stanno per uscire le mie nuove campagne realizzate per il gruppo SPAZIO SEI e mi accorgo di non aver mai messo quelle precedenti, che peraltro si riferiscono all’estate in corso: scattiamo con così tanto anticipo che ci si si scorda ogni tanto delle cose.
comunque, ecco le campagne pubblicitarie kids primavera estate 2013
But if I had foreseen all this, given cause and pretext, the current conclusions
believe that for these few cents, this glory of assholes, I would write songs;
okay, I admit that I am wrong and accept the “crucifixion” and so be it, time I ask, I am of my race, no matter how great, the first who studied…
in the end my father was right to say that the pension is really important, my mother was not then wrong to say that a graduate counts more than a singer: young and naive I’ve lost my mind, wether it was the books or my provincialism, and a dick in the ass and accusations of social climbing, doubts of indifference, I am what I’ve got left…
You critics, you austere people, strict militants, I apologise to whomever, but I never said that songs do revolutions, we can make poetry; I sing when I can, as I can, when I feel like with no clapping or whistling: to sell or not does not pass between my chances, do not buy my records and spit on me…
According to you what do I care to assume the wrangling of being up here to sing, I enjoy myself much more getting drunk or masturbating, or at least, fucking…
If I am in a dark humour then I write poking into our own weaknesses: I usually have to do more serious things, build on rubble or keep me alive…
I all, I nothing, I jerk, I drunk, I poet, I fool, I anarchist, I fascist, I rich, I without money, I radical, I different and I the same, black, jew, communist! I fag, I because I sing I know how to board, I fake, I true, I genius, I idiot, I here alone at four o’clock in the morning, anguish and a bit of wine, the desire to blaspheme!
According to you who am I doing this to stay and listen to anyone who has a twitching? Obviously, the doctor says “you’re depressed”, not even inside the toilet have my own time. And I’ve always said that it was a game knowing how to use or not in a certain meter: companions the going gets weight and gloomy, buy my backside, I sell it for nothing!
Fellow songwriters, chosen host, which sells in the evening for a bit of millions, you who are able to do well having a pocket full and not just the balls…
What can I say? Go and do it, there always will be, you know it, a failed musician, a pious, a philosopher, a Bertoncelli or a priest to talk shit!
But if I had foreseen all this, given cause and excuse, maybe I would do the same, I like to make songs and drink wine, I like partying, then I was born a fool so then keep going ahead and I do not undress of the cloths that I am used to wear: I have many things to tell for those who want to listen and to hell with all the rest!
as some of you might know, two weeks ago there was my lectio magistralis at the Triennale in Milan, curated by the AFIP.
I really enjoyed myself!
here is a little clip, made by franco russo, of the grand finale where we danced to the final notes of the beloved 8½:
on the blog of the AFIP there is a filmed and photographed report of the event, with the recording of the live stream and an authorial pill excellently curated by martino migli.
thank you so much to all those (so many!) who have honoured me with their presence, thanks to the AFIP, thanks to the CNA, thanks to all those in front and behind the scenes who worked to make a simple conference a show and a special thanks to the wonderful and generous person who is giovanni gastel: THANK YOU!
thanks also to the Corriere della Sera that featured me the following saturday:
and thanks also to Alessia Glaviano, the photo editor of Vogue, who wanted to honour me with her attention by writing a post about me and my conference: probably because she felt taken in the last quarter of an hour of my speech.
clearly the topic is interesting and alive, since her post has ahd a lot of comments and shares that seemed to me well and above the average.
alessia glavianois definitely a well-read person who knows the topic mentioned, photography. it seems to me then bizarre that she begins her post, in support of italian photographers who work for vogue, with a photograph of Mario Sorrenti, that I find difficult to define italian having gone to live and work in america at the age of 10! it is not a question of being left-winged or right-winged (!) but only that mario sorrenti is not italian: if that were the case we might acquire a great photographer but we would loose a great writer (the cuban Italo Calvino?!?) and also the great artist (the argentine Lucio Fontana?!?).
I also found it odd that they mixed editorials with advertorials: anyone who works in this field knows very well that they are two VERY different things. (amongst other thing, hear ye hear ye, I have also done advertorials for vogue).
alessia continues with knowledgeable quotes (guy debord!) and dialectical virtuosities, which, well, I found to agree as well.
probably it is a shame that this whole debate takes place, is followed and commented only through blogs: one could take a cue to sit at a table (at Forma?) to solve and better understand the issues at stake.
it would be valuable that at this table there were also (in case they were not permanently affected by The Stockholm Syndrome) the model agencies, the studios, the photographer’s agencies, the retouchers, in short all the workers that have watched as the fashion contry (italy?!?!) end up at the edge of the empire and plummet into a work crisis without limits.
in this hypothetical round table I would bring only one, precise and simple question, to which answer alessia glaviano can think and come prepared and “justified”:
SINCE 1989 (24 YEARS!) TO TODAY HOW MANY FASHION EDITORIALS WERE MADE BY ITALIAN PHOTOGRAPHERS FOR THE ITALIAN VOGUE MAGAZINE?
already at 16 years old I liked lászló moholy-nagy, the multiple expositions and the truth about photography (photography is not the reflection of reality, written on a mirror).
it was easy then, a few years later, to shoot an editorial dedicated to the work of fabio novembre for AD russia (condè nast russia edition) inspired by that world, by the avant-garde, by futurism, by man ray… in short by all that wonderful historical moment.
I want to thank the editor of the magazine eugenia mikulina, for the trust and the creative availability.
here is the editorial:
a “technical” detail: given the reference that I had, I wanted the photomontages and the changes to be like those I would have been able to achieve in shooting on film and developing in the darkroom, as they did in the twenties with film and enlarger. therefore most of the movements were shot filming, shooting in the dark on a black background and a strobe light. this doesn’t mean that there wasn’t any precise and careful photoshop work but the least invasive: I want to thank ignazio pacces for the skill and infinite patience in post-production.
while we were shooting we always had in front of us the masterpieces to which we were inspired by:
we also have a backstage video, as usual shot and edited by pasquale ettorre:
everything was so well received that condè nast (russia!) organised an exhibition with these images, fabio and I were invited to the opening in moscow:
(i’m not taller than fabio, its only the perspective…)
I also made a video with my iphone:
and finally the cover of the magazine, in which fabio curated the whole issue, as the guest editor: