[aha] ashartonline

[mariopesceafore a lifegate.it]

Intanto mentre si decide io posto la nota in English su face....

> la cosa dei fake mi piace sempre di più...
>
> "2 righe per contestualizzare...", per esempio? a cosa ti riferisci?
>
> ----- Original Message -----
> From: "roberta buiani" <robb at yorku.ca>
> To: "List on artistic activism and net culture" <aha at lists.ecn.org>
> Sent: Monday, May 23, 2011 2:18 AM
> Subject: Re: [aha] ashartonline
>
>
> qui c'e' il tuo testo tradotto. pero' se posso suggerire, forse dovresti
> aggiungere un paio di righe per contestualizzare il lavoro (e magari
> possiamo mettere dei link alle pagine che citi).
> a tutti coloro che masticano l'inglese: per favore controllate che la
> traduzione abbia un senso.
> grazie
>
> rb
>
> ------------
> It was around 2005, when I found myself in one of those not-too-pleasant
> situations—whose outcome, as soon as they are over, often produces strong
> creative drives. I decided to buy a couple of contemporary arts magazines
> to
> find out who would be today’s Picassos. I was approaching the world of art
> with the same naïve spirit of a kid entering a park to play with his
> ball….
>
> As soon as I opened what I thought was the most striking magazine, I was
> left semi-horrified by the huge amount of pages dedicated to the ads
> before
> I was even able to reach the first page really dedicated to the arts. This
> so-longed page appeared with a title –in capital letters—“Letters to the
> director.”Next to the title, a bold guy, portrayed in a photo that
> appeared
> to mimic one of those commemorative pictures of saints. A delicate purple
> line framed the picture, reminding me of the vestments of a saddened
> priest
> during lent. After reading the first few letters, I realized that I hadn’t
> found in them anything but the lessons of a bitter teacher who was
> mercilessly chastising his students.
>
> I decided to keep browsing the magazine. I closed it half an hour later. I
> had opened it to look for art but I had only found the art market
> At that point, I felt the urge to express my surprise. As a very natural
> reaction, I decided to project my frustration using the Net. I had no
> knowledge whatsoever of the medium, so I turned to my friend –a
> webmaster—for advice. My friend Giulio gave me www.ashartonline.com as a
> birthday present. I remember that I was so ignorant about HTML programming
> that in order to help him reproduce the site of the magazine, I handed him
> a
> sheet with some measurements in cm (taken form my computer screen):]
>
> Even right now, I don’t know exactly why I decided to create a website to
> vent my frustrations. My approach was absolutely instinctive: I hadn’t
> heard
> of NetArt yet, nor had I heard of any other form of art online. However, I
> came out with this site, www.ashartonline.com, which was active between
> January and June. The site had a graphic design that resembled the
> platform
> it was imitating. “Ash” was missing two letters only “fl” to become
> “Flashart.” This was enough though to convey a different meaning brought
> up
> by the word “ash” in the domain. www.ashartonline.com was similar to
> www.flashartonline.com, not the same. A few little differences in the
> news,
> some corrections in some articles enacted the criticism. Furermore, there
> was a forum open to everybody. The project was doing rather well. People
> subscribing to it were increasing. Among the sections in the forum there
> was
> a part dedicated to “Letters to the director part two", a section
> dedicated
> to those who had received unpolite replies from the director (in the paper
> magazine). The replies in this section kept multiplying, until, I think,
> they really bothered the subject to whom they were addressed. However,
> what
> really triggered his reaction was the publication in three weeks of the
> “ash
> art diary”, a collection of email addresses of Italian artists, ctitics
> curators. It was possible to download the list for free. The website
> received hundreds of downloads in a few minutes.
>
> On 31 July 2007, a bailiff, soaked with 40 C worth of sirocco from
> Palermo,
> knocked at my door and handed me a cute pile consisting of dozens of pages
> sent to me by the lawyers of the “super-director.” The judicial cause was
> starting. The obfuscation of the site and four-five years of hearings and
> documents followed. At the end, the final sentence condemned me to pay the
> legal expenses (The fee requested to make up for the damage was over
> 200,000
> euros!) Since I am not able to satisfy this fee, the “Director” insists
> that
> my belongings be confiscated. 18 May 2011 everything I own at my current
> residence were confiscated. My mom and brother want to kick me out.
>
> If I was asked the question: “would you do it again?” I would reply
> without
> hesitation “absolutely.” at the end of the day I still believe in the
> “unadulterated” arts.
>
> Luca Lo Coco
>
>
> On May 22, 2011, at 6:59 PM, roberta buiani wrote:
>
>>
>> On May 22, 2011, at 6:42 PM, Luca Lo Coco wrote:
>>
>>>
>>>
>>> p.s: intanto se qualcuno fosse in grado di tradurre in inglese
>>> l'accaduto
>>> e mandarlo sulle altre mailing list internazionali, farebbe cosa
>>> gradita...
>>
>>
>> stavo proprio facendo la traduzione in inglese per i miei amici :-)
>> ...appena ho finito vi mando copia e poi si diffonde a piu' non posso
>>
>> stavo pensando a come avevi inizialmente concepito il tuo intervento:
>> come
>> una critica che colpisce su vari piani (quindi non solo il famigerato
>> politi, ma anche il sistema delle riviste d'arte stesse).  invece di
>> rivolgere i fake unidirezionalemente, si potrebbero diversificare
>> facendoli concentrare di volta in volta su diversi aspetti. quindi
>> sarebbero copie ma non proprio. il tutto chiaramente mantenendo uno
>> stesso
>> template.
>> sono d'accordo, qui ci vuole molta coordinazione, gente disposta a
>> collaborare e un po' di gente che ci aiuta a diffondere.
>>
>> rb
>>
>> ______
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>> AHA at lists.ecn.org
>> http://lists.ecn.org/mailman/listinfo/aha
>
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