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Our mid-November Circular, inspired by Charles Dickens – and why not? Haven’t we all been looking at our bookshelves for guidance?
“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair…”
So Circular No. 4 features… a Tale of Four Cities.
- From Venice, sculptor/photographer Lorenzo Vitturi gives us a glimpse of daily life in his hometown (great short vimeo, link below), and invites us all for glass of wine in the lagoon once this momentary, if inconvenient, blip in human history is behind us…Carpe vinum!
- From Moscow, curator Ekaterina (Katia) Inozemtseva tells how her museum of contemporary art is expanding in Moscow while opening a new site in St Petersburg. And how her Todi experience gave birth to a major new exhibition project with a Fellow Todi guest.
- In New York, writer/collector/curator Vince Aletti admits to having used these last six months extremely profitably.
- And from London, also a man-of-many-hats, Philippe Garner reflects on 50 years in the auction arena, and talks about finally having time to concentrate on a hitherto hidden passion.
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LORENZO VITTURI ARTIST VENICE
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Position
In Venice, living and working.
Recently
Since we were last together in Todi, I’ve been working on my latest project, Caminantes (that I partially presented in Todi), a first output of which I have shown in the exhibition “Materia Impura” at FOAM, Amsterdam in late 2019.
I have been travelling between Venice and Peru, reproducing a travel made by my father sixty years ago, developing a project that is really personal for me. It revolves around images and sculptures made of different materials, such as Murano glass, Peruvian textiles, shipping materials, and objects that I selected during my travels between the two countries, incorporating a symbolism that speaks of both visceral stories and local cultures.
During these strange and distressing times, I have also (remotely) opened an exhibition in France, at the Centre Photographique Rouen Normandie, titled “Nulla è Puro” (nothing is pure) – which will close in December, where more elements of this project come together.
The museum has produced a short video, if you want to have a look.
Link: https://vimeo.com/457001945
Along with this new project I have also been showing my earlier works, as everything is closely tied together and ideas continuously feed one another. I have participated in a group show on immigration in modern Britain curated by Kaleidoscope at Somerset House with works from the Dalston Anatomy series, which focuses on London’s Ridley Road Market and its unique combination of international influences.
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Currently
I have just opened an exhibition at T293 gallery in Rome which focuses on another project I have been working on for the past year in India. The show is titled “Jugalbandi” which in Indian means “entwined twins”, a word used to indicate a musical performance between two soloists who play simultaneously. I have worked with tapestries and the concept of collaborative practice in the creation of an artwork, producing four-handed rugs in collaboration with the Jaipur Rugs Foundation in Rajasthan, altering the conventional interaction between author and craftsman.
In the next few months my work will also be included in a group exhibition at the newly opened Nitja Centre for Contemporary Art, in Norway.
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EKATERINA INOZEMTSEVA CURATOR MOSCOW
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Position
I am still in Moscow, at Garage Museum of Contemporary Art.
Recently
What a difficult question! A lot, and more to come: programming for 2 new venues of Garage: one is located on the so-called New Holland Island in the heart of St Petersburg; another is in Moscow, next to our current building. We are also working on reservation of what’s called the Hexagon Pavilion. I also launched an MA program – as academic head – for curatorship and art management. Obviously did some exhibitions. Here is the latest one, of which I’m really proud.
Currently
You will be surprised (or probably not) that our common life in Todi with Thomas (Demand) brought us to the moment of a large-scale show of his work together with Alexander Kluge and SANAA Architects at Garage. We should open it in Fall 2021. So Todi is a true engine for good beginnings! And many more of course, speaking about exhibition plans and ideas.
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The Garage Museum of Contemporary Art, Moscow
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Life during the pandemic
Being part of a big institution, the entire period looks like a game, where you can never win! Rescheduling, regaming, postponing, Ersatz practices etc … Much pain around. But at the same time I got the feeling of human possibilities again, of love that can be shared and doubled “in size”.
