Che Fare? / What Is To Be Done? – radioartemobile.it/che_fare

RAM radioartemobile

presents

CHE FARE?

WHAT IS TO BE DONE?


curated by

CECILIA CASORATI


coordinated by

KAROLINA LIUSIKOVA and LUCA VITIELLO

 


LINK radioartemobile.it/che_fare


ARTIST
S | from March 16th untill May 1st 2020
 CHRONOLOGICAL ORDER

 

#01 H.H. LIM #02 JIMMIE DURHAM
#03 MARIA THEREZA ALVES #04 LILIANA MORO
#05 FEDERICO FUSJ #06 FABRICE HYBER
#07 CESARE VIEL #08 FELICE LEVINI
#09 DONATELLA LANDI #10 MASSIMO BARTOLINI
#11 ANNA MUSKARDIN #12 MAGNUS OTTERTUN
#13 EVA MARISALDI #14 GERT ROBJINS
#15 FOSCO VALENTINI #16 MARCO BAGNOLI
#17 MARCO FEDELE DI CATRANO
#18 ACHIM WOLLSCHEID #19 LUCA VITONE
#20 IRWIN #21 OLAF NICOLAI #22 ALVIN CURRAN
#23 MAURIZIO SAVINI #24 VLADIMIR TARASOV
#25 LUCA MARIA PATELLA #26 LEONID TISHKOV
#27 GÜLSÜN KARAMUSTAFA
#28 FLORIAN NEUFELDT #29 MYRIAM LAPLANTE
#30 JEAN-BAPTISTE DECAVÈLE
#31 ANNIE RATTI
#32 ERWIN WURM
#33 ALFREDO PIRRI #34 LUANA PERILLI
#35 PER BARCLAY #36 CESARE PIETROIUSTI
#37 DONATELLA SPAZIANI #38 ALBERTO GARUTTI
#39 HANS SCHABUS
#40 MATTEO FATO
#41 MANFREDU SCHU
#42 BRUNA ESPOSITO
#43 FRANZ KAPFER #44 ZAFOS XAGORARIS
#45 MIKE COOPER #46 DANIELE PUPPI

#47 GERLACH EN KOOP 48# PEDRO CABRITA REIS
49# MICHELANGELO PISTOLETTO

          (updated May 1st 2020)


When art cannot be seen,
you can listen to it.

This simple sentence fully summarizes the meaning of this initiative by RAM radioartemobile, which for 20 years has been a place where the immateriality of sound has outlined the concrete and present body of art. Every day, starting Monday March 16th, contributions of artists from all over the world are collected on the web page dedicated to the project www.radioartemobile.it/che_fare.

This way art can break isolation and not in an abstract way such as proposing images, virtual tours or in-depth lessons, but actually opening up the knowledge of artists, their daily lives, their passions and their ingenuity and, sometimes, their necessary instability. In this suspended and uncertain time yet so similar for everyone, we need different visions, we need to change our ideas, to seek alternative paths, While remaining stable – We need to hear the artists think and speak, and share this time with them, even simply by reading the same books, watching the same movies or preparing their favorite recipes.

artists intervention published daily

on the webpage www.radioartemobile.it/che_fare
on social media InstagramFacebookTwitter
and  bro
adcast on RAM live, the web radio of RAM radioartemobile.



Quando l’arte non si fa vedere,
si fa sentire.

