In Milan
MACAO, the new arts centre in Milan, is a great experiment in building with a bottom up approach a space in which to produce art and culture. A place where artists and citizens can gather together in order to invent a new system of rules for a common and participatory management which, in an autonomous way, will redefine time and priorities of their work and allow them to experiment with new common languages.
We are artists, curators, critics, guards, graphic designers, performers, actors, dancers, musicians, writers, journalists, art teachers, students, and everybody who works in the field of art and culture. We’ve been mobilizing for one year, meeting in assemblies to discuss our situation as precarious workers in the fields of artistic production, entertainment, media, entertainment industry, festivals, and the so-called economy of the event. A world increasingly hostage of the finance that exploits and absorbs the primary task of culture, which is to be an economy of sharing.
I lavoratori dell’arte hanno lasciato lo spazio davanti alla torre Galfa, ribattezzato piazza Macao, dove si erano accampati dopo lo sgombero di martedì. E dopo una caccia al tesoro in giro per la città, centinaia di persone hanno “liberato” un nuovo edificio. Si tratta di palazzo Citterio, in piena zona Brera, che dovrebbe ospitare i locali della nuova pinacoteca, ma da trent’anni si trova in stato di abbandono
uds:
eventually è la parola inglese più bella che esista. sa di consolazione e stabilità. sa di senso a tutti i casini che si vanno a raccontare. in italiano è traducibile più o meno con ‘dopo una indefinita quantità di tempo’, ma mica è la stessa cosa. anche ‘alla fine’ non rende uguale,…
Katsura Funakoshi
Born in 1951 in Morioka City, Iwate Prefecture, Japan, Katsura Funakoshi is a contemporary artist living and working in Tokyo. He received a B.A. from the Tokyo University of Art and Design in 1975 and a M.A. from the Tokyo National University of Fine Arts and Music in 1977.
The son of a sculptor, Funakoshi is known primarily for his own figurative sculptures of legless mannequins in painted camphor wood. The sculptures, which often consist of torsos, heads, and the occasional misplaced human appendage, are praised for their haunting quality, elicited by the soft, human-like texture of the painted camphor wood combined with the disconcertingly realistic marble eyeballs. He has exhibited worldwide, including at the Venice Biennale, the Biennale de São Paulo, the Documenta IX, and in several solo shows in the U.S., England, and Japan.
