Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
GRAZIE PROF.
THANKS PROF.
di / by Marco Cirillo Pedri
Traduzione di / Translation by Giulia Negrello
13
Pianta Mutante 1
Acrilico su Tela / Acrylic on Canvas
50x70 cm
2002
Organismo Mutante II 2
Acrilico su Tela / Acrylic on Canvas
80x60 cm
2001
Pianta Mutante II 3
Acrilico su Tela / Acrylic on Canvas
60x80 cm
2001
Organic Mutation
Acrilico su Tela
Acrylic on Canvas
50x100 cm
2001
Organic Mutation II
Acrilico su Tela
Acrylic on Canvas
50x100 Cm
2001
Organismo Mutante 6
Acrilico su Tela / Acrylic on Canvas
100x100 cm
2001
Brain Danger 7
Acrilico su Tela / Acrylic on Canvas
80x40 cm
2000
Bad Eye 8
Acrilico su Tela / Acrylic on Canvas
147x95 cm
1995
Psycho Monster 10
China su Carta / Ink on Paper
14x17 cm
1995
11 Psycho Monster
Acrilico su Tela / Acrylic on Canvas
70x90 cm
2000
Cyclope 12
China su Carta / Ink on Paper
20x30 cm
1991
13 Ciclope
Acrilico su Tela / Acrylic on Canvas
40x80 cm
2002
Cyclope 14
Acrilico su Tela / Acrylic on Canvas
50x50 cm
2001
Tao 15
Acquerello su Carta / Watercolor on Paper
14x14 cm
1995
16 Tao
Acrilico su Tela / Acrylic on Canvas
50x50 cm
1995
Vortex 17
Acrilico su Tela / Acrylic on Canvas
60x60 cm
1995
El Topo N 2 18
Acrilico su Tela / Acrylic on Canvas
50x50 cm
2001
Fiore Acido II 19
Acrilico su Tela / Acrylic on Canvas
50x70 cm
2003
Fiore Acido 21
China su Carta/ Ink on Paper
15x15 cm
2004
Fiore Acido 20
Acrilico su Tela / Acrylic on Canvas
60x70 cm
2004
Fiore Acido IV 22
Acrilico su Tela / Acrylic on Canvas
50x70 cm
2006
Fiore Acido V 23
Acrilico su Tela / Acrylic on Canvas
70x50 cm
2006
Fiore Gigante 24
Acrilico su Tela / Acrylic on Canvas
80x120 cm
2005
Robot 26
Acrilico su Tela / Acrylic on Canvas
40x50 cm
1998
27 Robota II
Acrilico su Tela / Acrylic on Canvas
50x100 cm
2001
Space Robot 28
Acrilico su Tela / Acrylic on Canvas
100x50 cm
2001
Space Cyclope I 28
Acrilico su Tela / Acrylic on Canvas
100x50 cm
2001
Space Cyclope II 28
Acrilico su Tela / Acrylic on Canvas
100x50 cm
2001
Robota
Particolare / Detail
29
31 CyberPunk
Acrilico su Tela / Acrylic on Canvas
100x100 cm
1998
Elvis
32
Autoritratto 34
Autoritratto 35
Acquario Psicotropo 36
Acrilico su Tela / Acrylic on Canvas
100x50 cm
2001
Psychedelic Solution 38
Acrilico su Tela / Acrylic on Canvas
80x40 cm
2002
Cyclope 40
Mutante 41
Amanita 42
Serigrafia / ScreenPrint
33x48 cm
1996
43 Piero Ciampi
Litografia / Litography
70x100 cm
2005
Half Human 44
Pianta Mutante 45
Starfuckers 47
Serigrafia / ScreenPrint
48x33 cm
2006
Rumore Starfuckers 48
China su Carta / Ink on Paper
20x30 cm
1991
Storie Vere 51
China su Carta / Ink on Paper
14x14 cm x 3 Pezzi / Pieces
1987
52 Stanza 101
China su Carta / Ink on Paper
20x30 cm
1988
Cleaner 54
Collage
21x30 cm
1988
Space Robot 55
Skycrapers Robot 56
Collage
30x42 cm
1988
Collage
20x30 cm
1990
Robot Dentiera 57
Maschera Nera 58
Collage
33x41 cm
1998
Collage
24x33 cm
1999
Sick Face 59
Collage
21x30 cm
1992
Collage
24x32 cm
1985
Nexus 5 61
Nexus 4 62
Lego Robot 63
Lego
22x24x21 cm
2004
PROFILO BIOGRAFICO
BIOGRAPHICAL PROFILE
a cura di / edited by Vittore Baroni, Stefano Dazzi Dvok, Jenamarie Filaccio
Traduzione di / Translation by James Harris
113
Between the 70s and 80s Gianluca Lerici is known in his area as Gianluca
Punk, born in La Spezia on the 21st of May 1963, single child of naval
marconist father and apprensive over-protective housewife mother, a
muscolaio (muscle packager) in the summer and unrestful student the
rest of the year.
DJ for Radio Popolare Alternativa in La Spezia from 1979 to 1983 with
a provoking taste in music, between 1980 and 1982 he is singer for
hardcore punk band Holocaust (after a few years experience in shabby
highschool band Putrefax), thus taking part in the most extreme and
politicised punk scene in Italy which will eventually be known as the
Granducato Hardcore. Gianluca creates his first do-it-yourself fanzine
cutting out images from magazines and history books, Anarchy, only two
photocopied numbers with collages that in some way remind of Winston
Smith (the highly thought of resident graphic designer at Dead Kennedys
Alternative Tentacles). Among the punk records he so loves to collect, is
the first album by californian hardcore band The Angry Samoans, Inside
MyBrain, released in 1980 by Bad Trip Records. Life often offers bad trips
therefore, with anichilist punk attitude, Lerici decides to sign his visual
work as Bad Trip Productions. With Benzo of punk band Fall Out from La
Spezia, a companion of musical adventures that he met in 1978 coming
out from school, Lerici produces the punk fanzine Archaeopteryx in a
pure Crass style, of which a few numbers came out between 1981 and
1984 (the first two were duplicated with heliocopies, and subsequent
editions were printed at the Carrara anarchist typography), an organically
close publication to the vibrant hardcore punk subculture of the time (but
Gianluca also happens to sing Mongoloid by Devo during a live radio
performance). Lerici starts doing graphic design and articles for fanzines
as Bad Trip, also self-producing t-shirts and flyers for concerts of the punk
scene of the Lunigiana. In the same years, he takes part in demonstrations
and acts of protest, entering several times in conflict with the authorities
and institutions in charge: the police receives seven separate complaints
accusing him of occupation of a social center, damage, unauthorized
march, resistance and insulting a public official, resulting in a total of four
days in jail.
After completing his studies between the 80s and 90s, the young artist
perfects his unique graphic style with thick black wavy lines, inspired
by legendary authors of the tradition of underground and mainstream
comics (Basil Wolverton, Ed Big Daddy Roth, Robert Crumb, Robert
Williams, Magnus, etc.), but also by rock and psychedelic counterculture,
by abnormal and disturbing films by David Cronenberg and David Lynch, by
the dystopian fiction of writers like William S. Burroughs, J.G. Ballard and
Philip K. Dick, direct precursors of the cyberpunk imaginary of William
Gibson and Bruce Sterling. The incessant work and squiggly hallucinated
style becomes evermore unmistakable, soon leading Gianluca to broaden
his collaborations beyond the boundaries of the West Coast hardcore
scene. A close partnership is established in particular with members of
the Milanese collective ShaKe editions, led by E. Gomma Guarneri and
Raf Valvola, for which Lerici makes numerous spaced out cover collages,
delirious comic stories of punk degradation and Orwellian techno-tribal
illustrations for the international underground magazine Decoder.
Thanks to the high profile of Decoder, one of the best known and
appreciated Italian fanzines of the time, the art of Professor Bad Trip
(which makes no use of computers) is increasingly identified with issues
of the cyberpunk movement, booming in the early 90s and merging
countercultural libertarian traditions and new information technologies
along with previously unheard of rebelliuos figures (like hackers). Lerici
also expands his contacts and cooperation with other publishers in the
field of independent comics and illustration (R&R Editrice) and those close
to the antagonist cultures (AAA Edizioni, Castelvecchi, Stampa Alternativa,
Manifesto libri) not forgetting collaboration with major publishers such
as Mondadori, for which the artist created many covers (among the
best known are those for the early Niccol Ammaniti books). Eventually
Gianluca will illustrate the covers for a few of his authors of reference, like
the theoretician of situationism Guy Debord (for Oscar Mondadori) and
the science fiction author P.K. Dick (for Agenzia X), Edgar Allan Poe (I Miti
Mondadori) and the multiple individual Luther Blissett (Mondadori, AAA
Edizioni).
Lerici creates numerous illustrations for various books and one-off
publications for AAA Edizioni run by friends Piermario Ciani and Vittore
Baroni, completing in 1996 the 48 monstrous black and white postcards
for the cut-out book called Freak Shock, unfortunately never published.
Prof. Bad Trips work also appears on popular magazines that were sold
on newsstands such as the influential Frigidaire (Stefano Tamburini
is one of Gianlucas cult authors) and Tempi Supplementari, the
monthly music magazines Rockerilla (where he oversees the column
of obsessions and cultural garbage called Trash, with texts by Vittore
Baroni) and Rumore (the comic strip Rumore), Pulp libri, Tic, etc.
Meanwhile Gianluca carries on with militant partnerships with many
fanzines, political magazines of the movement and underground
publications, which often feature designs by Bad Trip on the cover: Vinile,
DeriveApprodi, Perterra, Insekten Sekte, Delirio, Underground,
Cyber Zone, Techno Body Way, Amen: this is religion, Aparte, Next
Exit, etc.