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VINCE ALETTI CRITIC/CURATOR/COLLECTOR NEW YORK
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After more than a decade (2005-16) writing weekly photography exhibition reviews for the New Yorker’s Goings on About Town section, I’m back to freelancing and happy for work that I can do at home.
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At home © Balarama Heller for Aperture.
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Recently
I left the New Yorker to research and write a book, Issues: A History of Photography in Fashion Magazines, which Phaidon published in 2019 to an extremely gratifying critical response. Shortly after it came out, I began a monthly column for Italian Vogue called “This Is Not a Fashion Photograph,” after the exhibition I organized at ICP in 2009. To date, the column has featured work by Garry Winogrand, Francesca Woodman, Miguel Rio Branco, Alessandra Sanguinetti, Peter Hujar, Imogen Cunningham, and others, but not a single fashion photograph.
Currently
Over the past few months, mostly post-lockdown, I’ve written the introduction to a book about the short-lived (but soon-to-be-revived) fashion and culture magazine Acne Paper, due early next year; an essay for Taboo, a book about photography and self-censorship that Jason Fulford is editing for Aperture; and a piece for Aperture Magazine on the New York issues of several magazines over a 60-year period. I’ve also organized a portfolio of images for the next issue of Musee Magazine, focusing on Identity and featuring a mug shot, a film still, a photobooth portrait, and work by Bill Jacobson, Deborah Luster, Judith Joy Ross, and Dawoud Bey.
Life During the Pandemic
Being cooped up in my apartment in a neighborhood full of convenient resources, with more books than I’ll ever have time to read, and an archive of vintage magazines that I’ll never tire of paging through was far from a hardship. Having time to do read novel after novel–Eudora Welty, Edward St. Aubin, Elmore Leonard–was actually something of a luxury. The New York Times arrived every morning but that was as much news as I wanted; I mostly stopped watching TV except for late-night old movies. With all the time on my hands, I went through every drawer and box in my apartment, organizing photographs, papers, posters, and ephemera, much of which I’d forgotten I had. (I wrote a piece about some of the things I turned up for Aperture’s blog: https://aperture.org/featured/vince-aletti-home-collection-quarantine/) As New York has opened up, I’m glad for the return of the flea market, museums, and galleries and opportunities for outdoor dining. But I’m desperate to go to a movie.
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PHILIPPE GARNER COLLECTOR LONDON
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Position
In 2016 I retired as a Deputy Chairman of Christie’s and remain affiliated to the firm as an International Consultant. At the beginning of November I celebrated my 50th anniversary in the auction business. I joined Sotheby’s in 1970 as a trainer. The first auction for which I was responsible was in July 1971. That was a sale of 20th century decorative arts. My first photographs auction, the first of the modern market, was held in December of that year. It has been a wonderful ride. I left Sotheby’s in 2002, joining Christie’s in 2004 as International Head in my two fields of Photographs and 20th Century Decorative Arts and Design. Between my roles in the two big houses, I spent two years with Phillips organising sales in New York, which gave me great fresh perspectives.
Recently
The Victoria and Albert Museum recently acquired twenty of my own photographs for their permanent collection. I have been passionate but hitherto very private about my own photography. This acquisition, following that of eleven works by the National Portrait Gallery, has been a significant step for me, a motivator to now focus on showing and sharing work that I had kept to myself for decades [Shown above, a recent work].
Currently
Two book projects have come to fruition this autumn. One of these, printed and now being bound, brings together many of my interests. It presents an exceptional private collection of furniture and works of art and gave me the opportunity to collaborate with François Halard, a uniquely gifted photographer of interiors. The other has been produced by Hamiltons Gallery, London, alongside a superb exhibition of rare vintage prints, to commemorate Helmut Newton’s centenary. The book is sumptuous. Book and exhibition focus on Helmut’s work of the ‘70s and constitute a powerful tribute to a remarkable man. The exhibition is a ‘must see’ and because of lockdown has been extended till the end of January.
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