We love paradoxes and we are trying to survive.

Ten days with Charles Filch and The Toothless artist.

Yes, we open with a magnificent portrait of Christopher Walken, chosen by Charles Filch and Toothless Artist as their favorite actor. And mine too. It is also the cover of the new squire (Spain) – la revista para hombres interesantes.

Charles Filch has, once more, puzzled everyone. Continue reading ‘We love paradoxes and we are trying to survive.’

Para empezar, quiero que todos ustedes piensen en una mentira que les hayan contado.

Saludos de Charles Filch, viernes 16 de Septiembre.

Para empezar, quiero que todos ustedes piensen en una mentira que les hayan contado.

¿Tienen ya esa mentira en mente? ¿Sabían, cuando se la estaban contando, que era mentira? ¿Sabía, el que se la contaba, que ustedes sabían que mentía? ¿Entendían ustedes por qué mentía? ¿Le han perdonado? Continue reading ‘Para empezar, quiero que todos ustedes piensen en una mentira que les hayan contado.’

The Stars, Like Dust (Do not resuscitate)

The Stars, Like Dust- a headline a day

Marisa Tomei: “We cannot let this happen in London”, September 1

It is curious to see how a work takes a life of its own. This is what has happened to The Inadequate. Continue reading ‘The Stars, Like Dust (Do not resuscitate)’

RECHAZO, por Francesco Matarrese

El texto que sigue es una traducción realizada por Aurelia Iurilli del texto fundamental de Francesco Matarrese “Rifiuto”, publicado originalmente en:

http://www.centroriformastato.org/crs2/spip.php?article285

Agradezco infinitamente a Francesco Matarrese la posibilidad de publicar este texto en theinadequate.net, siendo como es él uno de los artistas cuya obra estuvo en el origen del proyecto. Espero que lo disfruten como yo lo he disfrutado y lo disfruto. Continue reading ‘RECHAZO, por Francesco Matarrese’

A little William Holden, by Martí Manen

Perhaps not many among you remember that during the first two weeks of The Inadequate, there was a performance called “Where do characters go when the story is over?“.

This was the description you can still find in the “Guide To The Performance” (http://theinadequate.net/performanceguide/):

The performance Where do characters go when the story is over? presents, formatted as an unscripted conversation, the unlikely meeting between a fictional character and a real person, the conversation leading to the disintegration of such a distinction. In this case, the fictional person is none other than William Holden. Not the original Hollywood great William Holden, but the hybrid made by Martin Kippenberger in his work The William Holden Company (1991) and later ‘spun off’ by Dora García in her William Holden in Frankfurt (2008) – see www.williamholdeninfrankfurt.org. The real person is Geoffrey Carey, Hollywood misfit, European film avant-garde actor, and son of Western legend Phil Carey.

This all seems so long ago, and due to many circumstances, it does not look very likely William Holden will visit Venice very soon. However, fate has it that William Holden was, for Martí Manen, the ideal spokesman for The Inadequate. One has to know perhaps that William and Martí already met some time ago in Stockholm, and they have been friends ever since. Continue reading ‘A little William Holden, by Martí Manen’

El Mensajero en Venecia

http://www.doragarcia.net/inserts/themessenger/

Li dervayê qalabalix, ber bi nav qalabalixê, roj baş. Hun li vî bajarî

………………………………………………………………………………………?

Hola Dora!
Me olvidé de responder al mensaje que me enviaste. Hoy hice el mensajero y ayer tambien.
Ayer es sido una mañana muy difícil. La gente estaba mucho más molesta que otras veces. Nadie entiende lo que estoy haciendo la performance y especialmente los italianos son muy agresivos. Tres veces alguien me ha ofrecido algo de dinero y tres veces me amenazaron tres hombres diferentes. He observado que tal vez el más molesto es cuando entendí que yo busco un lugar para dormir. Cuando comprendí que yo necesito un trabajo o la comida, hay más disponibilidad. La solicitud de un lugar para dormir, sin embargo, crea una atmósfera involuntaria  de intimidad que no permite más oportunidades para el diálogo. Continue reading ‘El Mensajero en Venecia’

Eres una desgracia para tu país y Agosto es el mes más cruel

por Talía Romero

Hola Dora ¿qué tal? El día de hoy (ferragosto, 15 de Agosto – day of Avant Garde & Embarrassment como se han bautizado todos los lunes en los que por no habernos enterado que la Biennale estaba abierta, no se ha programado el día) ha ido muy bien, con poca gente pero muy bien.

La performance de The Messenger, muy bien, ya te contará Paolo sus propias vivencias; la visita guiada bien y The Artist Without Works, empieza a mover a la masa. Continue reading ‘Eres una desgracia para tu país y Agosto es el mes más cruel’

Aldo Piromalli once insulted the audience. Part II: The Dead Letter Office?

As if guessing the second part dedicated to him was going to be posted now, a new letter from Aldo Piromalli arrived today at the pavilion.

What brings me to the second part of my musings. The presence of Aldo Piromalli in the pavilion is due to the invitation he received from The Museum Of Italian Art In Exile. His presence in the archive The Inadequate was formatted, since the very beginning, as letters sent to the pavilion. But what I did not know then is that this was the main form of distribution of his work.

Once, a young lady came to me in the pavilion, she was Giulia Girardello. She explained to me she had been the person mediating between the pavilion and Aldo Piromalli, so as to make this contribution possible. She had got to know Aldo in another very, very special place: The Museo Casabianca in Malo. Continue reading ‘Aldo Piromalli once insulted the audience. Part II: The Dead Letter Office?’

Aldo Piromalli once insulted the audience. Part I

Chapter 45 of the performance “The Inadequate” reads:

“45 ALDO  PIROMALLI’S  LETTERS

Timing:  random

The artist Aldo Piromalli might randomly send a series of letters to the Spanish Pavilion, addressed to The Inadequate.

Aldo Piromalli (Rome, 1946) is a poet and an artist. He wrote his first poem at the age of nine and soon became one of the protagonists of the Roman beat scene of the sixties. In 1971 he was sentenced to prison for marihuana use and, once released, left Italy and established himself in Amsterdam. He is the author of the graphic novel Psychiatry, or Death of the Soul (1977).” Continue reading ‘Aldo Piromalli once insulted the audience. Part I’

Les impressions d’un jeune couple qui retourne au pavillon

Apprécier ou ne pas apprecier l´oeuvre signifie apprecier ou ne pas s´apprecier soi- même dans le contexte qui l´entoure

Les impressions d’un jeune couple qui retourne au pavillon

Le pavillon spagnol se présente d´abord dans une simplicité qui peut frapper  pour l´austerité, mais jamais devenir banale. L´étonnement d´un possible “visiteur” naît du fait qu´on ne lui montre pas quelque chose d´autre: c´est l´abolition de la viste elle- même, la destruction des limites entre “voyant” et “vu”. Continue reading ‘Les impressions d’un jeune couple qui retourne au pavillon’