Complying with his passion for rock music and sound experimentation,
Gianluca also creates through the years countless record covers, flyers,
posters and t-shirts for a number of punk bands and projects of the
industrial-electronic area (Fall Out, Polvere di Pinguino, Nuts, Double
Deck 5, Starfuckers, Meathead, Zeni Geva, The A-10, Officine Schwartz,
Psychic TV, Forbici di Manit, Evolution So Far, Gargantha, Radio Zero,
etc.). The Professor also accepts commercial commissions from a
well-known label of La Spezia doing covers of numerous bootlegs and
unofficial live recordings of rock legends (The Who, Jimi Hendrix, Frank
Zappa, Led Zeppelin, Van Halen, Yes, Santana, AC / DC, etc.), designing for
some of these elaborate illustrated booklets as well. Also many posters
and graphic works were done for social centers of the peninsula, from
Milan to Palermo, or for anarchist festivals and events (to which he will
always feel very close because of his anarchic-libertarian beliefs) or for
related situations like Katodik Karma cultural association of La Spezia (for
a more complete list of annotated collaborations and publications, see
the articulated section dedicated to Gianluca Lerici in the web site www.
gomma.tv edited by E. Gomma Guarneri).
From September 1989 Gianluca was in Salerno on compulsory military
service with the 89th Infantry Brigade Salerno, for which he was
commissioned to draw the official calendar of 1990 (now a rarity for
collectors) in his own mildly camouflaged comic style.
Tra il 1994 e il 1996, Gianluca d vita a La Spezia con Jena, Chicco Crash e
Massimo alle edizioni Comicland, un centro indipendente di distribuzione
per libri e fumetti di varie case editrici alternative che produce anche in
proprio quattro antologie sul modello dei classici albi di comix underground
statunitensi (alla Zap). Presentando fumetti editi e inediti di Bad Trip e
altri autori, gli albi (Bad Trip Comix, Double Dose, Bad Mutants e Psycho)
riscuotono un notevole successo sotterraneo. Restano incompiute, per
la cessata attivit di Comicland, due antologie gi programmate sui
temi The Beast e Paranoid Hallucinations, cos come un gioco delloca
apocalittico gi pronto alla stampa nel 1995 (il progetto di un gioco in
scatola verr in seguito rielaborato e proposto per pubblicazione come
strenna natalizia a Mondadori, senza successo).
Comicland cura anche la distribuzione di originali magliette, poster,
serigrafie, cartoline e set di figurine di Prof. Bad Trip. Quello delle trading
cards autoprodotte, versione alternativa delle tradizionali figurine di
calciatori, un settore che intriga particolarmente lartista, il quale nel
corso degli anni 80 e 90 realizza e stampa in tiratura limitata varie
serie tematiche, dai protagonisti cibernetici e mutanti dei suoi fumetti
alle Rockstars of Tomorrow, dalle figurine di musicisti rock da culto
realizzate per Rumore alle 16 Trash Trading Cards orrorifiche accluse
nel 1990 al n. 62 della rivista di mail art Arte Postale!.
Senza mai abbandonare del tutto il disegno a china, dai primi anni 90
Lerici si dedica sempre pi intensamente alla pittura, realizzando opere
su tela in varie dimensioni, perlopi dipinte in vividi colori acrilici, che
inizia ad esporre in mostre per spazi pubblici e privati. Lautore avvia in
particolare una stretta collaborazione con la galleria Mascherino diretta
a Roma da Stefano Dello Schiavo, che lo vede proporre nel 1995 la sua
prima personale di alto profilo, Professor Bad Trip - Mostra di Psicopitture,
seguita da una seconda personale nel 1997 e nel medesimo anno da
Brain Danger in coppia con Jenamarie Filaccio (sculture in marmo di
Jena e quadri di Gianluca), pi varie altre collettive ed eventi organizzati
dalla galleria capitolina. Unaltra mostra a due, con maschere/sculture di
Jena dipinte da Bad Trip poi Wall-Heads (1998) presso il circolo Cabaret
Voltaire di La Spezia, a testimonianza del peso dellinfluenza reciproca tra
le poetiche dei due artisti. Tra le molte mostre collettive a cui il Professore
prende parte, figurano Blood Runner (Rave hangar Fiat, Roma, 1995) e
D.E.V.O. - Dinamiche Evolutive Visioni Organiche (Galleria Giulia, Roma,
1996).
Nel 1997, Gianluca e Jena lasciano Castelpoggio e si trasferiscono
nuovamente in un appartamento nel centro di La Spezia. Difficile ormai
tenere il conto delle mostre personali e collettive che si succedono senza
pause, da quelle spezzine (ad esempio, Pitture e grafiche psicotrope a
PerForm Arte Contemporanea nel 2002) a quelle in giro per lItalia, come la
personale al Crossing Arte Club di Portogruaro (Venezia) e Illusione ottica
presso il Futurarium di Milano, entrambe del 2001, o lanno successivo la
mostra/performance Hotel Madison room 666 in compagnia di Alberto
Biagetti e Luigi Berardi, allHotel Madison di Milano. In occasione delle
diverse esposizioni, hanno modo di scrivere dellopera di Bad Trip vari
critici e addetti ai lavori attenti ai nuovi sviluppi dellarte contemporanea
pi vicina alle sub-culture pop (dal Pop Surrealism allarte Lowbrow):
Matteo Guarnaccia, Carlo Branzaglia, Pablo Echaurren, Gianluca Marziani,
Roberto Rossini, Boris Brollo, Olivia Cozzani, Luca Raffaelli, ecc.
Mantenendo un saldo trait dunion con la cultura popolare vintage di cui
appassionato ed esperto, Lerici realizza molti suoi quadri con vividi colori
complementari che producono effetti lisergici e illusioni di profondit,
soprattutto se osservati attraverso gli occhialini bicolori usati fin dagli
anni 50 per la visione di fumetti e film in 3D (a volte, un paio di occhialini
rosso/verdi viene fissato direttamente alla tela tramite una cordicella). I
temi preferiti dei dipinti, non di rado accostabili tra loro in dittici, trittici
e installazioni multiple anche di rispettabili dimensioni (il trittico antimilitarista Shoot Kill Shoot ad esempio misura cm. 60x240), sono gli
stessi della produzione di fumetti, illustrazioni e collage, ma stilizzati e
sintetizzati in icone di esemplare potenza: simbologie della tradizione
psichedelica (occhi, teschi, funghi allucinogeni), robot semi-umani e altri
incubi tecnologici, demoni e inquietanti divinit pagane, spauracchi di
guerrafondai, ricchi capitalisti e prelati corrotti, freaks mutanti, giganteschi
insetti antropomorfi, creature aliene, ecc. Si avvicendano poi negli anni
nuove serie tematiche, spesso legate ad una compenetrazione organica di
natura e tecnologia: profondit spaziali solcate da meteore e astronavi, un
acquario abitato da pesci psicotici e piante gommosamente minacciose,
forme floreali inusitate e macroscopici ingrandimenti di cellule policrome
colte in bizzarri processi di clonazione.
Between 1994 and 1996, Gianluca directs in La Spezia with Jena, Chicco
Crash and Massimo the Comicland editions, an independent shop for
books and comics of various alternative publishing houses that also
produces its own four anthologies modeled on the classic American
underground comic books ( la Zap). Presenting both published and
unpublished Bad Trip comics along with other authors, Bad Trip Comix,
Double Dose, Bad Mutants and Psycho enjoy an underground popularity.
As Comiclands activity ended, two already programmed anthologies
remained unfinished on The Beast and Paranoid Hallucinations themes,
as was an apocalyptic Snakes and Ladders game ready for publishing in
1995 (the project of the board game will later be revised and proposed for
publication as a Christmas gift to Mondadori, without success).
Comicland also handles distribution of original t-shirts, posters, screen
prints, cards and sets of Professor Bad Trip stickers. Self-produced
trading cards, an alternative version of the traditional baseball cards,
particularly intrigues the artist, in the 80s and 90s he creates and prints
several different themed series in limited editions, from cybernetic
characters and mutants from his comics, to Rockstars of Tomorrow,
cult rock musician figurines made for Rumore magazine, and the 16
horrific Trash Trading Cards annexed in 1990 to the n. 62 of the mail art
magazine Arte Postale!.
Without ever entirely abandoning ink drawing, as from the early 90s Lerici
is more and more committed to painting, creating works on canvas of
various sizes, mostly painted in vivid acrylic colors, which he began to
exhibit in public and private places. The author begins a close collaboration
with the Mascherino gallery in Rome directed by Stefano Dello Schiavo,
where in 1995 he has his first high-profile solo exhibition, Professor Bad
Trip - Mostra di Psicopitture, followed by a second solo exhibition in 1997,
then in the same year he presents the show Brain Danger paired with
Jenamarie Filaccio (marble sculptures of Jena and Gianlucas paintings)
and takes part in other group shows and events organized by the Roman
gallery. Another double exhibition, with masks/sculptures by Jena painted
by Bad Trip is Wall-Heads in 1998 at the Cabaret Voltaire social club of
La Spezia, reflecting the mutual poetic influence between the two artists.
Among the many group exhibitions the Professor takes part in is Blood
Runner (Rave hangar Fiat, Rome, 1995) and D.E.V.O. - Dinamiche Evolutive
Visioni Organiche in 1996 at Giulia Gallery, Rome.
