take a seat




07.05.2012 ways of seating Mustafa Sabbagh

The folly of the "pop" consumer lies in their desire to live and re-live the same emotion almost ad infinitum, to see and see again the same images already worn out from the moment of their appearance.

It would be for me very predictable and captivating to choose this time a theme of that type, a personality that is already trendy from the moment that they have already imposed themselves on the media and web-media. So I am going to gift to you my anti-POP vision.

After having observed the work of an intimate and intimist artist like Stefania Bonatelli. What is more intimate than a chat with Stefania?

1. Is there any sense in imagining an art show like a suit or dress?

Yes, certainly yes if it is 'personal'; when I collect and exhibit my works I show to my interlocutors, to my public, who I believe I am and how I wish to be perceived by them, what I am able to offer; I propose my vision of the world, in the same way as when I wear a dress that, consciously or not, I choose for my own presentation, at times paying attention to certain details that say even more to the sharp observer than I might intend to communicate intentionally. The difference is that the dress differs according to circumstance, and therefore it reveals each time a certain aspect of my personality, while a detailed exhibit of my artistic production offers the observer an overall vision of myself, at least in that moment. The same is true if the exhibit collects the works of a homogeneous group, of a school, but not if the exhibit presents works of artists from various tendencies; then, it cannot be compared to a dress, but to a hotchpotch, a mix, and if there is a discriminating reason behind the choices, to an anthology.

2. How does one manage to produce art and exhibit art in the current economic crisis?

The economic crisis stimulates creativity and induces us to transform that into a picture, a photograph, a poem, because the reduced access to material goods favours the emergence of what is ‘real’ re-discovering the fundamental values of life... and, of course, art. Even exhibiting art has a sense, like an invitation to contemplation which does not enrich us any less than a possession.

3. Forgetting the numbers factor “and consumption” does it make any sense to speak of cultural sectors in 2012 when we are crossed by millions of heterogeneous bits of information (the web)?

For me nothing is confined to one sector, my vision is holistic and has always been, even before the so-called globalisation or before the web; everything influences everything else, and not only in art, as nothing would be as it is without the rest. My photos reflect history, architecture, music, war, climate and all the events of the world, known or unknown to me. Every shot of mine is the synthesis of what has entered me in forty years of life and whether or not I remember or am aware of it is secondary.

4. What direction is modern art going in?

I don’t know. Perhaps not in a single direction. A word to define

martin margela: hologram

sasha waltz: sequences

rem koolhaas: agnosco

caravaggio: photo-rejector

Werner Herzog advice

jean genet: dreary







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Periodico online registrato presso il Tribunale di Udine il 28 gennaio 2012 n° 1