Chiara Isabella Spagnoli Gabardi

The Art You Should See At The 58th Venice Biennial

May You Live In Interesting Times,’ is the theme and title for the 2019 Art Exhibit of the Venice Biennial. Undoubtably the hot topics of our era are expressed through diversified creative mediums, from sustainability and climate change, to growing disparity of wealth and gender inequality, from virtual reality and social media, to politics and resurgence of nationalist agendas. As the President of La Biennale di Venezia, Paolo Baratta said, “This title evokes the idea of challenging or even ‘menacing’ times, but it could also be an invitation to always see and consider the course of human events in their complexity.

The beauty of this 58th edition is that the artwork on display, besides being aesthetically spectacular, challenges viewers to  look beyond conformism and avoid oversimplifying attitudes. In times of great change, where certain political stances threat of bringing back civilization to a less democratic and multicultural world, it is vital to turn our eyes on art, that denounces the failures of humanity and tries to persuade it to embrace a brotherhood of man.

As curator Ralph Rugoff explained: “The proverb ‘May You Live In Interesting Times’ was first mentioned in a March 1936 article in The Yorkshire Post, reporting on a speech made to the Birmingham Unionist Association by the British MP Sir Austen Chamberlain, who addressed the serious threat to Europe’s collective security posed by the move earlier that month of German troops into the Rhineland. To underscore the drama of the situation, he invoked an ancient Chinese curse. But it turns out that there never was such a curse in China and was presumably fabricated by a British diplomat. This kind of uncertain artifact suggests potential lines of exploration that seem worth pursuing at present, especially at a moment when the digital dissemination of ‘fake news’ and ‘alternative facts’ is corroding public discourse and the trust on which it depends. For an exhibition that in part at least, considers how art functions in an era of lies, it struck me as an apt title. At the same time, it is my hope that art can give us tools to reimagine the possibilities of these ‘interesting times’ in which we live today, and so transform this phrase from a curse into a challenge that we an enthusiastically embrace.

The exhibition opened to the public on May 11 and will run until November 24, set in the habitual venues of Arsenale and Giardini. Ralph Rugoff underlined the desire to enhance a split format betwixt these two exhibiting spaces, to epitomize the title of this edition. He said: “‘May You Live In Interesting Times’ is intended to evoke the parallel information landscapes that define our increasingly polarized public discourse. This phenomenon is exemplified by the term ‘alternative facts,’ first used by Counsellor to the US President Kellyanne Conway in defense of the Trump’s administration’s bogus claims about the size of the audience for President Trump’s inauguration. More and more public communication is divided into smaller and smaller bandwidths, with special interest groups largely talking only to themselves and reinforcing heir boxed-in perspectives. In this ‘post-truth’ era does art’s capacity to question established ideas and attitudes appear in a different light?

Ralph Rugoff has termed the Arsenale section of his Venice Biennale exhibition “Proposition A,” while in the Giardini’s Central Pavilion is “Proposition B,” and it includes the same artists, who in most cases are showing different kinds of work. This is the first time the Biennale has an exhibition that allows artists to express themselves at a double level. I personally favored some of Proposition A’s creations, but truly enjoyed finding those same artists expressing themselves in a different manner with Proposition B.

Here is the artwork that fully embraces problematic histories and social situations, that you should not miss.

ARSENALE

Shilpa Gupta from India
Shila Gupta’s sound installation ‘For, in your tongue, I cannot fit,’ addresses the violence of censorship through a symphony of recorded voices which speak or sing the verses of 100 imprisoned for their work or political positions, from the 7th century to the present day. The title is inspired by the work of the 14th century Azerbaijani poet imavddin Nasimi. In the dimly lit room, a grid of 100 microphones suspended from the ceiling are reverse-wired to function as speakers. The recitations in multiple languages (including Arabic, Azeri, English, Hindi and Russian) create a soundscape that might, in turn, include and exclude the listener, depending on which languages they understand. Each microphone has its corresponding verse printed on paper, waiting to be read by one and then echoed by a chorus of disembodied verses.