In 1997, Gianluca and Jena leave Castelpoggio and move to an apartment
in the center of La Spezia. Its hard to keep track of solo and group
exhibitions that take place in a constant flow, in La Spezia for example,
Pitture e grafiche psicotrope at PerForm Contemporary Art in 2002, and
around Italy, the solo show at Crossing Arte Club in Portogruaro (Venice)
and Illusione ottica at Futurarium in Milan, both in 2001, or the following
year the exhibition/performance Hotel Madison room 666 with Alberto
Biagetti and Luigi Berardi, at the Madison Hotel in Milan. On these
occasions, various critics and art insiders monitoring developments in
contemporary art closest to the pop sub-cultures (from Pop Surrealism
to Lowbrow) have the opportunity to write about Bad Trips work: Matteo
Guarnaccia, Carlo Branzaglia, Pablo Echaurren, Gianluca Marziani,
Roberto Rossini, Boris Brollo, Olivia Cozzani, Luca Raffaelli, etc.
Maintaining a balanced connection with popular vintage culture which
he is experienced in and passionate about, Lerici makes many of his
paintings with vivid complementary colors that produce lysergic effects
and illusions of depth, especially when seen through two-colored glasses
used since the late 50s for viewing comics and 3D movies (sometimes, a
pair of red/green glasses is fastened directly to the canvas with string).
The paintings are sometimes joined together in diptychs, triptychs and
multiple installations, also of considerable size (the anti-military triptych
Shoot Kill Shoot for example measures 60x240 cm.). The preferred
themes are the same as those of his comics, illustrations and collages,
but stylized and synthesized into powerful exemplary icons: symbols of
the psychedelic tradition like eyes, skulls, hallucinogenic mushrooms,
semi-human robots and other technological nightmares, demons and
disturbing pagan deities, scary warmongers, rich capitalists and corrupt
prelates, mutant freaks, gigantic anthropomorphic insects, alien creatures,
etc. New themes appear over the years, often linked to an organic mixture
of nature and technology: the depths of space crossed by meteors and
spaceships, an aquarium inhabited by psychotic fishes and threatening
rubbery plants, unusual floral shapes and magnified many-colored cells
made by bizarre cloning processes.
Nel 2002, a dieci anni dal libro di esordio Il pasto nudo, Mondadori
pubblica negli Oscar lantologia di fumetti e illustrazioni Almanacco
apocalittico, con unintervista a Prof. Bad Trip firmata dal multi-individuo
Luther Blissett. Nello stesso anno, presso la Mondo Bizzarro Gallery di
Bologna vengono esposti quadri e grafiche del Professore nella mostra
Psychedelic Solution. Nel frattempo, negli anni 1998-2000 il musicista
contemporaneo goriziano Fausto Romitelli (prematuramente scomparso
nel 2004) compone una delle sue opere pi rappresentative, la trilogia
Professor Bad Trip ispirata dalle tavole di Gianluca. Lopera viene incisa e
pubblicata su cd nel 2003 dallensemble belga Ictus, nellalbum intitolato
Professor Bad Trip su etichetta Cypres.
Nei primi anni del nuovo millennio, oltre che nel disegno, nella pittura
e nella scultura, Lerici si cimenta con rinnovato entusiasmo anche in
una serie di progetti di design per esposizioni di livello internazionale.
Realizza un vestito da dopobomba per un manichino che riproduce a
dimensioni naturali lartista, nellambito della rassegna collettiva Dressing
Ourselves a cura di Alessandro Guerriero per la Triennale di Milano del
2005 (catalogo Charta), mentre nellaprile 2006 fodera di suoi pattern
unintera stanza per la mostra Remida alla Galleria Cernaia di Milano.
Vengono poi prodotte borse in tiratura limitata per Yoox e altri elementi
di design e arredo (tappeti, cuscini, kimono, pattern per tessuti, sedie,
tavolini, lampade e mobili illustrati in stile Bad Trip).
Per incrementare questo tipo di produzioni, Gianluca e Jena danno avvio
nel 2004 in uno studio-laboratorio a Bottagna (frazione del comune di
Vezzano Ligure, nella campagna spezzina) al progetto Gli Insoliti Ignoti,
un collettivo artistico che si occupa di arte sociale e libertaria, riciclaggio,
produzioni a bassa tecnologia e design dellaccatto. Nella show-room del
gruppo, composto oltre che dalla coppia da Alessandro Donini e Andrea
Berti, trovano posto pitture, sculture, incisioni, collage, t-shirt, mobili,
lampade psichedeliche e altre suppellettili, spesso materiali di scarto
restaurati e riadattati con interventi grafici. Gli Insoliti Ignoti organizzano
installazioni e video-party nel loro spazio a Bottagna, ma curano anche
mostre e interventi multimediali in diverse situazioni, come la collettiva
di arte underground Intersezioni 2 al C.S. Interzona di Verona (2004) o la
rassegna Estraneamente 2 alla Fortezza di Sarzanello (2005) e la collettiva
Saluti dalla Costa Ovest al C.S.O.A. Cox 18 di Milano (2005).
Fin dai primi anni 80, Gianluca ama eseguire dipinti murali in spazi di
movimento in giro per lItalia, sullesempio del grande affresco creato
allentrata del Kronstadt, ex-scuola e primo centro sociale occupato di
La Spezia. Il murale pi noto dellartista per il caleidoscopico mosaico
realizzato proprio sul soffitto della show-room degli Insoliti Ignoti,
definito da pi parti la Cappella Sistina dellunderground. Le attivit del
gruppo vengono annunciate dal 2005 tramite il bollettino gratuito Lisola
degli Ignoti che, conclusa quellesperienza, si trasforma nel 2006 nella
micro-zine gratuita LIsola del Professore. Di questultima, escono tra
lagosto e il novembre 2006 ben sette numeri, per aggiornare in tempo
reale sulle nuove attivit e produzioni dellartista. Il quarto numero della
zine contiene un personaggio da ritagliare e abbigliare con un fantasioso
vestito dartista per guerre psichiche, mentre il n. 7 informa di una
mostra ancora in fase di preparazione, Nexus, con teste androidi dipinte
in omaggio a P.K. Dick.
Nel 2005, Lerici vince a Livorno il prestigioso premio Ciampi Laltrarte,
firmando tra le altre cose un evocativo ritratto del cantautore Piero
Ciampi. Sempre attivissimo localmente, per la sola Osteria dei Fondachi
di Sarzana realizza, tra il 2004 e il 2005, oltre venti spettacolari locandine
per diversi concerti organizzati nel locale. Nel gennaio 2006, lartista avvia
il progetto musicale Greetings From Hell, che prevede la recitazione di un
cut-up di testi anarco-patafisici-neo situazionisti da parte del Professore
su basi elettroniche e psichedelia malata remixate da vari d.j. (M16,
Christo e The Kingdom, ovvero il fido collaboratore Emiliano Ponzanelli),
con aggiunta di video-clip realizzate dalla V.J. Signorina Rottermeier (ad
esempio, animazioni con pupazzetti e piccoli robot creati da Bad Trip che
ballano la musica techno). Lo stesso anno il Professore cura per il centro
sociale Cox 18 di Milano una sua mostra retrospettiva, presenziando il
15 novembre allinaugurazione e alla concomitante presentazione del
libro collettivo Lumi di punk (Agenzia X) curato da Marco Philopat, a cui
partecipa con un intenso testo autobiografico. Per Cox 18 lautore realizza
anche le tavole originali di Saluti dallinferno, un originale calendario per
lanno 2007 coi volti di vari dannati del rock (oltre a quelli di personaggi
che hanno fatto dannare noi in vita, come G.W. Bush e Silvio Berlusconi),
pubblicazione che per non avr il piacere di poter sfogliare alla parete.
In 2002, ten years after the debut book Naked Lunch, Mondadori publishes
an anthology of comics and illustrations called Almanacco apocalittico
in the Oscar series, with an interview with Professor Bad Trip signed
by the multi-individual Luther Blissett. In the same year, at the Mondo
Bizzarro Gallery in Bologna the Professor exhibits paintings and prints
in a show called Psychedelic Solution. Meanwhile, between 1998 and
2000 the contemporary musician from Gorizia Fausto Romitelli (who
died prematurely in 2004) composed one of his most representative
works, the trilogy Professor Bad Trip inspired by Gianlucas work. This is
recorded and published on cd in 2003 by the Belgian ensemble Ictus, titled
Professor Bad Trip on the Cypres label.
In the early years of the new millennium, as well as being active in
drawing, painting and sculpture, Lerici engages with renewed enthusiasm
also in a series of design projects for international exhibitions. He makes
a post-bomb suit to dress a life-size dummy of himself as part of the
collective exhibition Dressing Ourselves by Alessandro Guerriero for the
Milan Triennale in 2005 (catalog by Charta), while in April 2006 he uses
wall-paper with his own patterns to cover an entire room for the Remida
exhibition at the Cernaia Gallery in Milan. A limited edition of handbags
are then produced for Yoox, and other objects of design and furnishing
(carpets, pillows, kimonos, printed fabrics, chairs, tables, lamps and
furniture decorated in Bad Trip style).
In 2004, to increase this type of production, Gianluca and Jena start a
studio-workshop in Bottagna, in the municipality of Vezzano Ligure, in
the countryside near La Spezia, a project called Gli Insoliti Ignoti (The
Unusual Suspects), an artistic collective that deals with social libertarian
art and recycling, low-tech productions and upcycling. The showroom
is shared between the couple and Alessandro Donini and Andrea Berti.
Paintings, sculptures, etchings, collages, t-shirts, furniture, psychedelic
lamps and other objects are exhibited and often restored waste is adapted
with decorations. The Insoliti Ignoti organize installations and videoparties in their studio in Bottagna, but they also supervise exhibitions and
multimedia interventions in different situations, such as the underground
art collective show called Intersezioni 2 at the Interzona social center
of Verona in 2004 or the festival Estraneamente 2 at the Fortezza di
Sarzanello (2005) and the group show Saluti dalla Costa Ovest at the
C.S.O.A. Cox 18 in Milan (2005).
