Yesterday I spent four hours at Artefiera in Bologna, my fourth or fifth edition, I don’t remember exactly, and I’m starting to notice the galleries tend to return, and to return to the same hall and sector, and sometimes to bring the same paintings and photos with them.
Not a completely pleasant feeling, actually.
Anyway, I had the chance to see more works by Pizzi Cannella, a painter I greatly appreciate, this is Salon the Musique
and also the chance to discover this Giorgio Griffa I didn’t know before, this is Otto cicli
The exhibition also gave me the opportunity to focus on the work of the photographer Massimo Vitali. Reality according to Massimo Vitali is exactly like I remember it from the very boring days at the beach in the hedonistic 80s in Italy, overexposed, full of uninteresting people, the sea almost dead. It’s weird to realized there was actually someone on Earth who understands what I was feeling then, able to photograph my feelings, and even to express them in words on his portfolio. As for me, I was eight and everyone was just telling me I should have been happy to be on holiday (and should have eaten more because I reminded them of Biafra) .
The inner conditions and disturbances of normality: it’s cosmetic fakery, sexual innuendo, co-modified leisure, deluded sense of affluence and rigid conformism.
If Massimo Vitali is the Photographer of Summers Past, Sophy Rickett (you may remember the pissing woman) and Sachigusa Yasuda are the photographers of Summers Present, as I try to paint them as green and personal as I can.
I also discovered a new artist, Masuda Hiromi with her charming installation Play the Glass.
But the one artist who stole my heart was Leonid Tishkov, with Private Moon, in particular this shot from the rooftops of Moscow. If you live in Milan, maybe you’re still in time to see it at the Nina Lumer Gallery. Maybe not. I love the whole Private Moon series.