Sun Yuan and Peng Yu from China
Sun Yuan and Peng Yu’s installations often involve the staging of visceral, intimidating spectacles. ‘Dear,’ presents a white silicon chair behind a Plexiglas barrier, loosely based on the imperial Roman chair featured as a component of the statue in the Lincoln Memorial in Washington D.C. In Sun Yuan and Peng Yu’s installation, the chair is kept company by a rubber hose that violently whips around the surrounding space in response blast-off highly pressurized air. In between these periodic eruptions of violence, the chair sits inert again, almost invitingly serene, until the assault recommences.

Photo Credit: Sun Yuan and Peng Yu from China

Photo Credit: Sun Yuan and Peng Yu from China

Otobong Nkanga from Nigeria
Otobong Nkanga has described landscape as body, which nourishes and provides, but which is plundered, scarred and poisoned. In ‘Veins Aligned,’ the vein in question is almost 26 meters long, formed of fleshy toned glass and marble, that recalls both a long hand-drawn line and a river, with the clouds coursing through the marble suggesting chemical pollution. Beyond the colonial and post-colonial exploitation of natural resources, Nkanga also finds in mining a metaphor for exploration into the great, cyclical sweep of time.

Photo Credit: Otobong Nkanga from Nigeria

Photo Credit: Otobong Nkanga from Nigeria

Cameron Jamie from USA
The folk tradition of the Perchten — an Alpine winter character associated with the Krampus — is the inspiration for the installation ‘Smiling Disease.’ These grotesquely grinning carved wooden masks reference the collections of tribal artifacts that were popular among surrealist artists in the early 20th century, thought to reflect contemporary ideas about the subconscious and the universal significance of dreams. This installation is similarly both frightening, humorous, and macabre.

Michael Armitage from Kenya
Michael Armitage’s series of paintings are the outcome of when he joined a group of photojournalists documenting the political rallies that led up to the Kenya general election. During these events, the artist witnessed staged campaigns of political agitation that incorporated carnivalesque elements and a circus-like atmosphere. In his artwork, he conjures the strange chaos and urgency of these events. Drawing from original footage and documentary images, magnifying issues of inequality and political uncertainty.

Liu Wei from China
Liu Wei’s recent large scale installation ‘Microworld’ evokes the formality and splendor of modernist stage sets, filled with geometric shapes. The artist has fashioned an assortment of outsized curved forms and spheres out of highly-polished aluminum plates — intended to invoke magnified and glossy versions of molecules, elements, protons and other microscopic particles. Liu Wei’s fictionalized portrait of the microscopic sphere, dwarfs the spectator, whose sense of awe-inspired distance is emphasized by the fact that we cannot enter the space, only view it through a giant window, as if looking at an exhibition in an oversized museum vitrine.

Alexandra Bircken from Germany
Alexandra Bircken’s practice is built around the human form. Her installation ‘Eskalation’ presents a dystopian view of what the end of humanity might look like. Forty figures, made from calico dipped in black latex, are suspended from ladders that extend to the ceiling. The work revolves around a sheer verticality, as the figures ascend to the top, arriving at obstacles and falling. This invokes an upward struggle between polarities: heaven and hell, success and failure, hope and despair.

Tarek Atoui from Lebanon
Bridging music and contemporary art, Tarek Atoui’s practice expands notions of listening through participatory and collaborative sound performances. He conceives and coordinates complex environments to cultivate sound, and through installations, performances and collaborations, breaks down expectations both for performer and audience. Combining visual, tactile and aural modes of perceiving sound, ‘The Ground’ is the result of Atoui’s travels in China’s Pearl River Delta, when he recorded his observations of contemporary and traditional agricultural, architectural and musical practices from the region. He later asked craftsmen and instrument-makers to respond to his notes and drawings. The resulting instruments were set up by Atoui to play separately and autonomously at exhibitions, where various artists and musicians are invited to respond to the forms and sounds of the works.