Since the early 80s, Gianluca enjoys doing murals in alternative spaces
around Italy, one example is the large work at the entrance of Kronstadt,
ex-school and first occupied social center of La Spezia. The artists best
known mural, however, is the kaleidoscopic mosaic made right on the
showroom ceiling of Insoliti Ignoti, called by many the Sistine Chapel
of the underground. The groups activities are announced in 2005 by
the free newsletter Lisola degli Ignoti, and when the project ended, in
2006 it turned into the free micro-zine LIsola del Professore. Between
August and November 2006 seven issues were produced to inform about
upcoming activities and the artists production in real time. The fourth
issue contains a cut-out-and-dress character with a fancy Artists suit
for psychic wars, while number 7 speaks of an exhibition still under
preparation, Nexus, with androids heads painted as homage to P.K. Dick.
In 2005, Lerici won the prestigious Ciampi award in Livorno, Laltrarte,
signing among other things an evocative portrait of the singer and
songwriter Piero Ciampi. Always very active locally, for the Osteria
Fondachi in Sarzana only, between 2004 and 2005, he realizes over twenty
spectacular posters for various concerts organized in the premises. In
January 2006, the artist starts on the Greetings From Hell musical project,
which involves the reciting of a mash-up of anarchic, pataphysic and
neo-situationist texts by the Professor over electronic bases and sick
psychedelia remixed by various DJs (M16, Christo and The Kingdom
a.k.a. Emiliano Ponzanelli, Gianlucas trust-worthy collaborator), with
the addition of video clips made by V.J. Signorina Rottermeier (featuring
animations with puppets and small robots created by Bad Trip dancing to
techno music). The same year the Professor supervises a retrospective
exhibition for the Cox 18 social center in Milan, attending the inauguration
on November 15 and the presentation of the collective book Lumi di
punk (Agenzia X) by Marco Philopat, in which he appears with an intense
autobiographical text. The author also makes the artwork for Saluti
dallinferno, an original calendar for 2007 with the faces of various
damned rock icons (in addition to those who have damned our lives, like
G.W. Bush and Silvio Berlusconi), unfortunately the artist will not have the
pleasure of admiring this publication in the flesh.
Gianluca Lerici dies of a heart attack on the 25th of November 2006, at the
age of 43, leaving behind an unparalleled and boundless artistic production,
a labyrinth-like mosaic of expressions in various media, with dazzling
colors and explosive black and white optical contrasts, describing an end
of contemporary civilization and its uncertain rebirth in new dystopian
perspectives, revisiting visionary 60s culture but also classic themes of
folk art with a social background. The flamboyant art of Prof. Bad Trip did
not die that day, neither was closed the third eye that he carved in blood
on three decades of conformism and cultural sluggishness.
To remember Gianluca, already widely considered one of the most
important underground visual artists of the Italian and European scene
in recent decades, in 2007 and 2008 two anthologies are compiled by
Jenamarie Filaccio and ShaKe editions, Larte del Prof. Bad Trip and I
fumetti del Prof. Bad Trip, putting together a large and significant collection
of the authors art production and comics. In 2008, the European Biennial
of Contemporary Art Manifesta 7 in Bolzano devotes a tribute to the artist,
celebrating him as a leading figure of cyberpunk culture.
After the exhibition Ricordando Gianluca Lerici at Raisart Studio in May
2009, a petition that quickly collects hundreds of signatures leads to
Prof. Bad Trip - La rivoluzione visuale di Gianluca Lerici, a show curated
by Jenamarie Filaccio and Doriana Carlotti held from September 26th
2009 to January 24th 2010 at the Modern and Contemporary Art Center
CAMeC of La Spezia, with a series of events and conferences that analyze
the faceted career of Professor Bad Trip.
In the following years, several other exhibitions and tributes are held in
La Spezia (at the Circolo Anarchico Binazzi in 2011, for example) and in
other Italian cities (the Traffic Gallery in Bergamo between 2010 and 2011,
the Galo Art Gallery in Turin between 2011 and 2012) and Europe (at Xlab
Corrosive Art Farm in Berlin in 2010). In 2014 Lerici is seen for the first time
in the South of Italy with the exhibition La musica disegnata di Gianluca
Lerici - Professor Bad Trip at Palazzo Caputi in Ruvo di Puglia, organized
by the cultural association La Mancha. With regard to music, in 2012 the
New York label Tzadik released the posthumous album Anamorphosis by
Fausto Romitelli (with Talea Ensemble), with Lericis Half Human painting
on the cover. In 2014, vol. 24, n. 3 of Canadian contemporary music
magazine Circuit is entirely dedicated to Romitelli and has illustrations
by Prof. Bad Trip both on the cover and inside.
In January 2015 works by Lerici and Filaccio are exhibited together in
Pietrasanta at Dovedesign gallery, in a show called Prof. Bad Trip & Good
Jena. In early 2016, ten years after the artists death, the Fondazione
Cassa di Risparmio in La Spezia hosts the exhibition Professor Bad Trips
Illustrated World at Spazio 32. Among the events related to the show, the
Teatro Civico of La Spezia hosts a tribute concert, with free admission,
with Fausto Romitellis composition Professor Bad Trip performed
by Eutopia Ensemble.
PUBBLICAZIONI SELEZIONATE
DISCOGRAFIA
Aa. Vv., Assillo Politico (cassetta, Play At Your Home Records 1982) 5
brani degli Holocaust
Aa. Vv., Dark Movements n. 1 (cassetta, Oscuri Prodotti Records 1982) 1
brano degli Holocaust
Aa. Vv., Some Waves (cassetta, Graf Haufen Tapes 1983) 1 brano degli
Holocaust
Azione Aliena / Yellow Yawn, Mostruosit Acquisita (cassetta, AlienAction Tapes 1987) split tape con 8 brani di Azione Aliena (Prof. Bad Trip,
Tingis e Plattinum Titti)
Aa. Vv., Batmaniacs On The Loose (cassetta, Trash Tapes 1989) 1 brano
dei Garbage Pail Kids
Aa. Vv., Soundtrekking For Mutants (cassetta, Trash Tapes 1989) 2 brani
dei Garbage Pail Kids
Garbage Pail Kids, Garbage Pail Kids (cassetta, Sub-Trash Tapes 1990)
11 brani del progetto sonoro di Professor Bad Trip e Jenamarie Filaccio
Aa. Vv., Trash Kids (cassetta, Organic Mutation Institute 1991) 17 brani di
Garbage Pail Kids e altre ghost-band create da Gianluca Lerici
Aa. Vv., Urla dal Granducato, (lp/cd, Area Pirata 2002/2003) 1 brano degli
Holocaust
The Doodlebugs con Gianluca Lerici, Saluti dallinferno (demo, 2006) 3
tracce inedite, testo e voce di Prof. Bad Trip
126
SELECTED PUBLICATIONS
DISCOGRAPHY
Aa. Vv., Assillo Politico (cassette tape, Play At Your Home Records 1982)
5 tracks by Holocaust
Aa. Vv., Dark Movements n. 1 (cassette tape, Oscuri Prodotti Records
1982) 1 track by Holocaust
Aa. Vv., Some Waves (cassette tape, Graf HaufenTapes 1983) 1 track by
Holocaust
Azione Aliena / Yellow Yawn, Mostruosit Acquisita (cassette tape, AlienActionTapes 1987) split tape with 8 tracks by Azione Aliena (Prof. Bad
Trip, Tingis and Plattinum Titti)
Aa. Vv., Batmaniacs On The Loose (cassette tape, Trash Tapes 1989) 1
track by Garbage Pail Kids
Aa. Vv., Soundtrekking For Mutants (cassette tape, Trash Tapes 1989) 2
tracks by Garbage Pail Kids
Garbage Pail Kids, Garbage Pail Kids (cassette tape, Sub-Trash Tapes
1990) 11 tracks by Professor Bad Trip e Jenamarie Filaccio
Aa. Vv., Trash Kids (cassette tape, OrganicMutationInstitute 1991) 17
tracks by Garbage Pail Kids and other ghost-bands created by Gianluca
Lerici
Aa. Vv., Urla dal Granducato, (lp/cd, Area Pirata 2002/2003) 1 track by
Holocaust
The Doodlebugs with Gianluca Lerici, Saluti dallinferno (demo, 2006) 3
unpublished tracks, lyrics and voice by Prof. Bad Trip
di / by Vittore Baroni
Traduzione di / Translation by Michela Bettuzzi
129
The cybernaut Gianluca Professor Bad Trip Lerici has been, for
years, a spokesperson of virtual countercultures and a guru of
the most robotic techno-thrash imagination; he did not, however,
own or use a computer. After all, it is renowned that even Bruce
Sterling, pioneer and theorist of the cyberpunk sci-fi, wrote his
first novels on a common typewriter. The Professor asked me
to interview him via mail for the appendix of his Almanacco
apocalittico, published by Piccola Biblioteca Mondadori on
March 2002. Therefore, I sent him a long series of questions, that
he chose and completed with a few more that he had written
himself (attributed to a certain Mister K) and a couple more
questions by his friend Marco Philopat. Not long after that, the
artist sent me a folder containing all of the answers: there were
55 neatly hand-written sheets of paper, where each topic was
accompanied by detailed notes and related bibliography.
I did the necessary editing for Mondadori (an unpaid work, a va
sans dire), cutting notes and considerably simplifying the text, so
that many substantial parts have so far remained unpublished.
Moreover, Mondadori asked me to sign the interview with the
nom de plume Luther Blissett, which I had used on different
occasions (incognito, for the LB Project) and which, at the time,
had quite a reputation. When eventually Gianluca had a copy of
Almanacco in his hands, his first book for a major publisher, he
almost burst into tears, horrified by the awful quality of the paper
and by the bad printing, which was very blurred and greyish.