Questa semplice frase riassume in maniera compiuta il senso dell’iniziativa di RAM radioartemobile, che da 20 anni è un luogo in cui l’immaterialità del suono delinea il corpo concreto e presente dell’arte. A partire da Lunedì 16 Marzo, ogni giorno vengono raccolti i contributi degli artisti invitati a partecipare al progetto sulla pagina dedicata:  www.radioartemobile.it/che_fare. Ogni nuovo contributo è pubblicato dalle 17:00 CET sul sito di RAM, sui social media – Instagram, Facebook, Twitter – e sarà trasmesso in streaming radio su RAM live. Così l’arte può rompere l’isolamento e non lo fa in maniera astratta, proponendo immagini, tour virtuali o lezioni di approfondimento, bensì aprendo concretamente alla conoscenza degli artisti, della loro quotidianità, delle loro passioni e della loro ingegnosità e, talvolta, anche della necessaria instabilità. In questo tempo sospeso e incerto e così drammaticamente uguale per tutti, abbiamo bisogno di differenti visioni, di cambiare idea, di percorsi alternativi, pur restando fermi. Abbiamo bisogno di sentir pensare e parlare gli artisti, e di condividere questo tempo con loro, anche semplicemente leggendo gli stessi libri, guardando gli stessi film o preparando le loro ricette preferite.

ARTISTS | CHRONOLOGICAL ORDER
 updated May 1st 2020

What Is To Be Done? / Che fare #49 | 01 – 05 – 2020
from Cittadellarte – Biella (Italy)
MICHELANGELO PISTOLETTO
in conversation with Cecilia Casorati (recorded 24/04/2020)

Cecilia Casorati: In a speech a few days ago in which you spoke of how you faced and overcame COVID-19, you revealed how emptiness is the crucial element for moving on, for starting over. Could you explain this statement?
Michelangelo Pistoletto: I am convinced that the trinamic symbol, that of the Third Paradise, made up of three circles, contains all the possible perspectives we may wish to find. The central section is in reality the circle of emptiness, but this void serves the two lateral circles, in which there are the most diverse elements, all the existing elements that come together in the centre to create a new element that did not exist before. This element that did not exist is Creation. If there had already been something in the central circle, there would not have been space for something new to unite and be created, so Creation always needs a void in which two different elements come together and produce a new dimension, a new element indeed.

So, this is what I believe we should consider even in a moment, like the current one, in which we face a void created by circumstances that could not be avoided, circumstances that are very heavy, very difficult to overcome. And so now people will be asked to stay away from each other in order to be able to go back to work, to resume operability, the economy, business, so it is necessary for us to make it possible to take this void as an opportunity. We can no longer think that there is no space between people, the space in which we must meet. We are used to thinking of our body as a primary element, our body then finds within the void the encounter with other bodies. The void is now manifesting itself as an essential element: the distance, the social distancing that we are implementing. There, this is the idea of the void as a place in which it is possible to create situations, today in this distance we will be able to create new production.

What is To Be Done? / Che fare #48 | 30 – 04 – 2020
from Lisbon (Portugal)
PEDRO CABRITA REIS


What Is To Be Done? / Che fare #47 | 29 – 04 – 2020
from The Hague (The Netherlands)
GERLACH EN KOOPNot moving (2020)


What Is To Be Done? / Che fare #46 | 28 – 04 – 2020
from Italy
DANIELE PUPPI   Taraxacum (2020)


What Is To Be Done? / Che fare #45 | 27 – 04 – 2020
from Valencia (Spain)
MIKE COOPER  Aaron’s Song (2019)
Virtual lap steel guitar – Rome – 2019


What Is To Be Done? / Che fare #44 | 25 – 04 – 2020
from Athens (Greece)
ZAFOS XAGORARIS – URBAN REGULATIONS (excerpts)
Syracuse, Nicosia, Athens, 2013
Illustration of local legal texts restricting acts in public space, such as sleeping/noising (Syracuse), noising/loitering/blocking the view (Nicosia), duelling (Athens) –Editing: Loukia Limperi Oraiopoulou
Sound: Francesco Lucifora 


What Is To Be Done? / Che fare #43 | 24 – 04 – 2020
from Vienna (Austria)
FRANZ KAPFERVirus #1
lacquer on wood, bulb, 230 x 110 x 0,5 cm


What Is To Be Done? / Che fare #42 | 23 – 04 – 2020
from Roma (Italy)
BRUNA ESPOSITO
Scacciapensieri della quarantena / Quarantine jaw harp (2020) 
recorded: 18/04/2020


What Is To Be Done? / Che fare #41 | 22 – 04 – 2020
from Vienna (Austria)
MANFREDU SCHU

