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    Days in Kolkata: a Photo Gallery by Sumana Mitra

    On the tip of her voice a library alive – Six Poems by Gonca Özmen, trans. from Turkish by Neil P. Doherty

    I have gone too far inside a dream – Poems by Animikh Patra for Villa Romana

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  • Fiction
    POEMS FOR PEACE, by Hamid Barole Abdu

    from The Widows Series – “Claude”, “Cargo”, “Etc.” – Three Unpublished Short-Stories by Lynne Knight

    Days in Kolkata: a Photo Gallery by Sumana Mitra

    I Want to Be Loved, a New Story by Mia Funk

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    POEMS FOR PEACE, by Hamid Barole Abdu

    A Child of Snow, a new story by Mia Funk

    Days in Kolkata: a Photo Gallery by Sumana Mitra

    The Vulture- by Hasan Azizul Huq, trans. by Bhaskar Chattopadhyay

    “War and Peace”, Short Story by Mario Benedetti, with Introduction by Clark Bouwman

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    “Sofía, qué soñaste?” – Vignette from Sonia Gutiérrez’s “Dreaming with Mariposas”

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    DIARY OF A DANCING DREAMER IN THE STREETS OF BERLIN – Giulia Marchetti

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  • Non Fiction
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    Time to Transition: Essay by Clarissa Clò,  Image and Document Galleries from the Grassroots Movements, by Barbara Ofosu-Soumah and Marina Romani

    Time to Transition: Essay by Clarissa Clò, Image and Document Galleries from the Grassroots Movements, by Barbara Ofosu-Soumah and Marina Romani

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    COMEDY AND CHILDHOOD. A conversation between Dario Fo and Walter Valeri

    All About EY – Musings about Literature, the Short Story and the Current State of Literary Affairs –  by Shajil Anthru

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    Days in Kolkata: a Photo Gallery by Sumana Mitra

    Days in Kolkata: a Photo Gallery by Sumana Mitra

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    People Die, Not From Old Age or War or Disease – But from Disappointment, by séamas carraher

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    Writing “Andolo, the Talented Albino” –  An Interview with Cameroonian Author Nsah Mala, by Pina Piccolo

    Writing “Andolo, the Talented Albino” – An Interview with Cameroonian Author Nsah Mala, by Pina Piccolo

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    “Pretending to Be Healthy” Gin Angri’s Photo- Essay from Como (Italy)

    Prima il Punto – Christine Maigne interviewed by Camilla Boemio

    Prima il Punto – Christine Maigne interviewed by Camilla Boemio

    POEMS FOR PEACE, by Hamid Barole Abdu

    Mia Funk Interviews Photographer Mark Seliger

    POEMS FOR PEACE, by Hamid Barole Abdu

    Photographer Marilyn Minter Interviewed by Mia Funk

    Mia Funk Interviews Novelist Viet Thanh Nguyen

    Mia Funk Interviews Novelist Viet Thanh Nguyen

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    POEMS FOR PEACE, by Hamid Barole Abdu

    Here comes the voice – Poems by Antonio Merola

    POEMS FOR PEACE, by Hamid Barole Abdu

    Many Disoriented Small Migrations- Poems by Jean-Charles Vegliante

    POEMS FOR PEACE, by Hamid Barole Abdu

    Embraces on hold till a magic clock-strike twelve – Five Poems by Michael D. Amitin

    A GLOBAL ART PROJECT PROSPECTUS / DESCRIPTION / HISTORY: toward international collaborative activity, by Carl Heyward

    A GLOBAL ART PROJECT PROSPECTUS / DESCRIPTION / HISTORY: toward international collaborative activity, by Carl Heyward

    “Through the Fluid Mosaic” – Following Maica Gugolati though the Permeable Borders of the  Art Exhibition

    “Through the Fluid Mosaic” – Following Maica Gugolati though the Permeable Borders of the Art Exhibition

    Ghayath Almadhoun’s “Evian” Wins the 2020 Poetry Film Zebra Award

    Ghayath Almadhoun’s “Evian” Wins the 2020 Poetry Film Zebra Award

    “Ladri di denti” (Tooth Thieves) – Candice Whitney Reviews Djarah Kan’s Latest Short-Story Collection

    “Ladri di denti” (Tooth Thieves) – Candice Whitney Reviews Djarah Kan’s Latest Short-Story Collection

    POEMS FOR PEACE, by Hamid Barole Abdu

    The thankless parables – Poems by Sudip Chattopadhyay

    Curator Hans-Ulrich Obrist Interviewed by Mia Funk

    Curator Hans-Ulrich Obrist Interviewed by Mia Funk

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    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    REFUGEE TALES July 3-5:  Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

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    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

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    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE  FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

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  • Poetry
    In Memoriam Lawrence Ferlinghetti – Three poems: Pity the Nation, Cries of Animals Dying, The History of the Airplane