Photo Credit: Tarek Atoui from Lebanon

Photo Credit: Tarek Atoui from Lebanon

Lorenzo Quinn from Italy Hands
Building Bridges’ is contemporary Italian artist Lorenzo Quinn’s most ambitious project to date. Six pairs of monumental hands bridge the basin of the Arsenale as both symbol of our commonality and an expression of human aspiration. The project depicts six of humanity’s universal values — ‘Friendship,’ ‘Faith,’ ‘Help,’ ‘Love,’ ‘Hope,’ and ‘Wisdom’ — each symbolized by human hands coming together to overcome differences and build a better world. Famous as city of connection through its canals and crossings, as historic base of international trade, and ongoing hub of artistic exchange — Venice, a World Heritage Site with visitors from all over the globe, is an ideal place to spread a message of unity connecting societies, nations, communities and individuals through building bridges, not walls.

Photo Credit: Lorenzo Quinn from Italy Hands

Photo Credit: Lorenzo Quinn from Italy Hands

Vasily Klyukin from Russia
At Arsenale Nord, you will find ‘In Dante Veritas’ an exhibition by Russian sculptor Vasily Klyukin who makes a parallelism between the Italian poet’s Inferno and the distortions of our time, through diversified mediums that are harrowing and aesthetically beguiling at the same time.

CHILE Pavilion — with a special attention to The Hegemony Museum
The project by Voluspa Jarpa for the Chilean pavilion, is a conservation space that presents different case-studies of Eurocentric and colonial worldview from the 17th to the 20th Century. Her Museum presents this hegemony in six case studies of the European male, white, heterosexual, patriarchal, monarchial, culturally and economically “superior” and present in the very concepts with which the colonies were coined and conceived. European ways of doing, looking and analyzing are submitted to the public for study, in order to understand how the hegemonic psyche developed a whole series of complex mechanisms of oppression that emerged in concepts like race and miscegenation, subaltern male subjects, cannibalism, imperialism, gender conceptions, civilization and barbarism, and the conflictive relations between monarchy and republic.

GHANA Pavilion
The elliptically-shaped interlocking design of the pavilion by Sir David Adjaye, creates trajectories both across time and place, through the mesmerizing exhibit ‘Ghana Freedom’ curated by Accra-based Nana Oforiatta Ayim. The inspiration came from the wordsGhana’s first president, Kwame Nkrumah, proclaimed in 1957: “At long last, the battle has ended! And thus Ghana, your beloved country if free forever!” Nkrumah described this freedom as a reshaping of the country’s destiny, as an awakening, and as the birth of a ‘new African in the world.’ He linked Ghana’s independence with the rest of Africa’s, stating that is was meaningless without the liberation of the whole continent. As the first sub-saharan country to gain its independence from colonial rule, Ghana became a touchstone for many others from the continent and its diasporas. And yet, the country’s boundaries like so many others had been drawn by colonial hands, and its new freedom was predicated on the denigration of the cultural and spiritual foundations of the groups that now made up Ghana. The ensuing years saw a struggle to reshape, as Nkrumah had foreseen, not just political, but also cultural, social, and economic realities. For the first foray to the Biennale di Venezia, this country brought together artists whose individual works speak to each other in pluralities of medium and narrative and scope, as well as across generations through archives of everyday objects in large-scale installations by El Anatsui and Ibrahim Mahama; through representation and portraiture, both in the studio work of Ghana’s first known female photographer Felicia Abban and imagined by painter Lynette Yiadom-Boakye; and through the relativities of loss and restitution in a 3-channel film by JohnAkomfrah and in a film sculpture by Seals Awusi Sosu.