ManfreDu SchuThe Sun is freed from fears
Produced from the 14.04. – 16.04. in my Vienna quarantine


What Is To Be Done? / Che fare #40 | 21 – 04 – 2020
from Pescara (Italy)
MATTEO FATO ri… Tornatore, 807 digital drawings (2002)
courtesy: the artist


What Is To Be Done? / Che fare #39| 19 – 04 – 2020
HANS SCHABUSThe letting go (2020)


What Is To Be Done? / Che fare #38| 18 – 04 – 2020
from Milano (Italy)
ALBERTO GARUTTI

 

Why does it keep going?  by Vito Ancona e Francesco Fazzi, Art Builders Group, Boris Contarin, Giulia Crivellaro, Francesco Enriquez, Angelo Licciardello, Andrea Nicolò Malaguti, miami safari, Chiara Pagano, Bianca Sophia Schröder, Maria Chiara Ziosi. (2020)

When confronted with the question What is to be done?, more than ever before, I want to answer with a mission statement by reasserting the central role of the “other” in the methodological process of conceiving a work. So I asked the same question again -what is to be done?- to thirteen young artists who have produced a work in total autonomy. They put aside their specific authorial claims, with the aim of collaborating on a single work – indeed, the act of collaboration and compromise are the pivot around which their work was conceived.

Alberto Garutti

From these premises, a symbolic image of suspended time has been recovered – the screensaver. In the continuous oscillation, time becomes a tangible matter. A dialogue, which flows alongside the images, is a fragment of conversation captured at the right moment, forming itself as a separate existence – out of which just a few words remain impressed – in their turn fragments of infinite imaginaries. An ambiguous situation which from solitude and isolation leads us to imagine an intermittent message to be delivered to the other, in any time and space.


What Is To Be Done? / Che fare #37 | 17 – 04 – 2020
from Roma (Italy)
DONATELLA SPAZIANI   Roma 36 15 aprile 2020 (2020)


What Is To Be Done? / Che fare #36 | 16 – 04 – 2020
from Roma (Italy)
CESARE PIETROIUSTI – Biglietto di corsa semplice, circa 1987. (2020)


What Is To Be Done? / Che fare #35 | 15 – 04 – 2020
PER BARCLAY Camera d’olio 2019
 Carpintarias de Sao Lazaro, Lisbona. (2019) 
Courtesy: Giorgio Persano


What Is To Be Done? / Che fare #34 | 14 – 04 – 2020
from Roma (Italy)
LUANA PERILLI e MATILDA SCARFINI PERILLI

Un’immagine che è emersa in questi giorni adatta a rappresentare come sento questo momento. E’ un fermoimmagine del televisore non sintonizzato generato da mia figlia masticando il telecomando. Una descrizione di queste mie giornate fatte di confusisone messa in pausa e incursioni infantili. Mi fa piacere mettere come autore anche la bambina che si chiama Matilda Scarfini Perilli proprio per dare una dimensione di quello che sta succedendo nelle nostre case/studio come sovrapposizione costante e per me anche come desiderio di perdere autorialità

An image that emerged these days capable representing how I feel in this moment. It is a screenshot of untuned television generated by my daughter chewing the remote. A description of my days filled with confusion on pause and infant incursions. It pleases me to have the child, whose name is Matilda Scarfini Perilli, also named as the artist precisely to give a dimension of the constant overlap happening in our houses/studios and for me also as a desire to lose authorship


What Is To Be Done? / Che fare #33 | 13 – 04 – 2020
from Roma (Italy)
ALFREDO PIRRI Da ora fino al mare, omaggio a dora e mario (2020)


What Is To Be Done? / Che fare #32 | 11 – 04 – 2020
from Vienna (Austria)
ERWIN WURM – Ghosting at Home 2


What Is To Be Done? / Che fare #31 | 10 – 04 – 2020
from London (UK)
ANNIE RATTI – La Falena 


