PLEASE, RESUCE CENTRO PECCI, PRATO

k

 

The situation:


I was invited to present an art project to ease tensions between the Italian and the Chinese community in Prato. Prato is said to have 50 000 Chinese inhabitants in a city of below 200 000. I was right away told that the budget was coming from the city. The city representative Rosanna Tocco said verbally: “We believe in art versus security cameras.”
Given my nearly 20 year old attempt to learn Chinese, I opted for a language learning project and called it PLEASE, TEACH ME ITALIAN / PLEASE, TEACH ME CHINESE. Given my involvement with a somehow ongoing Comme des Marxists fashion project, I wanted to create actual fabrics and make clothing for the managerial class and the working segment of the population. I was agreed and everybody was happy.

In the meantime, I started to inform myself on Prato with the help of Google. I found out that the city had created really bad headlines over the last decade, including deadly factory fires in sweatshops and clashes between Italian authorities and Chinese workers and factory owners. It become for me more and more important to work this information into my project as it was unknown to me. Hence, for the worker part of the outfits, I decided to stay all realistic and simply try to purchase the actual garments worn to work and retrofit them with my labels.

For the actual presentation of the entire project, I announced that I will project visual material to explain the project, the small details as given with the fine fabrics and offer orientation to the actors and presenters. This logic applied to both parts of the show. I encountered only little resistance for the rich, managerial part of the preparatory videos organized around Gucci catwalk footage as found on the fashion channel. For the working class part of the presentation, I wanted to focus on Chinese voices and show material that propped up when searching “Prato” and “textile worker.”

Here, the problem started. The proper interaction with the Chinese operated factories was not established in time and blamed on the “cinesei,”, Chinese owners that could be first or second generation immigrants with Italian passports. But the very logic of the project consisted of building bridges, hence it was an important part that the people who invited me find Chinese collaborators. Without a Chinese collaboration, --- as I was told over 6 4 months – we couldn’t find any Chinese workers willing to sell their outfits for a price of their liking. There was also a label that uses biographical parts and that also was not available in time. The absence of the worker part information and photographs was therefore making the preparatory film difficult and it needed to be done in Prato. Finally, when I arrived in Prato they could find a Chinese factory owner, willing to let us stage a runway show in a sweat shop and even on top of a delicate mechanized work table. I was also able to ask myself for permission to ask workers whether they could sell their outfits. It was not only immediately agreed, the owner offered me to give his Versace tshrit as a present to me personally (he mentioned the price, 400 Euros) and gave a price for all his workers garments (20 Euros) each. TO MY SURPRISE, this offer was immediately rejected by Sergio who was my Prato relationship man saying they had no money. AT that moment it become clear that the museum had no interest in the making of my working clothing part because of the labels, that contained google results with negative information about their town.

I still didn’t give up on the Chinese part of the work and accepted a bag full of garments that was presented to me as workers’ outfit. On the first look, it became clear that it was cheaply purchased anew since it still had price tags on it. I also was lied at that the fictious workers of this part didn’t want any biographical data be used. For the logic of the project but also to show the degree of resistance to my project and the unease with their Chinese population and the unease with handling negative information about their town, I accepted this part and added an extra label saying Fake. But to what degree this objection arose became clear when it came to the making of the preparatory video for the Chinese part of the presentation. The video editor with his computer was constantly withdrawn from me and many excuses were found so we couldn’t not produce the preparatory film. Also during the rehearsal and in spite of a promise to let us work without constant supervision by city and museum people the place was filled with people who constantly reported back by phone and explained whether I now use the google information or not.

Finally, when the time of the presentation came, my outfits where ready, my preparatory project was not. At 9 pm, I insisted to not present anything without the Chinese part. Only then, the museum gave permission to send back an editor and a computer to assemble the preparatory video for the Chinese worker segment of the runway show. For this video, I had lined up interviews by Chinese people taken from newscasts. I also prepared news reports of of conflicts, unannounced police inspections of factories called razzias and my google screenshots to be pasted on a timeline. After about an hour we could render the video and drive directly to the site of the fashion show where the editor and I saw the video for the first time.

The impact of the rough editing, / with no preview / the unfiltered presentation of razzias and police actions / justified or not / had surprised everybody, including me and the performers themselves who knew what to expect but who refused to continue to perform. Thus the show was abruptly brought to and end and a discussion started. Two involved actors accused me of lies. The Pecci museum director, Cristiana Perrella, ridiculed me of failure and suggested publicly, that I was incapable to understand the complex situations of Prato. The director also added that she had been living in Prato for 3 months and not experienced anything of what I presented on screen, corroborating that it was a lie. This denunciation and the aggressive screaming and interrupting by the museum board member of the Pezzi Edoardo Donatini created /// as a blogger observed correctly on a youtube comment /// a climate that lead to the aggressive physical attacks on me by the city official Rosanna Tocco and the attemtps of physical aussault by that very board member immediately after the performance.