    In Memoriam Lawrence Ferlinghetti – Three poems: Pity the Nation, Cries of Animals Dying, The History of the Airplane

    Like a shadow on an expanse of water –  Five Russian Nature and Philosophical Poems from “Natura d’altri mondi” (Giraldi 2020), ed. by Vasily Biserov

    Like a shadow on an expanse of water – Five Russian Nature and Philosophical Poems from “Natura d’altri mondi” (Giraldi 2020), ed. by Vasily Biserov

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    FEATURED PROJECT: From a Menu of Distinctively Flavored Tea Poems. PART I, by Encyclopedic Poetry School

    Days in Kolkata: a Photo Gallery by Sumana Mitra

    On the tip of her voice a library alive – Six Poems by Gonca Özmen, trans. from Turkish by Neil P. Doherty

    I have gone too far inside a dream – Poems by Animikh Patra for Villa Romana

    I have gone too far inside a dream – Poems by Animikh Patra for Villa Romana

  • Fiction
    POEMS FOR PEACE, by Hamid Barole Abdu

    from The Widows Series – “Claude”, “Cargo”, “Etc.” – Three Unpublished Short-Stories by Lynne Knight

    Days in Kolkata: a Photo Gallery by Sumana Mitra

    I Want to Be Loved, a New Story by Mia Funk

    Man Ray’s Lips, a new story by Mia Funk

    Man Ray’s Lips, a new story by Mia Funk

    POEMS FOR PEACE, by Hamid Barole Abdu

    A Child of Snow, a new story by Mia Funk

    Days in Kolkata: a Photo Gallery by Sumana Mitra

    The Vulture- by Hasan Azizul Huq, trans. by Bhaskar Chattopadhyay

    “War and Peace”, Short Story by Mario Benedetti, with Introduction by Clark Bouwman

    “War and Peace”, Short Story by Mario Benedetti, with Introduction by Clark Bouwman

    “Sofía, qué soñaste?” – Vignette from Sonia Gutiérrez’s “Dreaming with Mariposas”

    “Sofía, qué soñaste?” – Vignette from Sonia Gutiérrez’s “Dreaming with Mariposas”

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    People Die, Not From Old Age or War or Disease – But from Disappointment, by séamas carraher

  • Interviews & reviews
    Writing “Andolo, the Talented Albino” –  An Interview with Cameroonian Author Nsah Mala, by Pina Piccolo

    Writing “Andolo, the Talented Albino” – An Interview with Cameroonian Author Nsah Mala, by Pina Piccolo

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    “Pretending to Be Healthy” Gin Angri’s Photo- Essay from Como (Italy)

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    POEMS FOR PEACE, by Hamid Barole Abdu

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    • All
    • Fiction
    • Intersections
    • Interviews and reviews
    • Non fiction
    • Poetry
    POEMS FOR PEACE, by Hamid Barole Abdu

    Here comes the voice – Poems by Antonio Merola

    POEMS FOR PEACE, by Hamid Barole Abdu

    Many Disoriented Small Migrations- Poems by Jean-Charles Vegliante

    POEMS FOR PEACE, by Hamid Barole Abdu

    Embraces on hold till a magic clock-strike twelve – Five Poems by Michael D. Amitin

    A GLOBAL ART PROJECT PROSPECTUS / DESCRIPTION / HISTORY: toward international collaborative activity, by Carl Heyward

    A GLOBAL ART PROJECT PROSPECTUS / DESCRIPTION / HISTORY: toward international collaborative activity, by Carl Heyward

    “Through the Fluid Mosaic” – Following Maica Gugolati though the Permeable Borders of the  Art Exhibition

    “Through the Fluid Mosaic” – Following Maica Gugolati though the Permeable Borders of the Art Exhibition

    Ghayath Almadhoun’s “Evian” Wins the 2020 Poetry Film Zebra Award

    Ghayath Almadhoun’s “Evian” Wins the 2020 Poetry Film Zebra Award

    “Ladri di denti” (Tooth Thieves) – Candice Whitney Reviews Djarah Kan’s Latest Short-Story Collection

    “Ladri di denti” (Tooth Thieves) – Candice Whitney Reviews Djarah Kan’s Latest Short-Story Collection

    POEMS FOR PEACE, by Hamid Barole Abdu

    The thankless parables – Poems by Sudip Chattopadhyay

    Curator Hans-Ulrich Obrist Interviewed by Mia Funk

    Curator Hans-Ulrich Obrist Interviewed by Mia Funk

  • News
    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    REFUGEE TALES July 3-5:  Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    REFUGEE TALES July 3-5: Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE  FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

