Are You Glad To Be In America?

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15 February 2011 – 20 April 2011
Massimo De Carlo – Via Giovanni Ventura, 5 – Milan

JACK GOLDSTEIN – GLENN LIGON – ROBERT LONGO – NATE LOWMAN – STEVEN PARRINO – RICHARD PRINCE – KAARI UPSON – MARIANNE VITALE

Last week Massimo De Carlo opened the group show Are You Glad to Be in America? Using the title of the renowned 1980 album by James Blood Ulmer, the group show offers a global view of American society, of its contradictions, culture and symbols.

A selection of fifty song lyrics by afro-american authors joins the exhibited works. Gill Scott-Heron, James Brown, Tupac and Cypress Hill, amongst others, deal with the same issues treated by Jack Goldstein, Glenn Ligon, Robert Longo, Nate Lowman, Steven Parrino, Richard Prince, Kaari Upson and Marianne Vitale in their works.

Here is a selection of the lyrics together with the artworks included in the show.

Revolution Will Not Be Televised
Gill Scott-Heron
The Television Will Not Be Televised (1974)

You will not be able to stay home, brother.
You will not be able to plug in, turn on and cop out.
You will not be able to lose yourself on skag and skip,
Skip out for beer during commercials,
Because the revolution will not be televised.

The revolution will not be televised.
The revolution will not be brought to you by Xerox
In 4 parts without commercial interruptions.
The revolution will not show you pictures of Nixon
blowing a bugle and leading a charge by John
Mitchell, General Abrams and Spiro Agnew to eat
hog maws confiscated from a Harlem sanctuary.
The revolution will not be televised.

The revolution will not be brought to you by the
Schaefer Award Theatre and will not star Natalie
Woods and Steve McQueen or Bullwinkle and Julia.
The revolution will not give your mouth sex appeal.
The revolution will not get rid of the nubs.
The revolution will not make you look five pounds
thinner, because the revolution will not be televised, Brother.

There will be no pictures of you and Willie May
pushing that shopping cart down the block on the dead run,
or trying to slide that color television into a stolen ambulance.
NBC will not be able predict the winner at 8:32
or report from 29 districts.
The revolution will not be televised.

There will be no pictures of pigs shooting down
brothers in the instant replay.
There will be no pictures of pigs shooting down
brothers in the instant replay.
There will be no pictures of Whitney Young being
run out of Harlem on a rail with a brand new process.

There will be no slow motion or still life of Roy
Wilkens strolling through Watts in a Red, Black and
Green liberation jumpsuit that he had been saving
For just the proper occasion.
Green Acres, The Beverly Hillbillies, and Hooterville
Junction will no longer be so damned relevant,
and women will not care if Dick finally gets
down with Jane on Search for Tomorrow because Black
people will be in the street looking for a brighter day.
The revolution will not be televised.

There will be no highlights on the eleven o’clock
news and no pictures of hairy armed women
liberationists and Jackie Onassis blowing her nose.
The theme song will not be written by Jim Webb,
Francis Scott Key, nor sung by Glen Campbell, Tom
Jones, Johnny Cash, Englebert Humperdink, or the Rare Earth.
The revolution will not be televised.

The revolution will not be right back after a message
bbout a white tornado, white lightning, or white people.
You will not have to worry about a dove in your
bedroom, a tiger in your tank, or the giant in your toilet bowl.
The revolution will not go better with Coke.
The revolution will not fight the germs that may cause bad breath.
The revolution will put you in the driver’s seat.

The revolution will not be televised, will not be televised,
will not be televised, will not be televised.
The revolution will be no re-run brothers;
The revolution will be live. (more…)

Nero presents BLONDE by Nico Vascellari

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February 24, 2011 h.7pm – Marsèlleria, via Paullo, 12/a, Milan (entry by invitation only)
March 18, 2011 h.7pm – Galerie Bugada & Cargnel, 7-9, rue de l’Équerre, Paris

Niños du Brasil will perform during the events

Blonde is an artist’s book by Nico Vascellari, printed in 500 hand numbered copies + 33 multiples including an original work, numbered and signed by the artist. Published by NERO in collaboration with Hospital Productions.

Conceived both as a book and an artwork, Blonde is a collection of images from one of the artist’s personal archives: a selection of 200 press clippings titled “Blonde”. Each press clipping has been reproduced in its own original format on 80 gsm glossy paper, as ripped and collected by the artist over the last ten years. The whole collection, printed on unbound single sheets, is packaged in a black cardboard box, silkscreened and individually numbered.