According to the film crew, the museum ordered all video material about the show and the scenes afterwards to not be released or handed over to me as it was planned, discussed and agreed upon. Nor was any of the works including my camera and my ipad be returned within the last 2 months. This so far has prevented to show and visually proof that the Comue di Prato official Rosanna Tocco with a directorial title - Director of PR or so - overstepped her role and attacked me not only verbally with obscenities but also physically by ramming her elbows into my body. It also protects the museum board member who had to be hold back. I had to run away from him because of his attempt to physically hurt me. So far, we have nearly 2 months passed and nothing has been released. I was told by the Prato journalist Lorenzo Tempestini that the city “has built a wall” around me and any questions about me. Just like the printed the on ground invitation card without my name, they know act as if this event never happened.

While the Pezzi director Cristiana Perrella was ridiculing me directly after the show for using google, for misrepresenting the town and for not being capable of understanding the complexity of the city, in subsequent emails she also blamed me for the violence and the tumultuous scenes that followed.

Again, I do not care what happened to me personally but I do care what happened to me in the function as an artist If an artist doesn’t have a right to work with journalistic material, if an artist doesn”t have a right to use google results, if an artist is physically attacked it is not just a question of personalities or styles of communication. It represents a big problem for the understanding of art and the institution it stands for. A people like this should find a different type of occupation because she fundamentally disqualify themselves.

More information on this can be found HERE


 

Center of Contemporary Art Luigi Pecci
Fondazione per le arti
contemporanee
in Toscana

The centre is devoted to the contemporary arts of the last three decades.

https://www.centropecci.it/en

 

 

CENTRO PECCI

current director

CRISTIANA PERRELLA

is GRAVLEY VIOLATING

BASIC STANDARDS OF

contemporary art

 

---------- FINE ART"S INDEPENDENCE AND AUTONOMY FROM POLITICAL AND FINANCIAL PRESSURE

---------- FINE ART"S FREEDOM OF SPEECH

---------- FINE ART'S FREEDOM OF EXRESSION

---------- FINE ART'S LUDIC PRACTICES

---------- FINE ART'S RIGHT TO PROVOKE AND UPSET

---------- FINE ART'S RIGHT TO USE FASHION, JOURNALISM and whatever it needs

---------- FINE ART'S RIGHT TO NOT KNOW, TO LEARN AND TO GOOGLE

---------- FINE ART'S RIGHT TO DO FINE ART DONE BY THE ARTIST+ NO THET PR DEP.

 

 

CENTRO PECCI NEEDS TO FIND AGAIN A NEW DIRECTOR:

------------------ WHO UNDERSTANDS ART

------------------ WHO RESPECTS ARTISTS

------------------ WHO DEFENDS THE ARTS FOR A DEMOCRATIC SOCIETY

------------------ WHO ALLOWS FOR AMBIVALENCE

 

CRISTIANA PERRELLA and board member EDOARDO DONATINI CANNOT RIDICULE ME WHEN WORKING with GOOGLE SEARCH ENGINE RESULTS ("Prato" and "textile worker") NO matter how much she dislies the results.

 

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THEREFORE,

CENTRO PECCI HAS TO PART FROM CRISTIANA PERRELLA AND BOARD MEMBER EDOARDO DONATINI (artist beater)

IF IT WANTS TO LIVE UP TO ITS MISSION,

TO COMMIT TO THE OBLIGATION OF CONTEMPORARY ART WORTH OF THAT NAME.

 

IN A TIME
when INSTITUTIONAL CRITIC has turned INSTITUTIONAL NARCISISSM and is disqualfiying complicit NONSENSE

IN A TIME
when DEMOCRACY IS UNDER ATTACK

IN A TIME
when ART SEEMS TO BE EQUAL TO THE ART MARKET

WE NEED
somebody who can KEEP FASCISM, OPRESSIVE CORPORATISM, RACISM and STUPIDITY OUT of the arts

WE NEED
somebody who never allows for VIOLENCE as hit has been the case with CRISTIANA PERRELLA ( she justified it and balmed it on me) and the PECCI BORAD MEMEBER EDOARDO DONTATINI (artist brutalizer)

 

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read more on this here http://www.ganahl.info/pratostress.html

 

The rise of NEO-FASCISM, XEONOPHOBIA, RACISM, NATIVISM, CHAUVENISM, EURO-CENTRISM, WHITE SUPREMACY and all kinds of FUNDAMENTALISMS including ISLAMIC FUNDAMENTALISM, the effects of AUTHORITARIAN FORECES LIKE TRUMP AND LEGA NORD are not to be ignored.

