardo Giacconi & Andrea Morbio, Ilaria Gianni, Tommaso Isabella, Peter Miller, Margherita Moscardini, Estelle Nabeyrat, Parking Club, Luigi Presicce, Sini Rinne-Kanto, Caterina Riva, Andrea Romano, Ben Russell, Davide Savorani, Sofia Silva, Barbara Sirieix, Davide Stucchi, Natsuko Uchino, Cecilia Valenti, Chiara Vecchiarelli, Adva Zakai, Daniela Zangrando
Info and buy: www.curamagazine.com
Exerpt from a dialogue with Michele D’Aurizio, published on Flash Art 311 / July-September 2013
MDA: What do certain materials suggest you?
ADS: Everything in this world has various degrees of intelligibility: chemical, physical, mechanical and technological properties; fields of application; structure; appearance; expressiveness; potential; historical events and curious doctrines of signatures. Some materials (as well as some objects) talk to me more than others; the stories they tell me sometimes intrigue me, sometimes leave me indifferent. It happens that a material I’m drawn to suggests me its own willingness to repositioning or interaction, but it much depends on my own interpretive and imaginative capabilities, and on the circumstances of the encounter.
MDA: Tell us about your latest epiphany.
ADS: One night I was walking along an empty state highway. All of a sudden, a stone marten jumps out of the roadside gutter, it dodges me and gets a couple of meters ahead. It turns to me, stands up on its hind legs and stares at me. It’s holding a one-liter bottle of lemon-scented Svelto Turbo degreaser . I don’t even have time to get my cell phone to take a picture that it leaps away towards the roadway.
Once I digested the encounter, while going back home I thought:
a) surely that was a bottle of detergent, but as for the stone marten I have to check it on Google;
b) nature doesn’t fear collisions; however the permanent tension that keeps its equilibrium system often results in undeniable “gallows humor”;
c) landscape is an open book that expresses the characteristics of a culture or of a society which operates on the basis of a cultural system, with its own needs, perversions and specific environmental connections.
I want to learn to read better those signs that appear in front of me.
Full article HERE
Kallat – No Way issue, edited by Fluxia Gallery
Andrea De Stefani, Alfonso Cariolato, Giuseppe Signorin
“I saw a scream leave a mouth that was raised to the sky, followed by the entire body of the man who was screaming. First the insides – the organs and the bowels- , then the outside. The skin came last, it was turned inside out, like a sock, coming out a little bit at a time. Always from his mouth. When the scream was over, only the murmur of an occasional car in the distance remained, and a soft, wrinkled form upon the floor.”
— Giuseppe Signorin, The Scream
“Once you leave Industry Road, in the direction of the ring road, you continue for about a kilometre and a half. To your right you will see a perpendicular, Electriity Road. Follow it for roughly three-hundred metres and turn left into Technology Road, just after the two cisterns. Carry on another five-hundre metres. On the right you will notice a long, galavanised steel fence that runs all the way along Work Road, a dead-end. Follow this road until you reach the fence overlooking the overgrown fields. There, every night, you can find E., the whore that dances possessed, as if she is having an epileptic fit. If you’ve got enough breath, you can dance alone with her for half an hour, in Work Road.“
— Andrea De Stefani, Work Road
A. Cariolato – A. De Stefani – G. Signorin, Il filo e il cucchiaino, Ascoli Piceno, Sigismundus Editrice, 2012
ISBN: 9788897359135 – Sigismundus Editrice
Il filo e il cucchiaino (the thread and the spoon) are the ones that Michael K, in the end of a J.M. Coetzee’s novel, would use to collect from a well beneath a pile of debris that little bit of water sufficient for him and for an old man, if ever it were needed, to move forward, to continue to live – maybe with nothing, even on foot or with a little cart found by chance along the way – but finally out of the fields, out of all kinds of fields. That ‘s what binds together the two writings and the graphic narrative presented here: something like getting by on what you have and on what you are.
Il ragazzo e la ragazza
Kallat – The Urbanism and Urbanization issue, edited by Fluxia Gallery
Andrea De Stefani, Ugo La Pietra, Diogo Pimentão, Jessica Warboys
“I always thought that a human being guarantees his survival throught the modification of the environment in wich he lives and works. Not only that, but i always belived that inhabit a place means to understand it, love it, hate it, explore it, etc.”
— Ugo La Pietra, exerpt from Living the city
G.Signorin – A. De Stefani, Legami. Da Beckett a Lynch, Nauman, Ader, Pavia, Edizioni OMP, 2010.
ISBN: 9788895762128 – Download free pdf version here
“Why did Bas Jan Ader love Beckett so much? And also Nauman? What links Lynch to Beckett? And to Ader? How are these authors connected to these pieces of work? And them to me?”. Legami is an attempt to answer to these questions, it is the answer without an answer, since it doesn’t do anything else but “skirting around the subject, just like around an empty point”.
Legami is a coral work, a score of dissonant voices that flow parallel, intertwine, meet and crash. But most of all it is a journey in a given time and space through the eyes of four authors – Samuel Beckett, David Lynch, Bruce Nauman and Bas Jan Ader – who let various stylistic and content possibilities reach a permeable form.
What is more,the book became substance on which to operate as Andrea De Stefani – an artist interested in studying interstitial spaces – worked directly on the printed pages, both from a semantic and visual point of view, thus using the book as a place, a container.
— Giuseppe Signorin
Paesaggio – Bee Issue, Publishesd by Blauer Hase, 2010
Paesaggio is a periodical publication. Each edition comprises a collection of landscapes by different artists, in form of text and without using images.
Bee Issue: Riccardo Benassi, Andrea De Stefani, Diego Marcon, Agne Raceviciute, Alessandro Roma,
Claudia Rossini, Giulio Squillacciotti, Saverio Adamo Tonoli.
Browse through it on ISSUU