Since Festival Iminente 2016, I’ve noticed a theme on ± MaisMenos’ ± social feeds.
Through a political campaign –Vota Mais Menos-, Miguel is using the same propaganda mechanisms that governments tend to use to convey his social contestation.
And he is starting by calling into question the core value of democracy: voting.
‘If I made it back then in London, I can make it now in Bristol’ I thought while collecting all my stuff spread throughout the seat and texting my super auntie that I was almost there. Our family reunion in London was about to begin, and I was feeling grateful for the sunny weather and definitely excited for being back to one of my favourite places ever.
I walk through the curtain that separates, but –at the same time- links, the genuine neighbourhood of San Lorenzo from Palazzo Donnaregina, the 19th-century building that is home to the contemporary art museum of Naples. It’s a garish curtain, which without a big preamble leads into a visionary space designed by Daniel Buren. The French artist has, in fact, transformed the rigid architectural lines of this elegant palace into a wonderland of colourful panels, mirrors and disorientating perspectives that create infinite reflections, deconstructing and inverting the usual look of the entrance to the museum.
I lay down on one of those soft, round seats dotting the post-industrial yard of Pirelli Hangar Bicocca, a dynamic cultural centre for contemporary art in the northern outskirts of Milan.
This building, originally used for manufacturing trains, comprises several large halls where site-specific installations are shown, these experimental and thought-provoking works that makes Pirelli Hangar Bicocca one of the best contemporary art sites in Italy.