 

 

ART

IS THEREFORE AN

INDICATOR

OF WHAT a society TOLERATES AND WHAT NOT,

AND WE NEED ART

FOR SOCIAL AND PSYChOLOGICAL SANITY.

WE NEED THEREFORE TO

DEFEND ART AND INSITUTTIONS THAT DEFEND ART

THAT ARE UNDER ATTACK LIKE

JOIURNALISM AND FREE SPEECH.

 

CENTRO PECCI'S MAIN REPRESENTATIVES ATTACKED

BOTH

ART & USING (but not being )JOURNALISM

 

 

K
http://www.ganahl.info/chinatownprato.html

 

 

NO

INSITUTTIONAL SELF-SENSORSHIP

OR

CENSORSHIP

IS PERMISSABLE. 

 

 

if

an institution is not understanding this,

if it complies with new authoritarian rules

it should close

and

be subjected

to

 

INSTITUTIONAL HARRASSAMENT

 

 

with Centro Pecci violators like Cristiana Perrella and Edoardo Donatini


INSTITUTIONAL
HARRASSEMENT

 

IS THE ONLY WAY TO GO to lIberate CENTRO PECCI and give it back to the FINE ART AND ITS RULES AS THEY HAVE BEEN RESPECTED FOR AT LEAST since WWII

 

therefore,

PLEASE,

RESCUE CENTRO PECCI

 

as a museum of contemporary ART so it doesn't t stay a frightened institution of self-censoring oppression, censorship and artist-assault

 

 

PLEASE, RESUCE CENTRO PECCI

 

K

 

to

rescue

CENTRO PECCI

 

FROM

OCCUPATION AND THE TERROR OF SELF-CENSORSHIP, CENSORSHIP, STUPIDITY, ARTIST BEATING AND ARTIS-BEATING DEFENDING FORCES

 

The director Cristiana Perrella also

WITHOLDS EVIDENCE

AND DOESN"T RELEASE video material that shows

CENTRO PECCI BOARD MEMBER EDOARDO DONATINI AND CITY OF PRATO OFFICAL ROSANNA TOCCO HIT ME - AN ARIST FOR SHOWING RAZZIAS AND POLICE ACTIVITIES AGAINST CHINESE WORKERS AND FACTORY OWNERS.

 

 

CENTRO PECCI 's board member

EDOARDO DONATINI

is a violent person and a disgrace to centro PECCI

also

DIRECTOR CRISTIANA PERRELLA
is a disgrace to the institution because she
failed to listen to an artist, and didn't even try to understand an artist
but CENSORED, RIDICULED and TRAUMATIZED an artist

/// i have nightmares, why Tocco and others in Prato walk around with t-shrits saying DREAM ////


CRISTIANA PERRELLA,ROSANNA TOCCO AND EDOARDO DONATIINI MADE MY PROEJCT NOT A DREAM BUT A

 

NIGHTMARE

 

 

Cristiana Perrella, Museum Centro Pecci and Board member Edoardo Donatini

need to volonarily step down and liberate the institution they

PRETEND TO REPRESENT

 

PECCI FOUNDATION'S BOARD MEMBER EDOARDO DONATINI NEEDS TO VOLONTARILY PART OR CENTRO PECCI NEEDS TO REPLACE HIM WITH SOMEBODY WHO DOES NOT PHYSICALLY AND VERBALLY ASSAULT THE VERY ARTISTS IT HAS INVITED AND IS PART OF THE COLLECTION.

 

please,

RESCUE CENTRO PECCI AND CONVINCE THIS GREAT INSTITTION TO LIVE UP TO ITS  NAME, TO ITS MISSION, TO IT S FUNCTION and it s history.

OTHERWISE, WE NEED TO HARASSE THEM UNTIL THE DIRECTOR CRISTIANA PERRELLA and its VIOLENT BOARD MEMBER EDOARDO DONATINI is making place to a person who understands the arts, who respects artists and who can handle to disagree with artists.

 

 

PLEASE, TEACH ME CHINESE / PLEASE, TEACH ME ITALIAN
Marx a Prato / Gucci a Prato

 

K
http://www.ganahl.info/chinatownprato.html

IS A PROJECT I NEVER DISASSOCIETED ( cristinana verz arrogantly is alwazs speaking for me, the artist and never gets anything right, except she successfully exposes her disqualifacting failures to even work in the art. 