The anthology, moreover, presented some forceful repagination
of the boards, off-kilter proportions and it completely lacked
information on the works. In brief, the Almanacco apocalittico
was a half-missed opportunity rather than a springboard for
the Professors art. The original interview, which has been kept
aside up to now, represents probably the most extended and
detailed interview ever released by the author from La Spezia
and, therefore, it deserved to be read in full, enriched with those
scrupulous notes which draw a complete view of his passions
and of his artistic and literary influences. So, here is the faithful
Directors Cut edition, exactly as it has been drafted by the
Professor in big block capitals back in 2001.
Follow this class without distractions, you are going to be tested
on it from tomorrow onwards!
Vittore Baroni
Key
VB = Vittore Baroni (music reviewer and artist)
MP = Marco Philopat (writer)
MK = Mister K (anonymous critic)
PBT = Professor Bad Trip
B = Bibliography
MK: Lets start from the beginning: where does the name
Professor Bad Trip come from?
PBT: The use of Bad Trip as a name dates back to the early
Eighties. I began to sign as Bad Trip productions a whole series
of underground graphic works, like gig flyers, fanzine pieces,
woodcut or photocopied postal cards, and stamps or seals for
the mail art network. Bad Trip had many different meanings: it
referred to my personal situation, to the local one, but it was
good for the global situation as well. Moreover, it was a quote
only initiated people could understand: I was a fan of the second
generation of the Californian punk scene, of some hardcore
bands like Germs, Black Flag, Fear, Dead Kennedys and so on.
Bad Trip Records was the name of the unknown recording label
of one of them, the Angry Samoans. Bad Trip, like No Future,
was also a political slogan and the summary of what we thought
of the world: Reagan, Thatcher, the Cruise missiles, the yuppies,
the unrestrained cathode ray tube lunacy, the will of the leading
cultural classes to delete past movements history, an attempt
that threatened to leave us both without future and past: it was
a bad trip indeed!
A few years later, while I was attending classes at the Accademia
di Belle Arti in Carrara, surrounded by servile students and
teachers who were completely ignorant about everything that was
interesting and groundbreaking in the world of contemporary art
and culture, I decided, in a perfect pataphysic style, to proclaim
myself Professor, against their pitiful and false psyco-elite.
VB: Modern art, which was born from the revolutionary movement
of the historical avant-gardes, seems now to be one of the most
conformist, middle-class and commercialised activities: is it still
possible to be iconoclasts in the world of the arts?
PBT: Contemporary society has inherited from the avant-gardes
and from their historical development to this day, a new idea of the
art, if compared to the stricter meaning it had until the beginning
of XX Century. Especially from dadaism onwards (1), it has been
clear to all the truly democratic people that everything can be
thought as art and that everyone can practice it; for instance,
it is not absolutely necessary to graduate at the Accademia di
Belle Arti anymore or to have one renowned master or another
to be socially considered an artist, as it happened in the past;
in this same way an art work, in order to be acknowledged as
such, must not necessarily be created with the so-called noble
materials (such as oil painting, marble or bronze).
If we accept the principle that everyone can be an artist, regardless
of his studies, of his social class, of his political opinions, etc...,
and that this person could use any kind of material and tool,
then the world of art can be extended to the whole society, a
conceptually unfenced place where everyone can, to get back to
your question, choose the difficult role of iconoclastic artist (2).
As it concerns my work, considering that I usually create images
from scratch, I think that the term iconoclast doesnt properly
fit, both for its historical meaning (the iconoclasts were heretics
who did not accept the cult of the images and therefore destroyed
them) and for its modern ordinary usage, which usually refers
to the enemy of the accomplished fames; I would use more
generically the expression counter-cultural. From my perspective,
the iconoclasts use known images, which are somehow sacred,
reverting their meaning, like, for example, Marcel Duchamp
(3) who adds a beard and the moustaches to the Gioconda or,
thinking of some examples closer to the most recent punk-art,
1 - Artistic movement, founded in Zurich in the Spring of 1916, in a small tavern called Cabaret Voltaire, by Romanian poet Tristan Tzara, German
writers Hugo Ball and Richard Huelsenbeck and painter/sculptor Hans Arp.
B: G.C. Argan,Larte moderna 1770/1970, Sansoni 1970; R. Huelsenbeck, En avant dada. Storia del dadaismo, Nautilus 1989.
2 - Please check the article Iconoclastia - la prima guerra per il controllo dellimmaginario popolare by Raf Valvola, from Decoder n. 3, ShaKe
edizioni 1988.
MK: Trovi che tutto ci sia fisiologico alla societ? Allora vero:
il denaro e il potere appestano la creativit?!
PBT: Gi, tutto ci fisiologico e sintomatico della societ bacata
in cui viviamo; il denaro appesta, anche se, bene chiarirlo
subito, penso ci siano cose che appestino molto pi del denaro,
come per esempio la miseria o limpotenza culturale.
MP: Esiste una correlazione tra convinzione politica e opera
darte? Quali sono le possibili connessioni oggi tra arte e
rivoluzione?
PBT: Piuttosto che di convinzioni politiche parlerei, nel mio
caso, di convinzioni culturali. Certo le convinzioni politiche
contingenti, che hai durante larco della vita, ti condizionano e
ti fanno conoscere e preferire determinati autori o movimenti
piuttosto che altri, cio vanno a contribuire in maniera diretta
e fondamentale al tuo percorso culturale, ma non detto che
lopera le rappresenti sempre, o le comunichi chiaramente, o
semplicemente le sottointenda; spesso quando progetto un
quadro mi lascio trasportare dal senso estetico partendo da
unidea di base del tema che voglio rappresentare: per esempio
la mancanza di libert, il controllo sociale, langoscia del
presente, ecc., tutti argomenti forse politicamente attuali, ma
che travalicano anche la sfera dellattualit.
Un certo tipo di rivoluzione esiste, tra noi, anche se magari non ce
ne accorgiamo perch va troppo lenta. Tutti gli scrittori visionari,
gli artisti devianti, i musicisti rivoluzionari, gli editori liberi, i registi
cinematografici innovativi, gli inventori pazzi, contribuiscono
con la propria opera in maniera decisiva allevoluzione delle
opinioni e dei gusti della gente nel progresso del costume della
societ, in una rivoluzione fredda che nessuno stato, nessun
potere militare, religioso, culturale, politico o finanziario pu
fermare. Ogni artista pop-underground, ognuno nel suo piccolo,
anche chi non abbia avuto successo commerciale, n immediato
3 - Marcel Duchamp (1887-1968), artista attivo dalla prima decade del 1900 e che diverr in seguito uno dei protagonisti del movimento dadaista.
B: G.C. Argan, op. cit.
4 - Jamie Reid (nato 1947), autore noto soprattutto per essere stato il creatore della grafica e delle copertine di dischi dei Sex Pistols, aderente gi
dalla fine degli anni 60 al situazionismo.
B: Angeli & Molotov, articolo da Decoder n. 5, ShaKe edizioni 1989.
5 - Winston Smith, pseudonimo ( originariamente il nome del protagonista del romanzo 1984 di George Orwell) dellautore americano di collage
e disegni noto per la sua collaborazione col gruppo musicale Dead Kennedys e la relativa casa discografica Alternative Tentacles Records.
B: W. Smith, Act like nothings wrong - The montage art of Winston Smith, Last Gasp 1994; W. Smith, Art-Crime - The montage art of Winston Smith
Volume 2, Last Gasp 1998.
6 - Fungo allucinogeno considerato velenoso nella totalit dei manuali micologici ufficiali.
B: G. Samorini, Amanita muscaria, Nautilus 1998.
Jamie Reid (4) who puts a safety pin in the mouth of Queen
Elizabeth, or Winston Smith (5) who paints a punk version of the
Gioconda. I consider the world of art as a great iceberg with just
a little bit above the surface, which is the art market. Considering
that those who invest money and/or cultural credits on art, that
3 - Marcel Duchamp (1887-1968), artist active since the beginning of 1900 and who will become later on one of the leaders of Dadaism.
B: G.C. Argan, mentioned above.
4 - Jamie Reid (born in 1947), author known, most of all, to have been the creator of the Sex Pistols graphic and albums covers; he participated,
at the end of the Sixties, to Situationism.
B: Angeli & Molotov, article from Decoder n. 5, ShaKe edizioni 1989.
5 - Winston Smith, pseudonym (originally the name of George Orwells 1984 main character) of the drawings and collages American author,
known for his collaboration with the band Dead Kennedys and their label Alternative Tentacles Records.
B: W. Smith, Act like nothings wrong - The montage art of Winston Smith, Last Gasp 1994; W. Smith, Art-Crime - The montage art of Winston Smith
Volume 2, Last Gasp 1998.
6 - Hallucinogenic mushroom, evaluated poisonous by every official mycological handbook.
B: G. Samorini, Amanita muscaria, Nautilus 1998.
VB: Ritieni che quanto appreso alla scuola darte sia stato daiuto
per la tua formazione? Ti senti maggiormente influenzato dalla
storia dellarte (penso ad es. al tema classico dellApocalisse)
o da forme espressive contemporanee come musica, cinema,
fumetto?
PBT: Il fatto di aver potuto frequentare ed essermi in seguito
diplomato alla sezione di scultura dellAccademia di Belle
Arti di Carrara mi stato di grande aiuto in numerosi campi.