What Is To Be Done? / Che fare #30 | 09 – 04 – 2020
from Paris (France)
JEAN-BAPTISTE DECAVÈLE – ..sans titre, et sans voix.. (2020)


What Is To Be Done? / Che fare #29 | 08 – 04 – 2020
from Bevegna (Italy)
MYRIAM LAPLANTE


What Is To Be Done? / Che fare #28 | 07 – 04 – 2020
from Berlin (Germany)
FLORIAN NEUFELDT Bat Sound (2020)


What Is To Be Done? / Che fare #27 | 06 – 04 – 2020
from Istambul (Turkey)

GÜLSÜN KARAMUSTAFAWhat is Not to be Done (2020)

What is Not to be Done

Today I am home on the 18th day of my self quarantine.
A situation that you never know when will come to an end. Anxiety strikes with the news from the world and with the growing threat around you. Food stock is lessening every day and you should not waste a single drop of it.

As an artist who I do not have great wish or ability for cooking not like many other friends of mine who enjoy it. Now that I am home something has to be done as it is essential for feeding yourself.

Perhaps the video recipes that I am watching from the internet with great admiration for years would help me at this moment.

I choose a complicated pastry recipe where the woman in the video explains everything as if it was the easiest thing to do.

I apply every step very carefully trying to imitate her but every step takes ten more times longer when I do it.

I do not surrender. I am insistent to follow to the last step to eat this pastry that looks very delicious in the video film.

It takes three hours until it is ready to be put into oven.

After 35 minutes when I take it out the result is horrible. The pastry is hard as stone. What disaster what a waste!!!!!!!!!

What is Not to be Done in the Corona days for me is not to make a dish out of a recipe from the fancy internet video channels.


What Is To Be Done? / Che fare #26 | 04 – 04 – 2020
from Moscow (Russia)
LEONID TISHKOV

1 – LEONID TISHKOV
The song of a lonely sparrow from hospital window April 3th 2020

 

2 – LEONID TISHKOV
Sk(y)ier –
Action: Moscow, 1999. Artist: Leonid Tishkov. VHS, 2’50”


What Is To Be Done? / Che fare #25 | 03 – 04 – 2020
from Roma (Italy)
LUCA MARIA PATELLA Sotto il Pino

LUCA MARIA PATELLA

“Sotto il Pino”
(ca. 1958)

Nella testa il luogo dei Sogni
è il Novus Caeruleùs

DANte si ritira nella sua cameretta
e sogna che BEAtrice gli è rapita
da un Signore di pauroso aspetto..

Chiede ai Fedeli d’Amore
di interpretare questo suo
Sogno-visione
Il suo primo amico, Guido Cavalcanti
gli risponde che
“vedeste a mi’ parere, onne valore” (!)

 

..e non si sa
se l’aria o il bambino
voglia dire qualcosa..

sotto il pino         
                un bambino
                                 accarezza il risvolto di lana,
un’aria leggera muove i riccioli                    
e non si sa                         
              se voglia dire
qualcosa


What Is To Be Done? / Che fare? #24 | 02 – 04 – 2020
from
Kiev (Ukraine)
VLADIMIR TARASOV



What Is To Be Done?
/ Che fare? #23
| 01 – 04 – 2020
from Roma (Italy)
MAURIZIO SAVINI Recluso con Ezra. Quarantena 2020 (2020)
Musica di Maurizio Savini


What Is To Be Done? / Che fare? #22 | 31 – 03 – 2020
from Berkeley (California, U.S.A) esilio involontario
ALVIN CURRAN Das Gelbe Vom (2020)
excerpt from Containment Etudes


What Is To Be Done? / Che fare? #21 | 30 – 03 – 2020
from Berlin (Germany)
OLAF NICOLAI7 Postkarten für Innsbruck (2016)