    OPEN LETTER BY A GROUP OF BLACK ITALIAN WOMEN

    OPEN LETTER BY A GROUP OF BLACK ITALIAN WOMEN

    Crowdfunding for [DI]SCORDARE project

    Crowdfunding for [DI]SCORDARE project

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APHASIA OF DOUBT: THE UNKNOWABLE REALITY – Camilla Boemio

November 24, 2017
in Non Fiction, The dreaming machine n 1
APHASIA OF DOUBT: THE UNKNOWABLE REALITY – Camilla Boemio
APHASIA OF DOUBT: THE UNKNOWABLE REALITY – Camilla Boemio
APHASIA OF DOUBT: THE UNKNOWABLE REALITY – Camilla Boemio
APHASIA OF DOUBT: THE UNKNOWABLE REALITY – Camilla Boemio
APHASIA OF DOUBT: THE UNKNOWABLE REALITY – Camilla Boemio
APHASIA OF DOUBT: THE UNKNOWABLE REALITY – Camilla Boemio
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Pictures from the photo gallery are from “Delivering Obsolescence: Art Bank, Data Bank, Food Bank” curated by Camilla Boemio, Special Project at 5th Odessa Biennale of Contemporary Art, 2017, photographs: Christopher Pugmire.

 

 

APHASIA OF DOUBT: THE UNKNOWABLE REALITY – Camilla Boemio

1.

What is the meaning of turbulence today? Can we assemble different artistic practices, different languages from distinct bodies of artwork in order to perform a global vision of socio political crisis?

We are in a programmed obsolescence state: the ultimate weapon of consumerism. A predatory economy, in which Serge Lautoche’s famous words echo a perpetual question: Where are we going?

The state of turmoil and aphasia we have reached today has opened up a very eclectic visual vocabulary. This may be helpful in investigating the potential for re-visioning the social function of the work of art, and augurs well for its renewal.

To quote Giorgio Agamben, “In the Age of Barbarism, the author is assigned the task of saying that the capacity for expression may be worn out; thus, it is the author’s task to give the word back to language.” The artist’s language can – and should  – trigger an eclectic visual vocabulary where doubt can be raised, debate stimulated and uncomfortable questions asked. This requires going back to the threshold separating logic from ontology, language from  being. The artist must place him/herself on the other side of the split that generated the history of metaphysics.

Over the years, Giorgio Agamben’s insight has developed into a crystalline archaeological method providing prolific indications for a possible language. From Michel Foucault to Enzo Melandri, philosophical archeology, displayed in Signatura rerum, engages us in the infinite search for the connection between theory and practice.

The language of art assembled into philosophical archeology becomes a vision of the archeology of art in the age of barbarism, thus establishing a permanent practice.

 

2.

In this constant turmoil, the fragments of becoming create an atlas of references. This provides the impetus for the exhibition Delivering Obsolescence: Art Bank, Data Bank, Food Bank, a collective show that takes its name from an in-progress installation created last year in Villa Caprile, in collaboration with the artist David Goldenberg. This was the method and practice we offered at the Odessa Biennale.

 

The exhibition explores the vision, interpretation and concept of history as both a singular and plural story, an epiphanous dialogue between two artists, David Goldenberg and Fabio Lattanzi Antinori, who use very different languages and interpretive codes. It is a breakthrough perspective that focuses on how we look at things and how things look at us, in dialogic relation. The idea is to create an imaginary archaeological museum of the present containing finds, fragments, and references of a palimpsest combining languages, attitudes, and heterogeneous trajectories from a transitional, ever shifting geo-political reality. It is an environment suspended in an indefinite temporality, with works lending themselves to very open-ended interpretations, as they do not aspire to convey a single, precise message. They are visual devices feeding a constant cross-reference between them, lending themselves to being reinterpreted according to a broad spectrum of codes. These works show signs of suspended trauma that must be reconstructed by retracing and assembling the various details, references and cross references, on both the symbolic and tactile planes.

Goldenberg’s Installation extends the concept of Delivering Obsolescence into different stages. Part 1 groups together 4 elements modulating a narration composed of complementary phases. The elements are: found domestic equipment and utensils, a press release for a fictitious exhibition, some texts written on plastic carrier bags and on drawings. The clustering of these elements inside the museum’s space creates an ambiguous setting altering temporal stages, and channeling them into an archeological storage space for the display of contemporary cultural artifacts. Part 2 of the installation uses the material to generate activities looking at reimagining the space art occupies. Together, these materials perform a series of negations.

Although installation is one of the mainstays of British artist David Goldenberg, language and text form the basis of his individual works and sometimes of entire exhibitions, using language both as a fragment and an act. Something similar to a speech act, hence not only a statement, but also something with a performative function.

His exhibition at the 5th Odessa Biennale is about writing, words, art language and practice, but at the same time about installation and representation. Installation becomes a modus operandi to analyze the conditions of today’s art, its saturation, the commodified use of artistic practice to the detriment of research experimental modes.