Sebbene fino ad oggi abbia prodotto relativamente poche
sculture a tuttotondo (7), c un forte senso del volume che si
manifesta nella mia opera bi-dimensionale, sia nei quadri che
nelle precedenti opere grafiche in bianco e nero, certo uneredit
dei miei studi e pratiche scolastiche. Mi ricordo che allepoca
bisognava dare un sacco di esami teorici (tipo storia dellarte,
anatomia, pedagogia, semiologia, teoria e tecnica dei mass
media, ecc.) e se si voleva evitare di pagare le tasse scolastiche
si doveva superare una determinata votazione globale annuale
piuttosto alta, cosicch personalmente mi impegnavo anche
in materie che gi allora mi interessavano assai poco e che in
seguito non mi sarebbero servite a granch, soprattutto a livello
professionale. In particolare, per quel che riguarda la storia
dellarte, argomento molto vasto e interessante, a seconda degli
insegnanti che ti capitavano, veniva spezzettata in lezioni, studi
ed esami su determinati autori o movimenti, la cui conoscenza
era scarsamente utile alla realizzazione dei miei progetti di
allora e anche futuri. Potevo per, in quanto iscritto ai corsi,
frequentare a piacimento una libreria scolastica decisamente
imponente e prendere privatamente informazioni sullopera
degli artisti e sulla storia dei movimenti che pi mi attraevano.
Naturalmente sono convinto dellimportanza della cultura
e dellinformazione e che pi cose si conoscono pi i nostri
strumenti per capire il mondo che ci circonda sono appuntiti
indipendentemente che questa cultura ci venga trasmessa dalla
scuola, dalla tv, dal computer, dal centro sociale, dalla rivista
o dal libro, ecc. Ognuno di noi, unico ed irripetibile quanto si
vuole, finisce per diventare anche una somma, un ricettacolo di
conoscenze e storie precedenti, e non escludo che la memoria
scolastica dei pittori del passato a cui ti riferisci, sia magari
in qualche angolo latente del mio cervello e venga ogni tanto
inconsciamente a galla. Ma pi che da quelle della storia
dellarte sono contagiato dalle apocalissi della storia e da quelle
della quotidianit, che vivo giornalmente uscendo per la strada,
leggendo il quotidiano o accendendo un telegiornale qualsiasi;
questo per quanto riguarda i contenuti del mio lavoro, quello che
voglio e tento di immaginare, esprimere, comunicare. Per quel
che concerne invece la forma, penso che il mio stile compositivo
e pittorico sia stato, allorigine, pesantemente influenzato da
VB: Do you think that what you learnt at the art school has been
useful to your education? Do you think you are more influenced
by the history of the art (Im thinking about, for instance, the
classic theme of Apocalypse) or by the contemporary forms of
expression like music, cinema, comics?
PBT: Being able to attend and later to graduate at the sculpture
section of the Accademia di Belle Arti in Carrara has been
incredibly useful in many fields. Although I have so far produced
only a few all-round sculptures (7), there is a big sense of volume
which emerges in my bi-dimensional work, both in painting and
in my previous black and white graphic works, which is for sure
an inheritance of my studies and school practices. I remember
that, at the time, you had to take a lot of exams on theory (like
art history, anatomy, pedagogy, semiology, mass media history
and technique, etc...) and if you want to avoid to pay school fees
you had to achieve a certain global yearly mark that was quite
high, so I personally put an effort on subjects that, at the time,
were quite uninteresting to me and that, later on, would not be
very useful, especially at a professional level. As it concerned
history of the art, a subject which is very interesting and wide,
the course was usually divided into classes, studies and exams
on certain authors or movements according to the teacher you
got, whose knowledge has hardly been useful to the realisation
of my projects, both at that time and in the future. However, as
I enrolled to the classes, I could freely frequent the impressive
school library, and thus I was able to get information about the
work of the artists and the history of the movements I was more
interested into.
Naturally, I am convinced of the importance of culture and
knowledge and that the more things we know, the sharper our
tools to understand the world are, regardless of the source
this culture comes from: school, tv, computer, squat, magazine
or book, etc... Each of us, unique and one-in-a-million as you
like, ends up to become an amount too, a repository of previous
knowledge and stories. And I do not exclude that school
memories of the painters of the past you were referring to, could
be in some hidden part of my brain and sometimes unconsciously
surface. However, rather than from those of the history of the art
art, I am infected by the historical and the everyday apocalypses,
which I experience daily as I get out in the street, when I read
a newspaper or when I watch an average newscast; this as
regards the content of my work, what I want and what I try to
imagine, to convey and to express. As it concerns its form, I think
my compositional and pictorial style has been influenced by the
American Pop Art (8), especially by Andy Warhol (9) and Roy
Lichtensteins (10) work, which, in turn, got their style from the
popular comics and advertising graphic of their time. Similarly
to them, I match flat and violent colours on the canvas, and later
I put on top darker hues without shading, finally getting a very
graphic mark.
Certainly, there is also a strong influence of the Kustom Art (11)
and of the historical psychedelic art (12), from which the whole
underground Pop art (13), punk art (14), street art (15), which I
belong too, derived. Surely, it is possible to be informed about
it and to follow these movements more by hanging out with
the right people or relating with them through their websites,
by buying counter-cult magazines, reading underground books
and comics and listening to cyberpunk music, than attending
whichever school.
16 - Antica tecnica di stampa, in origine monocromatica, che prevedeva lincisione manuale su matrice in legno del negativo del disegno che si
voleva stampare. Oggigiorno questo tipo di incisione artistica viene eseguita su materiali industriali (linoleum) o prodotti appositi (adigraf).
17 - Stampa con fotocopiatrice.
18 - Tecnica di stampa su grandi formati che prevede lutilizzo di matrici disegnate/scritte direttamente su lucido o impresse su carta acetata.
19 - Edvard Munch (1863-1944), pittore norvegese pioniere e punto di riferimento dellEspressionismo tedesco.
B: G.C. Argan, op. cit.
20 - Pseudonimo di Roberto Raviola, disegnatore di fumetti popolari, recentemente scomparso, attivo dallinizio degli anni 60.
21 - Pseudonimo di Luciano Secchi, soggettista, sceneggiatore ed editore.
22 - Animale preistorico per met rettile (bocca dentata) e per met uccello (volava, aveva penne e piume).
23 - Stefano Tamburini (1955-1986), personaggio di spicco della scena artistico-editoriale europea di sempre, disegnatore, soggettista,
sceneggiatore, grafico, editore, artista sperimentale e critico musicale.
B: S. Tamburini/T. Liberatore, Ranxerox, Primo Carnera editore 1981; S. Tamburini/T. Liberatore, Ranxerox 2, Primo Carnera editore 1983; S.
Tamburini, Muscles - Antologia 1980/1984, Primo Carnera editore 1984; Autori Vari, Una matita a serramanico - omaggio a Stefano Tamburini,
Millelire Stampa Alternativa 1994.
24 - B consigliata: A. Breccia/E. Breccia/H. Oesterheld, Ch, Topolin edizioni 1995; A. Breccia/E. Sbato, Rapporto sui ciechi, R&R editrice 1994;
A. Breccia, Un certo Daneri, Editiemme 1980.
25 - B consigliata: A. Breccia/E. Breccia/H. Oesterheld, op.cit.; A. Breccia, La guerra della Pampa, Editiemme 1980.
26 - B consigliata: Jos Muoz (disegnatore) & Carlos Sampayo (soggettista-sceneggiatore), Nel bar, Produzioni Cartoons 1986; Muoz &
Sampayo, Sophie, Lisola Trovata 1980; Muoz & Sampayo, Sudor Sudaca, R&R editrice 1992.
27 - Rivista a fumetti apparsa in Francia a met degli anni 70, e successivamente in Italia. Presentava lavori della nuova onda francese (Moebius,
Druillet) e internazionale (Corben, Caza, Bilal).
28 - Pseudonimo di Jean Giraud (1938-2012), disegnatore francese attivo anche in campo cinematografico.
B: J. Giraud/Moebius, Il mio doppio io (autobiografia), DeriveApprodi 1999; Moebius/Jodorowsky, Gli occhi del gatto, Alessandro Distribuzioni
1985; Moebius/Jodorowsky, Ciclo dellIncal (6 volumi), Editori del Grifo 1988; Moebius, Visioni di fine millennio, Nuages 1997; Moebius, Chaos,
Alessandro Distribuzioni 1991.
29 - Andrea Pazienza (1956-1988), disegnatore.
B: A. Pazienza, Le straordinarie avventure di Pentothal, Milano Libri 1982; A. Pazienza, ll libro rosso del Male, Il Male 1981; A. Pazienza, Zanardi,
Primo Carnera editore 1983; A. Pazienza, Perch Pippo sembra uno sballato, Primo Carnera editore 1980.
MP: The paranoid look, the pessimistic vision of the future, the
dark mood, are fundamental features of your works, both in older
comics and in current paintings, and the transition from black
and white to colours has paradoxically enhanced these features,
almost as if you were saying that the world is getting worse and
worse in spite of the colours.
PBT: My early interest towards black and white drawing, woodcut
(16), xerography (17) and other monochromatic engraving/copy
techniques has to be connected to the similarly early fascination
with the underground print and to the need, which I have been
feeling since the beginning, to self-produce my works, even if in
micro-circulations. Starting from the use of an old cyclostyle of
an ML association, going through heliography (18), photocopiers,
silk-screen printing, typography, until nowadays when most
of the publishers and magazines which I collaborate with can
only afford colour pages for the cover, it came natural to me to
specialise in the black and white drawing technique, which I am
now a real professor of!
Black and white painting is a poor technique which allows a
poor degree of means of expression; instead the richness of the
colour allows a greater strength. It is this richness, together with
the fact that paintings are usually much bigger than prints, to
make, for example, a distressing image even more distressing.