Photo Credit: GHANA Pavilion

Photo Credit: GHANA Pavilion

INDIA Pavilion
In the ambient shades of sandstone and brick of building material and of the land, viewers encounter clusters of padukas (wooden slippers), cane armor and headgear, earthen pots and shards, painted posters/frieze, words dematerializing in a curtain of mist and wooden cabinets with objects and photographs, all transacting artistic responses to the exhibition’s theme ‘Our Time for a Future Caring,’ conceptualized under the broader thematic of 150 years of Mahatma Gandhi. Emphasizing the austerity of materials and the diversity of forms envisioned in simplicity and silence, the exhibition takes the viewer through eight artistic projects, conceptually mediating and translating the Pavilion as a sarai, a place of rest, inviting one to pause and ponder with each instance, separate yet linked, intersecting at various levels. The India Pavilion — curated by Roobina Karode — symbolically is a fragment of the pavilion put together at Haripura in Gujarat, envisioned by Gandhi and realized by Nandalal Bose. His Haripura Posters (1937), easily perceived as the first public art project in India aimed at cultural and artistic awareness through a direct engagement. MF Husain’s seminal painting depicting Zamin/Zameen celebrated the village republic, upholding its indigenous crafts. Taking further cue from Atul Dodiya and Ashim Purkayastha, a conceptual artist, the Pavilion creates intimate affinities as well as conflict, between fragment and the whole, individual and the multitude. The works of Shakuntala Kulkarni, Rummana Hussain, GR Iranna and Jitisch Kallat push on to interrogate one’s way of being and capacity to act in the world. The curatorial intention is implicated in the belief that Gandhi’s presence is far from being fixed in time and space and has its relevance in the everyday paradoxical charge of contemporary India. His propositions of passive resistance, peaceful protests, minimal consumption and ecological concerns continue to resonate.

Photo Credit: INDIA Pavilion

Photo Credit: INDIA Pavilion

GIARDINI

VENICE Pavilion
A group of seven international artists with strong creative ties to the Italian art scene were elected to represent the city itself in the Venice Pavilion: Mirko Borsche, Lorenzo Dante Ferro, Sidival Fila, Ferzan Ozpetek, Plastique Fantastique, Fabio Viale, Giorgos Koumentakis. Curated by Giovanna Zabotti in collaboration with directors Alessandro Gallo and Stelios Kois, the Pavillion this year has ever more a choral nature, through works that are fruit of individual experience, that represent a collective vision. The name of the exhibit ‘Corpo Reale’ (Real Body) has the aim to utilize Bodies in Alliance to represent how equality among individuals is not only spoken or written but is performed precisely when bodies appear together in space. The concept of the exhibition is inspired by the urban fabric of the city, exploring its history and mythology, the plethora of narratives that weave into it, they perceive it as a multitude of inter-connected spaces and ecosystems that share a non-linear continuity.

RUSSIA Pavilion
The exhibition’s title ‘Lc. 15: 11-32,’ references both the bible chapters of The Parable of the Prodigal Son within the Gospel of Luke and Rembrandt’s painting of this subject, which has become a central masterpiece at The Hermitage Museum. Since 1848 ten Atlantes have welcomed visitors to the New Hermitage, exact replicas of which can be seen in the first room. The granite figures themselves have over time become a shrine in their own right, with pilgrims from all over the world coming to worshipers at their feet. Rembrandt’’s The Return of the Prodigal Son is the main theme of the installation by the celebrated film director Alexander Sokurov. It simultaneously represents one of the halls of the Hermitage and an artist’s studio with video installations showcasing the turmoil of war that lies beyond its walls. The inner staircase send us down the world of the Flemish School brought to life by artist Alexander Shishkin-Hokusai, which is dedicated to the intricate mechanisms in the Winter Palace such as the famous Peacock Clock. His signature plywood sculptures of cut out human figures move on mechanical constructions to create a theatrical mise-en-scène, blurring the boundary between reality and imagination.

AUSTRIA Pavilion
Discordo Ergo Sum’ (I dissent, therefore I am) is the title of Austrian artist Renate Bertlmann’s site specific installation for the Austrian pavilion. In this rephrasing of the philosophical principle Cogito Ergo Sum (I think, therefore I am), the artist attempts to cancel out the supremacy of reason and to describe herself within her insurgent worldview. With a further modification of this principle, the phrase Amo Ergo Sum (I love, therefore I am), Renate Bertlmann ironically signs the pavilion’s architecture. An installation of knife-roses in the courtyard, allows us to sensuously experience the dichotomy of our existence. Between this foundational movement in the exterior space and the pavilion courtyard, the exhibition space gives way to a cartographic view of Renate Bertlmann’s artistic practice, with a selection of her aesthetic and conceptual aspects exemplifies her multilayered oeuvre since the 1970s. The presentation of wall charts, sketches, photos, filmstrips, and drawing in a box inserted to fit into the pavilion creates contemplative zone where visitors immerse themselves in her artistic self-understanding.