The pages of this publication derive for the most part from fashion magazines. The iconographic theme of “the blonde” is represented obsessively. The sequence of the images is random, as is the selection of press clippings. This archive reflects the artist’s personal fetish for the image, in this case of blondes and their collective representation.

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THE REVISIONISTS online exhibition

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Joseph Del Pesco and Renny Pritikin’s online exhibition (previously announced in the last issue of Nero) is going to open this night at 7 pm.
You can visit the show at: www.neromagazine.it/tr.htmlHere you can read about the concept of the exhibition.


After Reasonable Research

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Until February 26, 2011
Printed Matter – 195 Tenth Avenue – New York

After Reasonable Research is an exhibition of artists’ books and related material exploring the encyclopedic form.

After Reasonable Research forms a radical reference library with an interest in accumulated knowledge. The collected books explore systems of classification, asking how information can be parsed and accommodated into expressive formats that describe content as much as deliver it. Images and text are exhaustively compiled (a number of the works span multiple volumes), often accompanied by charts, lists, annotations and appendices. Some act as compendiums—a working index to a field of knowledge—but all stand as artworks awash with imprecision, personal narrative, rigorous and semi-rigorous research, fiction, and all the compulsions that make these encyclopedias, in a sense, factual.

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Salvatore Arancio – Shasta

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Opening Thursday 17 February | 6.00 – 9.00 pm
18 February – 31 March 2011
Federica Schiavo Gallery - Piazza Montevecchio 16, Rome


For the three spaces on the gallery premises Arancio has conceived of a new series of works. They follow his ongoing interest and investigation into ideas of nature and its merging with science, alongside the ability of myth and legend to introduce an exploration of the mystical.

In the first room scientific-geological found images playfully interact with the gallery’s architectural structure. Manipulated and re-invented, they induce subjective reflections on natural phenomena following the artist’s interest in apocalyptic representation.

In the second room the split screen video installation Shasta, originally shot on Super 8 film, takes inspiration from a Native American tribe’s account of the creation of Mount Shasta in California. The timeless, epic, visual, and sound elements of the installation stimulate ideas of narrative and storytelling in order to create a sense of awe seen as a metaphor for human inefficacy against the forces of nature. In the last room the large photographic print Luffâh reproduces a found image of a mandrake root with disproportionate dimensions. By creating a contrast with the same image recreated as a sculptural piece in the first room, Arancio seeks to question ideas of perception, authorship and reproduction. The root’s lysergic powers and uncanny man-like shape have been the source for the creation of many myths through the ages.

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Manfredi Beninati – Le voci di dentro

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February 11th – April 11th 2011
Francesco Pantaleone Arte Contemporanea - via Garraffello, 25 – Palermo

On the occasion of the second personal exhibition of Manfredi Beninati, Le voci dentro, at Francesco Pantaleone Arte Contemporanea, we publish a conversation between the artist and curator Raimundas Malašauskas that happened in Palermo during the preparation of the show.

Raimundas Malašauskas: So you wrote about the work that didn’t exist?

Manfredi Beninati: Yes.

R.M.: What did you write it for?

M.B.: Just for myself.

R.M.: Was it in any way different from the works that exist?

M.B.: No, I think it was kind of separating from the kind work I was producing at that time. It was two years ago and of course they change, your style normally changes a little bit. So you go through stages: sometimes my paintings were more neat and minimal, although much more confusing than this one.

R.M.: Was this more confusing than it is now?

M.B.: At one stage. It will take you ages to focus on things.

R.M.: But do you remember the story of this painting?

M.B.: The one that I wrote about?

R.M.: No , more in terms of where this painting started at, what was the first thing that you’ve painted here.

M.B.: Hmm the first thing was this little one (points his finger to the painting.)

R.M.: Ahah, so that’s already another work, this is like a sketch.

M.B.: Yeah the kind of work that I make for myself, just for fun. That’s my mother of course, young, that’s from my photo. I didn’t know I had all these blank canvases that I have just been stretching for a couple of days and then I needed to start to get back into painting because I haven’t been painting for like a year.

R.M.: Why?

M.B.: Because I was doing other things mainly like drawing. So any subject was relevant as long as it gives me a fresh start, and after all to me subjects are not important. I start  new painting from anything that I find seducing.

R.M.: My impression is that this painting started from the boat

M.B.: No, it started from this (points his finger to a woman). And then it changed so many times. Now I’ve decided to turn it into a stage.

R.M.: You mean ‘stage’ in a theatrical sense?

M.B.: Yeah like a theatre stage, so the floor will be here, this is will be a silhouette of something and the floor will be here, and then this will be the background like in layers, and then this will be as if it was painting background. My mother will be like a silhouette as well as the tree.

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