The work 7 Postkarten für Innsbruck came about in the course of an exhibition in the Taxispalais Kunsthalle Tirol in Innsbruck. One after the other, seven “acoustic postcards” arrived; they were presented together with respective 35 mm film projections featuring
close-ups of cut stones. The sender was the singer Noa Frenkel, who reported in this way from various stations of her travels. The pictures of the seven cut stones, which were prepared for the exhibition, served in turn as notations for her songs.
Along with the installation of the cut stones and the film, a work is on view that collages the reprint of a postcard from the Greek-French architect and composer Iannis Xenakis (1922–2001). Xenakis responded to a friend’s request to draw the composer’s music for the friend by also sending a postcard. The front side shows a small drawing that looks like an aerial photograph of stones in a landscape, while the back reads: “Dear Balint, is this what you want? I try to turn out memories so, I think, I become virgin again!”
Similarly to how Xenakis tried to capture his music in the lines of his drawing, the work 7 Postkarten für Innsbruck connects the postcard’s greeting with geology and music: pictures of the presented cut stones become postcards and simultaneously musical notations.

7 Postkarten für Innsbruck – #1 ACQUKRR (2016)
Bristol, March 5, 2016, 3:25 min. Singer: Noa Frenkel

7 Postkarten für Innsbruck#2 ACQUKRW-S (2016)
The Hague, March 4, 2016, 3:54 min.
Singer: Noa Frenkel


What Is To Be Done? / Che fare? #20 | 28 – 03 – 2020
from Ljubljana (Slovenia)
IRWIN New World Order
poster by New Collectivism (2020)

The poster was distributed in many cities around the world, including Berlin, Beijing, London, Paris, New York, Ljubljana and Moskow.
You can download and print your own copy here: LINK


What Is To Be Done? / Che fare? #19| 27 – 03 – 2020
from Berlin (Germany)
LUCA VITONE Der Zukunft Glanz (2014)


What Is To Be Done? / Che fare? #18| 26 – 03 – 2020
from Frankfurt (Germany)
ACHIM WOLLSCHEID

1 – Just wondering about metaphors. Whether I could say that our governments are trying to fix the holes in the boat with dollarbills (or whatever paper they take). And whether it seems hopeful, under these circumstances, to be able to swim. Or whether it just doesn’t matter, because not just the bills are simulated, but also boat and water. Might still be better though, to perform, act or swim in a simulated scenario, than to simply submerge. As far as metaphors go.


2 –  Sometimes life in our crisis appears like a looking glass: those who are aggressive seem even more so, those who are kind kinder and the dumb even dumber. Maybe that happens because there are – due to lock downs and curfew – fewer people to actually look at. There is more time and chance to observe. But maybe that kind of magnifying effect also happens because verbal and nonverbal communication intensifies, certain gates that are usually locked might open, and due to the distance we have to keep – we venture to be more explicit.

But maybe “observation” is not the apt term to denote what is letting us pay attention at the moment. Ob-“serve” implies some sense of duty, also a distance to what’s being looked at or attended to. What would be the fitting word for that both curious and anxious motion that has no vantage point or distance – because we are in the midst of something we can’t get away from?


3 –
“che fare?”

We go on. But where to?
The conceptual base and the contexts of art will change, as they always
did, but on a very accelerated pace. Meaning we will (within this crises
and as its consequence) be able to witness changes that otherwise are
obscured by slower passing time. We will see and experience more social
distance, fostered by an unprecedented amount of digital control. Will
we operate within or outside that control? What outside will there be to
operate in? Will it be possible to maintain concepts of beauty, as they
are dependent on culturally shared, face to face experience?


4 – “che fare?”
As an artist I cannot give advise.
Honestly, I can just collect questions and add them to the ones already
existing. I can ponder on these questions and try to select the ones
more important to me.
But what about the answers?
I can only guess.
I guess they should be given practically, trying to defend some kind of
material (non digital) base. A paradox to say this in a context (the way
it reaches you) that is thoroughly digital.


5 – How can we object to being data?