ISRAEL Pavilion
Field Hospital X (FHX) is a new project by artist Aya Ben Ron. It is a mobile, international institution, an organization that is committed to researching that way art can react and act in the face of social ills. Learning from the structure and practice of hospitals, health maintenance organization and healing resorts, FHX provides a space in which silenced voices can be heard and social injustices can be seen. When visitors enter Field Hospital X they take a queue number. While waiting at the Reception Area, they watch the FHX TV Program and read the FHX Booklet to receive information about the hospital’s ideology, its Care-Ares and Care-Kits. Once their number is called, they go to the reception desk, choose a Rick-Wristband and continue to the Care-Areas. Visitors first go to Safe-Units, where they can learn through sound instructions how to produce a Self-Contained Shout. They are then guided to Care-Chairs, that are designated to affect the visitors’ physiological and emotional conditions, to generate attentive listening. Each Care-Chair consists of a personal screen and headphones for personal viewing of FHX Care-Kits. The video is preceded by an introduction and followed by two Second-Opinions by FHX experts. The pavilion tackles Anti-Transgender Violence: one of the main problems experienced by people who are going through gender transition is embedded in the social insistence on the gender binary.

Milan celebrates the genius of Leonardo da Vinci

Rendering of multimedial projection    Project by Culturanuova s.r.l. - Massimo Chimenti

Rendering of multimedial projection

Project by Culturanuova s.r.l. - Massimo Chimenti

Article by Chiara Isabella Spagnoli Gabardi


Milan is the city where Leonardo da Vinci stayed the longest, arriving in 1482 to work at the court of Duke Ludovico Sforza. The polymath’s presence permanently marked the history and artistic production of the city and the entire region of Lombardy. This is the reason why Milano celebrates 500 years from Leonardo’s death, with a series of events that will take place until January 2020, and will have the Sforza Castle as main hub.

The reopening of the Sala delle Asse, core of "Milan and Leonardo 500,” took place on  May 15th, presenting a rich and dynamic program of exhibitions and related initiatives. The restoration that began in 2013 has now come to completion, revealing a mulberry pergola, designed as a giant trompe l'oeil to turn the large room at the base of the Falconiera Tower into a representative hall for the Duke. It further portrays the mighty roots, known as the ‘Monochrome,’ named after its chiaroscuro painting technique. It is a remarkable graphic and pictorial depiction of the magnificent pergola made up of sixteen mulberry trees, characterized by detailed knotty trunks, landscapes, branches and leaves that keep resurfacing, thus changing the room’s perception.

Nature for Leonardo represented the subject of direct observation, investigations and the privileged topic of theoretical writings, paintings and drawings. This is why the natural environment is the prevailing theme in the Sala Delle Asse. Here, Leonardo painted a giant arboreal pavilion; with the mulberry tree — Morus in Latin — alluding to the nickname of Duke Ludovico Maria Sforza, who was given the epithet of Moro (Moor) by Francesco Guicciardini (one of the major political writers of the Italian Renaissance), because of his dark complexion.

The exhibition in Sala delle Asse, tributes the genius of Leonardo, catapulting it in the digital era, emphasizing how forward-thinking he was in terms of technology. Visitors begin their experience through the spectacular multimedia installation, "Sotto l'ombra del Moro. La Sala delle Asse,” (Under the Moro’s Shadow). Curated and conceived by Massimo Chimenti’s Culturanuova with the scientific collaboration of Francesca Tasso and Michela Palazzo, guests are immersed into a better understanding of the entire room and how it came into being. Projections and videos fill the vault and side walls, reconstructing Leonardo’s history with the ruler of Milan, allowing visitors to learn about the city’s history and the painter’s imitation of nature.