David Goldenberg’s installation activates a sophisticated process of linguistic elaboration where the installation’s itinerary is made of “material archeology”. References include political metaphors that evoke the reappearance of violence, the recycling of existing forms or the problem of national identity and the capitalist system.

His artistic practice becomes a kind of machination whose complex nature is partly secret and must be exposed and interpreted in the correlations created between the various materials and conceptual transitions. Audiences are assigned the task of going inside an elaborate device where they must find the bundle, in order to understand and follow its radical narrative. Viewers are assisted, but are also expected to figure out the enigma on their own. Goldenberg’s ability to distort, modify and subdivide the immense field of existing forms generates areas of intellectual and emotional intensity, precise references to specific artistic practices in which his experimental approach is based. The same is true for the semantic forms in which he extrapolates fields of discussion and “excursions” that move from space to the written page. Goldenberg uses different materials in this practice, and is very flexible in the forms that he applies to his eclectic visual vocabulary.

The narration in the exhibition space opens up an intentional rift, raising questions about the eschatological, messianic nature of the economy or the quest for it.

 

3.

While waiting for a radical change in society, the scene evolves with the works of Fabio Lattanzi Antinori. The sound and video are designed in such a way as to break up into two stages.

The work of Fabio Lattanzi Antinori, celebrates the fragile existence of mass data archives. Drawing from daily-trading figures, financial flash-crash algorithm records, news-websites, search engines results, dark pools operations and E-bay cheapest sales descriptions, Antinori manipulates them into stories of collapsed financial empires. Like the narrator of a Greek tragedy, his hand flickering on an imaginary harp as he plays the soundtrack of the predetermined collapse, transforming stock values and data entries into angelic voices who sing the chorus of inevitable catastrophe.

The first installation consists of an audio work targeting a letter by Prime Minister Theresa and combining it with news headlines about migrants, taken from online news sources. Originally it was a video featuring a poem, but it was turned into a sound installation especially for the Biennale, and given the title United UK.

The second work is Belvedere, a video installation made with abstract visual compositions from micro flash crash transactions recorded on the international financial markets.

Politics and economics are great consumers of symbols, taboos and myths. Finance and belief systems are built on rules resembling Pindaric flights of fancy to begin with, so now they have become even more enigmatic.

To move within this scenario, Lattanzi Antinori recounts this aspect of religious faith in economics. The emphatic singing of the shares aims to ironically mimic the blind faith that our society has come to place on data, numbers and the importance of financial markets. Market decisions play such a vital role for the global economy and have daily impact. The erratic and unpredictable singing contained in the installation is also a visualization of how financial markets work with their turmoil-driven dance of trust and faith.

Consciences become a means for measuring a new geo-political order in a no-holds-barred turbulence where economic cycles govern political decisions. In this vortex, the media create a steady stream of induced fear by creating a constant barrage of sounds and images – conflicting fragments of an analysis of the individual and collective memory.

 

We are at the stage of no return. What is at stake is the possibility of transforming society from a place where the radical aspect of art is neutralized to a place of actual abundance, where roles, the grinding and restraining devices can be questioned, and art can be transformed into a stronghold of resistance, allowing us to embed the future into the present.

 

 


 

Camilla Boemio is a writer, curator and theorist whose practice deals with investigating the politics of participation in curatorial practices, and contemporary aesthetics. Boemio co-founded with Fabrizio Orsini, and directed the thematic AAC platform in Rome, she is member of AICA International Association of Arts Critics.

In 2016 she was curator of Diminished Capacity the first Nigerian Pavilion at 15th International Architecture Exhibition La Biennale of Venice. She took part to The Social, at 4th International Association for Visual Culture Biennial Conference to be held at Boston University. She was Deputy Curator of Portable Nation the Maldives Pavilion at 55th International Art Exhibition of La Biennale of Venice.

Boemio has written and edited books; contributed essays and reviews to other books, journals, magazines and websites; given public lectures, talks and conference papers.

 

 

 

Tags: aphasiaCamilla BoemioconsumerismDavid GoldenbergDelivering ObsolescenceEuropeFabio Lattanzi AntinoriGiorgio Agambeninstallation artInterviews and Reviewsobsolescence statesOdessa Biennaleresistance artRussiaturbulence

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  • THE DREAMING MACHINE
    • The dreaming machine n 7
    • The dreaming machine n 6
    • The dreaming machine n 5
    • The dreaming machine n 4
    • The dreaming machine n 3
    • The dreaming machine n 2
    • The dreaming machine n 1
  • TABLE OF CONTENTS
    • The dreaming machine – issue number 7
    • The dreaming machine – issue number 6
    • The dreaming machine – issue number 5
    • The dreaming machine – issue number 4
    • The dreaming machine – issue number 3
    • The dreaming machine – issue number 2
    • The dreaming machine – issue number 1
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