“I Don’t Give A Fuck” is not the classic name you would give to a stuffed animal. But anyhow, the puppet that Nico Vascellari he built with his crackling forge of ideas that is Codalunga (an offshoot of his studio dedicated to the production of anagrams and activist posters) on the occasion of last Christmas, just like that he was baptized. A Nico himself with beak and wings, zoomorphic for metaphor. “It is actually an edition that takes up my first performance, almost twenty years ago in Rotterdam” (which he obtained in retaliation after accidentally stepping on the paintings of the roommate-curator). “The public was locked inside the gallery and from the windows was watching me trying to take flight in the middle of the street.”

“I Don’t Give a Fuck” is the 2002 performance that inspired the plush of the same name, created for codalunga.org.

Learned to fly like Yves Klein?
More like in cartoons. I thought of their misfortunes and wondered why they made us laugh so much.

So he dressed up as a bird?
Considering that I would have been embarrassed to shake the hands of those present, I imagined a dress that prevented me from doing so.

Very appropriate in these times. Did he make it his alter ego?
In my first performances I have always been dressed as an animal: Yellow Bird, Rabbit, Monkey, Pigeon, Mole. I lived a week in the dark like moles in a wooden tunnel. They create a link between the underground and celestial kingdoms, united and divided at the same time by one element: the earth.

2002 work entitled “Wilde Konjin”.

In the latest works he returns to the animal world: last year Horse Power it was a catalog of species whose iconography has penetrated the automobile industry …
And for the video that debuted in Villa Borghese last fall, Visit Interiora Terrae, I spent four nights, in absolute silence, observing with an infrared camera in the Cansiglio forest.

And he is carried by an animal litter. Is the nature-culture relationship a theme that belongs to you?
I guess so, but I work for sudden obsessions. Once, during a noisy performance, suddenly a shadow began to circle around me: a moth finally settled on my nose. Marina Abramovichaving witnessed the scene, he said it was the announcement of a positive change.

Was it true?
Absolutely. To the point that I decided to end that year with a sort of my own funeral: the glass case full of snow was carried down the mountain and placed in the church. While we waited for the snow to melt, a friend was playing the organ.

(Keep it going)

Opening: 2002 work entitled “Humans Are Monkeys”.

Read the full interview in the January issue of Vogue Italia, on newsstands from 7 January

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