I will give you a classic example to explain this idea: Edvard
Munchs oil painting The Scream (19) makes the blood of
those who look at it live literally run cold. Instead, the black
and white woodcut variation of the same author is surely less
engaging. But it is the best for printing, and in fact it has been
used thousands of times by graphic designers worldwide, up
to the legendary variation by Winston Smith, where behind the
screaming character theres an atomic mushroom.
16 - Ancient printing technique, originally monochromatic, that required the manual engraving on a wood master of the negative drawing that was
to be printed. Nowadays this kind of artistic engraving is made on industrial materials (linoleum) or dedicated materials (adigraf).
17 - Print with photocopier.
18 - Printing technique on large format that requires the use of masters drawn/written directly on tracing paper or engraved on acetate paper.
19 - Edvard Munch (1863-1944), Norwegian painter and master of reference of the German Expressionist movement.
B: G.C. Argan, mentioned above.
20 - Pseudonymous of Roberto Raviola, popular comics cartoonist, recently deceased, active since the beginning of the Sixties.
21 - Pseudonymous of Luciano Secchi, script-writer and editor.
22 - Prehistoric animal, half reptile (it had teeth in his mouth) and half bird (it flied, and had feathers and plumage).
23 - Stefano Tamburini (1955-1986), prominent figure in the European artistic-publishing scene, cartoonist, script-writer, graphic, editor,
experimental artist and music reviewer.
B: S. Tamburini/T. Liberatore, Ranxerox, Primo Carnera editore 1981; S. Tamburini/T. Liberatore, Ranxerox 2, Primo Carnera editore 1983; S.
Tamburini, Muscles - Antologia 1980/1984, Primo Carnera editore 1984; Various Authors, Una matita a serramanico - omaggio a Stefano
Tamburini, Millelire Stampa Alternativa 1994.
24 - B suggested: A. Breccia/E. Breccia/H. Oesterheld, Ch, Topolin edizioni 1995; A. Breccia/E. Sbato, Rapporto sui ciechi, R&R editrice 1994; A.
Breccia, Un certo Daneri, Editiemme 1980.
25 - B recommended: A. Breccia/E. Breccia/H. Oesterheld, op.cit.; A. Breccia, La guerra della Pampa, Editiemme 1980.
26 - B recommended: Jos Muoz (disegnatore) & Carlos Sampayo (script-writer), Nel bar, Produzioni Cartoons 1986; Muoz & Sampayo, Sophie,
Lisola Trovata 1980; Muoz & Sampayo, Sudor Sudaca, R&R editrice 1992.
27 - Comic magazine published in France in the mid-Seventies and later in Italy too. It presented works of the new French (Moebius, Druillet) and
international (Corben, Caza, Bilal) wave.
28 - Pseudonym of Jean Giraud (1938-2012), French cartoonist, also active in cinema.
B: J. Giraud/Moebius, Il mio doppio io (autobiografia), DeriveApprodi 1999; Moebius/Jodorowsky, Gli occhi del gatto, Alessandro Distribuzioni
1985; Moebius/Jodorowsky, Ciclo dellIncal (6 books), Editori del Grifo 1988; Moebius, Visioni di fine millennio, Nuages 1997; Moebius, Chaos,
Alessandro Distribuzioni 1991.
29 - Andrea Pazienza (1956-1988), cartoonist.
B: A. Pazienza, Le straordinarie avventure di Pentothal, Milano Libri 1982; A. Pazienza, ll libro rosso del Male, Il Male 1981; A. Pazienza, Zanardi,
Primo Carnera editore 1983; A. Pazienza, Perch Pippo sembra uno sballato, Primo Carnera editore 1980.
Not only were these stories both in black and white, but they also
distinguished because the cartoonist decided their sequel day
by day, issue after issue, without knowing the end.
Talking about the present day, not only from a style point of view
but also, if you like, from a commercial one, I am certainly in
debt with the American underground movement; I mean those
painters which have been my professional models, for example
Robert Williams (30), Joe Coleman (31), Todd Schorr (32), and
all their recent imitators, who are my peers (33), and who in time
shifted from graphic drawing on any possible kind of material
(hot rods, skate and surf boards, t-shirts, comics, music album
covers, etc...), to painting on canvas in single copy.
Lastly, to be short, here it is the hit-parade of the cultural
ensembles, of the topics which I am particularly interested in
and that influenced my activity as a painter:
1) Tribal art of every era (34).
2) History of the so-called utopist ideas , from Proudon, Bakunin,
Marx to nowadays.
3) Dadaism and Expressionism (35).
4) Pre-Columbian art.
5) Dystopian Literature (36): George Orwell (37), Aldous Huxley
(38) and Ray Bradbury (39).
6) Experimental Literature, crazed and pre-cyber (William S.
Burroughs (40), J.G. Ballard (41) and Philip K. Dick (42)).
7) Pataphysics (43), from Alfred Jarry to the Church of SubGenius
(44).
8) Art Brut (45).
9) Libertarian Cinema, from Luis Buuel to Stanley Kubrick.
10) Sci-fi-psyco cinema (Ridley Scott, David Cronenberg (46),
John Carpenter, etc...).
Plus, of course, all the underground art, music, literature I talked
about so far, and many others more!
VB: Apart from your thought about the role that visual art should
have in our society (educational, recreational, spiritual, etc...), do
you think that there is still or that it would make sense a value
system that ranks in a different way gallery/museums art and
the cover of a book or a video game graphic?
MK: Come mai, secondo te, la parte che mi piace di pi del tuo
lavoro, quella realizzata con la tecnica del collage, considerata
dai pi marginale e rimane piuttosto in ombra?
PBT: Luso di parti pre-esistenti e riciclate dellopera darte,
o addirittura il concepimento di quadri e sculture composte
interamente da pezzi di scarto ha una storia piuttosto lunga. I
cubisti (47) Pablo Picasso (48) e Georges Braque (49) inserirono,
gi dal 1910, nelle loro composizioni pittoriche pezzi di giornale,
biglietti di teatro, impagliature di sedie, carte da gioco, stoffe.
Il futurista (50) Carlo Carr (51) cre la nota opera intitolata
Dimostrazione interventista del 1914 quasi esclusivamente
con titoli e scritte ritagliate da giornali e volantini dellepoca.
Subito dopo i dadaisti Raoul Hausmann (52) e Hannah Hch
(53) inventarono il fotomontaggio artistico (in realt dei primi
fotomontaggi rudimentali e minimali erano gi apparsi in molte
serie di cartoline satiriche popolari europee dai primi del 900),
seguiti da John Heartfield (54), George Grosz (55), Hans Arp (56),
Max Ernst (57), Marcel Duchamp, Francis Picabia (58). A Raoul
Hausmann si deve il primo assemblage in scultura, con lopera
Teste di legno del 1918. In seguito una moltitudine di artisti
ha usato ogni sorta di materiale per creare le proprie opere,
47 - Cubismo: corrente funzionalista considerata la prima ricerca analitica sulla struttura funzionale dellopera darte (1908). Oltre ai pittori
Picasso e Braque, teorico e critico del cubismo stato il poeta Guillaume Apollinaire e, in campo musicale, Igor Stravinskij.
B: G.C. Argan, op. cit.
48 - Pablo Picasso (1881-1973), artista spagnolo che fu, tra le altre esperienze e tendenze abbracciate in seguito, co-fondatore del movimento
cubista.
B: G.C. Argan, op. cit.
49 - Georges Braque (1882-1963), pittore e scultore francese, co-fondatore del Cubismo.
B: G.C. Argan, op.cit.
50 - Il Futurismo italiano viene considerate il primo movimento di avanguardia, intendendo, con questo termine, un movimento che investe
nellarte un interesse ideologico e prepara un radicale rivolgimento della cultura e del costume, negando in blocco tutto il passato. Il movimento
si apre col manifesto letterario di Filippo Tommaso Marinetti (1878-1944) del 1909.
B: G.C. Argan, op.cit.
51 - Carlo Carr (1881-1966), artista italiano, coautore nel 1910, assieme a Giacomo Balla (1874-1958), Umberto Boccioni(1886-1916), Gino
Severini (1883-1966) e Luigi Russolo (1885-1947), del manifesto della pittura futurista.
B: G.C. Argan, op.cit.
52 - Raoul Hausmann (1886-1978), artista austriaco, berlinese di adozione dal 1901, veterano della polemica dadaista.
B: R. Helsenbeck, op.cit.
53 - Hannah Hch (1889-1978), artista che aderisce al movimento dada berlinese (1918).
B: Lea Vergine, Laltra met dellavanguardia 1919-1940, Mazzotta 1980; Hannah Hch, Fotomontagen - Gemlde - Aquarelle (a cura di G.
Adriani), Dumont Dokumente 1980.
54 - John Heartfield (1891-1968), fotografo e artista, aderisce al dadaismo. Pioniere del fotomontaggio politico.
B: E. Siepmann, John Heartfield, Mazzotta 1978.
55 - George Grosz (1893-1959), grafico, collagista e pittore, noto per la sua partecipazione al dadaismo (1918) e la seguente presa di posizione,
in termini di lotta di classe, a favore della rivoluzione e dellagitazione politica.
B: George Grosz, Vita e opere (a cura di U.M. Schneede), Mazzotta 1977.
56 - Hans Arp (1888-1966), scultore, pittore e poeta francese, ha partecipato contemporaneamente ai movimenti De Stijl e Dada.
B: G.C. Argan, op.cit.
57 - Max Ernst (1891-1976), pittore surrealista.
B: G.C. Argan, op. cit.
58 - Francis Picabia (1878-1953), artista parigino del movimento dadaista, a cui aderir nel 1918, che lanci per primo lidea di unarte amorfa,
rimuovendo lattenzione dalloggetto rappresentato per concentrarla sul soggetto, sul produttore (arte gestuale).
VB: Which techniques do you mainly use in your work and which
ones would you like to experiment with?