SHE HAS TO QUIT
SHE HAS TO GO
AND WITH HER THE PECCI BOARD MEMBER ARTIST BEATING EDOARDO DONATINI

 

 

 

K
http://www.ganahl.info/chinatownprato.html

HAS BECOME

MY

MOST BELOVED

PROEJCT

 

IT IS NOT A FAILURE AS PERREELLA SUGGEST

 

it is a full success

 

because it

UNEARTHED THE RACIST TENSIONS

EVERBODY HAS BEEN SO AFRAID OFF

IT SHOWED THE AUTHORITARIAN NEO-FASCIST

tendencies

and exposes

the ART, ART AND JOURNALISM HATING ASPECTS

OF CULTURAL PRODUCTION

most likely the effects of brain washing BERLUSCONI ENTERTAINMENT


NOTE: With Michelin star food as well as institutional, financial and finally legal threats, the museum tried to seduce me and force me to accept that i OMMIT google results in my work and alter it.

 

PLEASE, RESCUE CENTRO PECCI

by not giving up

pressuring

harassing

shaming

and

convincing the

board of the museum

to free itself form Edoardo Donatini and director Cristiana Perrella

 

 

 

IF 

CENTRO PECCI IS NOT LETTING CRISTIANA PERREELLA AND BOARD MEMBER EDOARDO DONATINI GO

 

we plead not for

institutional critic

put for

 

INSTITUTIONAL HARASSMENT

k\
click this nike ad and get A TEXT

from instiuttional critic to instutuional harassment

 

we owe it to democracy

to the very idea of fine arts

to every artist in the world censured

to every artist, journalists and person being threatened, bullied, beaten or even killed

because of

SPEAKING their MINDS

 

WE ARE NOT LIVING ANYMORE

in an area when

INSTITUTIONAL CRITIC

was able to the job

NOW

with THE RISE OF CRISTINA PERRELLAS AND EDOARDO DONATINIS we NEED TO ADVOCATE

 

FASHISM WATCHING

INSTITUTIONAL PRESSURING

AND

INSTITUTIONAL HARASSEMENT

 

ALL

ARTIST, JOURNALISTS, COMEDIANS, WRITERS

&

beautiful losers

of the world

 

UNITE

 

and

WATCH what IS going to HAPPEN

to your medium, to your school, to your text, to your art, your institution, to your person

under a worldwide change to

AN AUTHORITARIAN CLIMATE

 

 

A CLIMATE

where the chief curaotr Stefano Pezzato has to douple his reality in "It is OK in New York and London" but not here.. or... "you can leave and go back but i have to stay here"
... or "do it on your web site but not in Prato"... 
or when the other curatorial and managerial Pecci stuff members, like Sergio told me that he understands me but he has to work for Prato people and hence can't  just help me.

 

PS:

we cannot have a situation where a city official, Rosanna Tocco, Comunee di Prato director, ramms her ellbows into an arstist and verbally insults him on the stage because she didn't like the commissioned art work due to her inability to distinguish between an art work and a PR work .

also, we cannot have double standards that we allow an barely known Italian musuem trash, humiliate and beat their artists

Or should we imagine to have a Moma board member beat and trash an artist publicly just because he she doesn t approve with a commissioned work. Or imagine an LA official to pay for an art commission and then beat or humiliate an artist publicly because of an esthetic diapproval.

We cannot have double standards that allow the chief curator Stefano Pezzato say, you can do it on your web site or in New York and London but not in Prato.

 

 

more information here.

see the SUBTITLED VIDEO BY NAOMI NERI

https://www.youtube.com/watch?v=dKnwrC8o_Ws&t=155s

more highlights form this video

the loudest performer who does not accuse me of using her ( the opera singer main land chinese does so because she claims i lied about  having her let known about projections of google material.. in the back. but images above of rehearsals and hate very fact that thought the performance she knew how to act and to interact proves her wrong.. - i did indeed as mentioned 10 times above not see the video before editing .. since i was not kept form doing the prep worker video before 9pm and saw it also only projected during performance.. but they  saw the google images on line bc they had the stalls of these materials a LABELS PRINTED On their own clothing. hence they knew what i was doing .. i explained it 10 times a hour,we practiced for days and they saw me fightihn or the edotor, fighting for the computer. and insisting on not going on stage wihtout a PREPARATORY VIDOE THAT INCLUDES THE VOICES OF CHIENSE FACTORY WORKERS..

 

k