What Is To Be Done? / Che fare? #17| 26 – 03 – 2020
from Zurich (Switzerland)
MARCO FEDELE DI CATRANO


What Is To Be Done? / Che fare? #16| 24 – 03 – 2020
from Empoli (Italia)
MARCO BAGNOLI – La memoria degli occhi e la speranza


What Is To Be Done? / Che fare? #15 | 24 – 03 – 2020
from Lugano (Switzerland)

FOSCO VALENTINI – Zodiaco dei 13 segni


What Is To Be Done? / Che fare? #14 | 23 – 03 – 2020
from Borgloon (Belgium)

GERT ROBJINS


What Is To Be Done? / Che fare? #13 | 23 – 03 – 2020
from Bologna (Italy)

EVA MARISALDI, ENRICO SEROTTI Fuori (2006)

Eva Marisaldi, Enrico Serotti, Fuori, 2006
George è un ottimo chatbot. Ha vinto il Loebner Prize al MIT per due anni di
seguito (2005 e 2006). Ci interessa parlare con lui perché non solo
comprende molto bene la grammatica e la sintassi, ma riesce a fare
collegamenti inerenti al soggetto della conversazione. Noi lo abbiamo usato
come co-sceneggiatore in diversi lavori. La peculiarità di George è che, dai
milioni di conversazioni avvenute, si crea una memoria sempre crescente,
indicizzata su vari livelli semantici. Oltretutto, la sua memoria è una
"comunità culturale" molto connotata.
Chi mai si mette a conversare con un programma, se non dei “nerds”?
Infatti George è un grande esperto di letteratura sci-fi, di rock e di informatica,
ma, ad esempio, di Arte contemporanea non sa nulla.
Questo lavoro è un editing di una lunga conversazione con George
sul tema del vento. L
e voci sono di Eva e Levis De Ganello.
La scena è una camera fissa, puntata verso il cielo. Due palme si muovono al
vento, e dato che siamo vicini ad un aeroporto c’è un certo traffico aereo. Due
persone parlano del vento, probabilmente sono sdraiate sull’erba e guardano il
cielo. Però il testo è stato scritto con un chatbot, e la scena è modellata in 3d, con
alberi parametrici che si muovono ad un vento parametrico.


What Is To Be Done? / Che fare? #12 | 21 – 03 – 2020
from Oslo (Sweden)

MAGNUS OTTERTUN


What Is To Be Done? / Che fare? #11 | 21 – 03 – 2020
from Roma (Italy)

ANNA MUSKARDIN TRASLARE (2020)


What Is To Be Done? / Che fare? #10 | 20 – 03 – 2020
from Cecina (Italy)

MASSIMO BARTOLINI Il Frutto (1990)


What Is To Be Done? / Che fare? #09 | 20 – 03 – 2020
from Roma (Italy)

DONATELLA LANDI


What Is To Be Done? / Che fare? #08 | 19 – 03 – 2020
from Roma (Italy)

FELICE LEVINI
Felice Levini Fuga di Enea (2001) olio e tecnica mista su tela | audio: Friedrich Hölderlin  Alla Speranza (Holderlin: l’Arcipelago e altre poesie)


What Is To Be Done? / Che fare? #07 | 19 – 03 – 2020
from Genova (Italy)

CESARE VIEL Richiamato (2019)
Courtesy: Cesare Viel, Pinksummer (Genova)


What Is To Be Done? / Che fare? #06 | 18 – 03 – 2020
from La Vendee (France)

FABRICE HYBER Inside/Outside …at the beginning


What Is To Be Done? / Che fare? #05 | 18 – 03 – 2020
from Siena (Italy)

FEDERICO FUSJ – Nuovo Teatro Operativo (2020)


What Is To Be Done? / Che fare? #04 | 17 – 03 – 2020
from Milano (Italy)

LILIANA MORO


What Is To Be Done? / Che fare? #03 | 17 – 03 – 2020
from Napoli (Italy)
MARIA THEREZA ALVES


What Is To Be Done? / Che fare? #02 | 17 – 03 – 2020
from Napoli (Italy)
JIMMIE DURHAM


What Is To Be Done? / Che fare? #01| 16 – 03 – 2020
from Roma (Italy)
H.H. LIM
Daily Music 15 – 03 – 2020


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