Rendering of multimedial projection    Project by Culturanuova s.r.l. - Massimo Chimenti

Rendering of multimedial projection

Project by Culturanuova s.r.l. - Massimo Chimenti

In these regards, Leonardo’s drawings are incredibly enlightening. For instance, the rooms of the Castello Sforzesco in Milan also host two other projects dedicated to Leonardo. In the Sala dei Ducali, the exhibition "Intorno alla Sala delle Asse. Leonardo tra Natura, Arte e Scienza" (Leonardo betwixt Art & Science), curated by Claudio Salsi, is a selection of original drawings by Leonardo da Vinci and other Renaissance masters showing iconographic and stylistic relations to the naturalistic and landscape decoration details found under multiple layers of limes in the Sala delle Asse. This scientifically and culturally significant exhibition was conceived by the Castle’s Direction in collaboration with some leading international museums, thanks to the loans from Her Majesty The Queen from the Royal Collection, the Musée du Louvre in Paris, the Kupferstichkabinett in Berlin, and the Gallerie degli Uffizi in Florence.

The indoor exhibit concludes with a multimedia tour, installed in the Sala delle Armi, designed by Culturanuova, with the scientific collaboration of Edoardo Rossetti and Ilaria De Palma: "Leonardo a Milano” (Leonardo in Milan). This show guides visitors through a virtual a tour of Milan, as Leonardo experienced it from 1482 to 1512. The itinerary features a geo-referenced visual map of what is still left of these places, both in the city and within local museums, churches and buildings: urban spaces, aristocratic mansions and churches, such as the Church of San Francesco Grande, Borgo delle Grazie, Castello Sforzesco, the ancient Porta Vercellina, Corso Nirone, and the thoroughfare of current Corso Magenta-contrada dei Meravigli- Cordusio.

The celebration of Leonardo da Vinci continues also outdoors in the courtyard of the Castello Sforzesco, with a real mulberry tree pergola in the Cortile delle Armi. This live reproduction of what Leonardo portrayed inside the Sala delle Asse, is a real architecture made of plants, designed and created together with Orticola di Lombardia. The aim is for it to grow through the seasons, as a permanent reminder of the polymath’s work, so that the millions of visitors who walk across the Castle courts every year can enjoy a different, and botanical point of view.



Review for Problems by Jade Sharma and the House Stark Women

Photo: ‘Problems’ by Jade Sharma

Photo: ‘Problems’ by Jade Sharma

As soon as I saw episode 4 of Game of Thrones, I came across Jessica Chastain’s tweet slamming it with the sentence: “a woman doesn’t need to be victimized in order to become a butterfly.” I agree with Chastain’s statement, however I also do not feel that Sansa Stark’s character construction glorifies rape and abuse as a tool to empower women. When the young Lady of Winterfell tells the Hound that, “Without Littlefinger and Ramsay and the rest, I would’ve stayed a little bird all my life,” I immediately thought about Nietzsche’s quote: “That which does not kill us, makes us stronger.Game of Thrones presents a violent world from the very first season, where both genders (think of Theon Greyjoy’s brutal emasculation), have to navigate a survival of the fittest. This is the same gut reaction I had while reading Jade Sharma’s ‘Problems,’ that was published a few years ago in the USA and was just released in my country, Italy. Perhaps, being a European who was lucky enough to live for a while in New York, I had the chance to nurture my personal matriarchal ideals from both cultural perspectives.

Feminist historiography is important to deconstruct patriarchy, but we should aim for an inclusive world where neither gender prevails on the other. This can be achieved by reminding ourselves that in fiction, as much as in reality, both men and women can either be frail and be destroyed by tragic events, or embrace a combative spirit to emerge as phoenixes from their ashes. Along these lines, Jade Sharma, presents this crude reality through her female protagonist. ‘Problems’ unveils the story of a troubled heroine who is overwhelmed by drug abuse, but seems to fight like a warrior through a world of perdition she has chosen to helm.