PBT: Black and white drawings are made with black permanent
pens and markers, of the disposable kind you can buy in every
stationary store, on F4 Fabriano paper; sometimes I prepare the
most difficult parts with rubber and pencil. Collages are made
with scissors, glue stick and pop-trash magazines clipping,
glued on Fabriano paper or Bristol boards. The paintings are
made with brushes, acrylic paints of any brand, on several sizes
canvases. In the past, I produced a good number of plaster or
terracotta sculptures, which later I painted with varnish or acrylic
paints. Currently, I have been producing for almost two years,
together with my partner Jenamarie, who is a sculptress, many
sculptures which we called Wall-Heads, that is to say highreliefs of weird characters to be hung on the wall. She makes
them with papier-mch, using packaging cardboard, newsprint,
and wallpaper soluble glue. We wait for them to dry and we
protect them with multiple layers of acrylic plaster, then I paint
them with acrylic paints. In the future, I would like to commit
myself more to indoor wall painting; I have a lot of projects about
it, but Im not keen to talk about them, they are top-secret!
MK: In your opinion, why do most of the people consider
marginal the part of your work I prefer, which is the one made
with the collage technique?
PBT: The use of pre-existent and recycled parts in the work of art,
or even the conception of paintings and sculptures entirely made
of scrap parts, has a quite long history. The Cubists (47) Pablo
Picasso (48) and Georges Braque (49), back in 1910, included
pieces of newspaper, theatre tickets, chairs matting, playing
cards and fabrics in their painting compositions. The Futurist
(50) Carlo Carr (51) in 1914 created a work called Dimostrazione
interventista using almost exclusively headlines and writing
cut from newspapers and flyers of the time. Shortly later, the
Dadaists Raoul Hausmann (52) e Hannah Hch (53) invented
the artistic photomontage (actually, some early rudimental and
minimal photomontage had already been seen on many series
of European satirical postcards since the beginning of the XX
century), followed by John Heartfield (54), George Grosz (55),
Hans Arp (56), Max Ernst (57), Marcel Duchamp, Francis Picabia
(58). Raul Hausmann did the first assemblage in sculpture, with
the work Mechanical Head in 1918. After that, many artists used
every kind of material to create their works, experimenting widely
in the territory that has been mapped by those first pioneers.
In spite of this surely noble history, the collage is considered
by many a minor technique, maybe because of the widespread
prejudice (shared with other arts like photography and, if you like,
computer-art) that it is an easier and faster practice compared
to, for example, the traditional painting. Personally, it is a fact
that I find much more difficult to sell a collage than a painting,
even if it took me the same time to create it. Thus, generally, I do
not display them in the gallery anymore, even if I still make them.
Beyond more serious considerations, I will say the truth: I feel a
morbid satisfaction to dig in trash bins looking for thrown away
magazines to cut!
47 - Cubism: Functionalist movement, considered the first analytic research on the functional structure of the work of art (1908). Beside the
painters Picasso and Braque, Cubisms theorist and critic have been: the poet Guillaume Apollinaire and the musician Igor Stravinskij.
B: G.C. Argan, mentioned above.
48 - Pablo Picasso (1881-1973), Spanish artist who, among other experiences and tendencies which he embraced later on in his life, was the
co-founder of the Cubist movement.
B: G.C. Argan, mentioned above.
49 - Georges Braque (1882-1963), French painter and sculptor, co-founder of Cubism.
B: G.C. Argan, mentioned above.
50 - Italian Futurism is considered the first avant-garde movement, meaning, with this expression, a movement which assigns an ideological
interest to art and prepares a radical upheaval of culture and customs, refusing the past altogether. The movement starts with the literary
manifesto by Filippo Tommaso Marinetti (1878-1944) in 1909.
B: G.C. Argan, mentioned above.
51 - Carlo Carr (1881-1966), Italian artist, co-author in 1910 of the Manifesto of Futurist painting, together with Giacomo Balla (1874-1958),
Umberto Boccioni(1886-1916), Gino Severini (1883-1966) e Luigi Russolo (1885-1947).
B: G.C. Argan, mentioned above.
52 - Raoul Hausmann (1886-1978), Austrian artist, Berliner by adoption since 1901, veteran of the Dadaist polemic.
B: R. Helsenbeck, mentioned above.
53 - Hannah Hch (1889-1978), artist who subscribed to the Berliner Dada movement (1918).
B: Lea Vergine, Laltra met dellavanguardia 1919-1940, Mazzotta 1980; Hannah Hch, Fotomontagen - Gemlde - Aquarelle (a cura di G.
Adriani), Dumont Dokumente 1980.
54 - John Heartfield (1891-1968), photographer and artist, subscribes to Dadaism. Pioneer of the political photomontage.
B: E. Siepmann, John Heartfield, Mazzotta 1978.
55 - George Grosz (1893-1959), graphic designer, collage maker, painter, known for his taking part in Dadaism (1918) and the following stance, in
terms of class struggle, in favour of revolution and political turmoil.
B: George Grosz, Vita e opere (edited by U.M. Schneede), Mazzotta 1977.
56 - Hans Arp (1888-1966), French sculptor, painter and poet, took part in both De Stijl and Dada movements.
B: G.C. Argan, mentioned above.
57 - Max Ernst (1891-1976), surrealist painter.
B: G.C. Argan, mentioned above.
58 - Francis Picabia (1878-1953), Parisian artist, joined the Dadaist movement in 1918, and was the first who introduced the idea of amorphous
art, moving the attention from the represented object to focus it on the subject, the maker (gestural art).
VB: Do you think that in Italy there are still preconceptions about
the artists who use images drawn from comics?
PBT: The cultivated and ambitious critics, who influence the
great institutions, both public and private, are quite attentive
to the evolution of the role of artist in society, and are willing,
more than in the past, to accept the new media and the various
cultural crossovers, led, as they are, to welcome any novelty in
the market. Most of the arts market, instead, is supported by oldfashioned collectors, the kind who buys only oil paintings with a
huge gold frame, or gathers thematic collections (such as: only
landscapes, only pieces of a certain historical age or movement
or only artists of their own town or geographical area). Galleries
owners and critics, to please this kind of customer, do their job,
without any particular persecution of the art taken from comics,
as you called it.
Instead, in the past, I found it was the other way round on many
occasions, namely a certain hostility of the comics official
publishing industry towards those who try to get out of the box
of orthodox production and towards the artists in general.
VB: Are there any subjects you would never paint? Which is the
weirdest work you had ever painted?
PBT: I would never paint, not willingly at least, subjects that incite
racism, sexism, war, death penalty, physical and moral slavery.
I painted on: doors, windows, gates, vases, tables, chairs,
refrigerators, televisions, radios, motorbikes, scooters, helmets,
houses furniture, music and book shops furniture, walls of
houses, community centers and commercial activities, indoor
and outdoor, sculptures, high-reliefs and bas- reliefs, my own,
of others, and found in garbage, briefcases, suitcases, jackets,
t-shirts and trousers.
MK: Can you give me the recipe to get a good bad trip?
PBT: You fry two slices of orwell, a peeled bakunin and some
dada leaves, chopped, for five minutes. Then you add a can of
expressionism cut into little pieces and you slow-cook the whole
thing for 45 minutes in a pre-columbian pot.
On the side you prepare the subgenius crust: you need one kilo of
ballard, half a liter of dick and a pinch of Burroughs, well kneaded
with breadboard and pataphysic rolling pin.
On another punk plate you chop an ounce of carpenters
mozzarella cheese.
Once you have buttered the pan with jodorowsky margarine,
you arrange the three preparations, in the order I said, in various
layers until you fill it.
Before putting it in the oven it needs a final sprinkle of grated
buuel reggiano cheese.
You cook it for forty minutes at 150 huxley degrees.
I suggest to have it with cronenberg beer in a cybertribal mug.
Testo e Musica / Lyrics and Music by: Darby Crash, Pat Smear
Tratto dallAlbum / From the Album: (GI), Slash Records 1979
Evolution is a process
too slow to save my soul
Levoluzione un processo
troppo lento per salvare la mia anima
Ha ha ha
Ha ha ha
If I am only an animal
then I can do no wrong
INDICE
INDEX
Grazie Prof.
Thanks Prof.
Opere
Works
13
Profilo Biografico
Biographical Profile
113
126
Intervista Apocalittica
Apocalyptic Interview - (the Directors Cut)
129
Matteo Guarnaccia
Gianluca Lerici
Vittore Baroni
Vittore Baroni
RINGRAZIAMENTI
THANKS
Michela Bettuzzi
Carlotta Gasperi
Giulia Negrello
Aurora Maria Pambianchi vrelid
Silvia Fluidarea Scaringella
Daria Tansini
Arturo Amitrano
Alessandro e Nicolas Bignozzi
Marco Casolino
Riccardo Coppola
Andrea Dalle Ave
Ricky Duchi
Domenico Gemelli
James Harris
Florian Haymann
Raffaella Ignorante
Marco Philopat
Peter Punk
Paolo Pito Terenzoni
A.L.T.
Associazione Culturale Artisti del Borgo
Circolo Michelangelo
FAC - Fronte Acciaio Cromato
Fall Out
Gruppo Germinal
Nove
Officina dArte Studio Ponte di Ferro
RadioZero
The Wicker Men feat.Tingis
Terenzuola
Tor Art
Tosco Ligure Lab
Organizzazione e Progetto Grafico: Juan Carlos Allende, Stefano Dazzi Dvok, Marco Cirillo Pedri
CoWorking: Jenamarie Filaccio, Vittore Baroni, Matteo Guarnaccia, Tabularasa, 56 fili
Responsabile della Comunicazione: Alessandra Ioal
Fotografia: Studio 47