Simona Andrioletti: What is it that makes Germany for art so different, so appealing? – non-proof-read

1 What comes to mind when reading „Germany as a site and a space for art?“ How do you experience working here? Are there any benefits or drawbacks, or other peculiarities?

I have the tendency to be bored of the place where I live, somehow or other, after a while I feel the need to move. After my bachelor at the Accademia di Belle Arti di Brera, I decided to come in Munich mainly because I knew that I would have had the possibility to study with artists of a certain level. At the same time, Munich allows me to easily keep my contacts in Milan which made me grow so much artistically.

Compared to other countries, Germany give definitely more facilitations to the artists. I refer to art prizes, entirely funded residencies, funds for artists, sponsor…

I give you an example: in order to support economically Residenza d’artista Carloforte - an artist residency program which I organize with another artist, in San Pietro Island in Sardinia (Italy) - we tried to have some public funds to cover some of the costs of the artists invited. We never get them. Of course, we don’t let things discourage us, so the last year we opened a crowdfunding and we gained funds for the artists invited.

Anyway, I would recommend to the young artists to ask sponsors for realizing expensive projects. There’s no point in keeping ambitious projects in the mind. I think it is important for an artist to find Maecenas. Since the 1st century BC we have examples of patronages of the arts. Think at Gaio Cilnio Mecenate, the Medici family, Lorenzo il Magnifico. Without them, in Italy, we surely could not have such high examples of art.

2 Which factors are important when developing works, from both the intellectual and the operational point of view? Examples?

I prefer when works don’t give all the informations for being understood. I like when something is missing, when the work have an openness.

I think that the ability of an artist to clean up his work, or to clean up the way of talking about it, reflects the clarity of his thoughts. I am not a big fan of the “Untitled”. In my opinion titles are almost always necessary because they allow works to blossom. I am not a fan of works that use super new media. I think that in ten years, maybe less, everything that right now seems to be the Future, will look as a vintage object.

3 How important are educational systems, discursive platforms or spaces and/or institutions in your own professional career?

It is part of the artist's work to follow openings, lectures, talks, big art events, artfairs… I am very much interested in understanding how other artists work, in which direction contemporary art is moving. I do not really see how is possible “to do contemporary art" without "living contemporary art”, and the spaces you have mentioned are those where art is present. That is why I use to hang out at contemporary art spaces in my city and I was used to visit openings when I lived in Milan. It would be strange for me not going there, as if a musician would not listen to music. I don’t know how relevant are the studies you did, of course you need some bases, but if you are interested in to art, you can learn by going at exhibitions, by reading books, you can learn from your capability to feel astonishment.

I can say that it was important for me studying at the academy in Milan, I had great professors well prepared theoretically but the werkstatt situation was terrible there. I never had a space in the academy where I could work, simply because there weren’t spaces there for the students, there weren’t workshops and all those which were there weren’t functioning. I realized maybe only a year ago, that this aspect that seemingly be negative, It was positive. Since the beginning of my studies some of us have been pushed to work outside the academy, I used to rent with other young artists some wet garage that we used to organize self-organized exhibitions and this made us grow a lot artistically. I know it sounds weird but, in somehow, It was really important to spend money on our projects, on the rent because this allowed us to think: do we really want it?  We were really angry about the situation at the academy there but we wanted to do things and since we had no possibilities at the academy, we organized it by our own.