The Indian-American author introduces us to Maya, “a thrifty, generic brown” woman full of self-destructive complexities. She has a low self-esteem and is a lymphatic bulimic, heroin junkie and is addicted to a zillion other drugs. Maya is also an unrealistic writer and bookseller, who is married to an alcoholic and has an affair with a professor who is over sixty years old. The literary style adopted, for this harrowing coming-of-age tale, is a stream of consciousness that is fiercely physical, both from a lustful and scatologic standpoint. The way the writing flows almost seems to be taken from a stand-up comedy stage: it’s sardonic, irreverent, raw and current with millennial psychology.

‘Problems’ is fraught with sharp thoughts, that obviously pertain to those struggling with addiction, but also to people pondering upon the challenges of intersubjectivity. For instance Maya brings to the readers’ attention the weariness that can come out of an unhappy marriage when she says: “Seeing the same person so much it makes you not see them at all.” She also struggles with body appearance when she declares: “Age is meaner than death,” and reminds us all, how conflict sometimes can be a trigger for people craving for attention, when she admits: “I can’t handle not having someone around to tell me I look hot or get mad at me or just acknowledge my existence. It’s like, what’s the point of being alive if no one is there to see it? If there’s no one to disapprove of my behavior, then why bother doing it?

Those who have pursued a career in the arts, moving to New York City, without necessarily being addicts will definitely identify with Maya’s reflections on the subject matter: “You live in New York, and you’re cool. You have an apartment in the East Village, and you call yourself an artist. But after a while, you forget what it was you were excited about. There is nothing here for you. You feel like a sucker every day paying fourteen bucks for a pack of smokes. You take stock of your resources, and you don’t have anything. You call yourself an artist, but you work fifty million hours a week just to sleep in a room where only a bed fits. You go to bars where you can sit down or hear anyone talk. You’re a hipster in New York City. There are a million of you, and it doesn’t matter that you believe you’re talented, because no one cares and you’re only getting older. The thing you didn’t realize when you were fourteen and thought Kurt Cobain was God was that not every weirdo with an ironic tee from Urban Outfitters makes it. There are a lot of people in their sixties, toothless, broken and poor, who have stories of almost making it. At what point do people hear ‘loser’ when you say ‘artist’?

Our narrator truthfully grasps the struggles of living that New York artists have to confront. She equally dissects mercilessly and authentically the life of a junkie: “One of the greatest myths of addiction is that it’s interesting. It’s the most boring thing anyone could ever do. There is a slight glamour in the beginning, a feeling of doing something wrong, of indulging in a weird world populated by ghosts who used to be struggling musicians but don’t make music anymore, or writers who need write. And then your whole life is getting high and being numb, and there’s absolutely no reason to leave your bed except to get more money. Your life becomes a triangle of elemental needs: get money, get drugs, get home. Dope is a tease. It makes you not want anything else. There’s no freedom in the end, it’s just another jail.” Maya, besides the profound observations also manages to be humorous about life in rehab, venting out: “Sometimes it feels like you are being punished, and the real program is to make you so miserable that you don’t try to use or off yourself again because you may fail and have to come back. That’s pretty much the lesson you take away: next time kill yourself properly, or don’t try.

The conclusion of this psychotropic chronicle is summed up with Maya’s query: “When did I confuse hedonism with lousy old self-destruction?” But whether we have addictions or not, the ultimate lesson Maya teaches us is to embrace the hardships knowing that the ebb and flow of life will knock you down, only to teach you to stand up again and not give up. As the book beautifully ends: “You will feel waves of sadness and you will let them run through you because that is what they are: passing waves.” To stay in line with Game of Thrones our Maya seems to adopt Arya Stark’s mantra to the question “What do we say to the God of Death ?”… “Not Today!

Sarà il caos — It Will Be Chaos, Exclusive Interview with the Filmmakers

Sarà il caos — It Will Be Chaos, Exclusive Interview with the Filmmakers

Partners in life and in filmmaking, Lorena Luciano and Filippo Piscopo, have always made documentaries that would spread awareness on social justice, human rights, the environment, and the arts. Their most recent work, It Will Be Chaos (Sarà il caos) is an HBO documentary, in Association with Film2, that depicts how life in the South of Italy is thrown into disarray as refugees arrive by the thousands.