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Me — Giovanni Morbin 25 june – 25 july 2015 performance and opening u 8pm „…suddenly, it became normal once again to be right-wing oriented, flirting unequivocally with fascism. It was like hearing the common cliché:„ …well! After all, they were all fascists at a certain point…,“ the phrase which would kindly tend to normalize a historically aberrant behaviour. I decided that I wanted to be a fascist as well. A neutral and empty room. There’s a copy of: „Continuous profile of Mussolini“ (Renato Bertelli, 1933) next to me, on a slender pedestal. I’m sitting in the middle of the room, surrounded by the audience. I declaim the „Declaration of War[1]“ by Mussolini, by moving the round school chair I’m sitting on as if adjusting the right height[2] and after a few seconds of rotation, I try to get up. Inevitably, I fall down, I get up, I go back to sitting down and start the speech again. The action is stubbornly repeated seven times, like trying to say that I want to achieve something… …the collective unconscious, the fascist „ego“ that was lying dormant in every Italian, now is emerging again!!!“ Giovanni Morbin 5th February 2010 – Rome, Swiss Institute, curated by: C. Pietroiusti and M. R. Sossai 29th October 2010 – Verona, Gallery Artericambi 21st February 2011 – Milan, Artoteca June 2015 – Rijeka, SIZ Gallery Giovanni Morbin is a Post-Conceptual artist who makes references to the Italian and world avant-garde and a historically engaged art through performing and visual media by using a visual metalanguage as a means of criticism and political commentary on contemporary society. His formal and clear communication is uncompromising and Morbin is an artist who is performing a debate about the position, role and responsability of the artist in a society of questionable values, in the absence of a political and class consciousness. In the fourth, Rijeka’s edition of the performance Me, the artist is warning us of the dangers and disastrous consequences which the right-wing political options create in the society through the illusionistic service to the global capital. They do it by flirting with historical fascism and nacism as well as with an alarmingly wide spectrum of its new copies and revisions. The context of Fiume (Italian name for the city of Rijeka) is chosen by Morbin for the penultimate edition of the performance, due to the significance of the city of Rijeka to the history of the Italian Republic, as a place where proto-fascist praxis of Gabriele D’Annunzio was generated from the constitution of the state Reggenza Italiana del Carnaro, which according to historians represents the phenomenon of the first fascist state in Europe. Now that the neo-Fascist ideologies and practices are widely and globally being spread in all of their concealed anthropological and cultural, legislative and democratic and explicit political-military forms in Europe and with a developing enthusiasm in the local Croatian contex, we consider of the utmost importance to present the engagement of Giovanni Morbin right on the occasion of the Croatian National Day within the framework of SIZ Gallery programs, to point out the necessity of the international struggle against all forms of fascism. Giovanni Morbin (Vicenza, Italy, 1956) graduated from the Academy of Fine Arts in Venice in the class of Professor Emilio Vedova. After his first performance, he has focused his research on behaviour and performance and deals with objects that can serve as functional tools. His works and performances have been exhibited in the following museums and galleries: MMSU, Rijeka (2014), Museum Marino Marini, Florence (2014), Centrale Fies – Ambienti per la produzione di Performing Arts, Trento (2013), Museum of Contemporary Art Villa Croce, Genoa (2013), Museum MaGa, Gallarate (2011), Artericambi, Verona (2010), Gregor Podnar Gallery, Ljubljana (2010), Swiss Institute, Rome (2010), MART, Rovereto (2010), ViaFarini, Milan (2009). 1 Speech, 10th June 1940, Rome, Venice Square 2 The chair is spinning thanks to the hidden electric motor in the pedestal and is initiated manually.
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Me — Giovanni Morbin 25 lipnja – 25 srpnja 2015. godine performans i otvorenje u 20 sati Josipa Jurja Strossmayera 6 (kod HKD / Kortila) “…odjednom, biti desničar i nedvosmisleno koketirati s fašizmom ponovo je postajalo biti normalnom stvari. Bilo je to kao slušati onaj kliše “… ma! Uostalom, jednom su svi bili fašisti…” čime se ljubazno nastojalo normalizirati povijesno nenormalno ponašanje. Odlučih željeti biti desničarom i sam. Neutralna i prazna prostorija. Pored mene, na vitkom postolju, kopija Kontinuiranog profila Mussolinija (Renato Bertelli, 1933.). Ja posjednut u sredini prostorije i okružen publikom. Deklamiram Mussolinijevu Izjavu o ratu[1] pomičući okruglu školsku stolicu na kojoj sjedim kao da joj podešavam pravu visinu[2] i nakon nekoliko sekundi vrtnje pokušavam ustati. Neizbježno padam na pod, ustajem se, ponovo sjedam i ispočetka započinjem govor. Akcija se tvrdoglavo ponavlja sedam puta – što će reći – kao da želim nešto postići… … kolektivno nesvjesno, “ja fašist” koji je uspavano ležao u svakom talijanu, iznova se budi!!!” Giovanni Morbin 5. veljače 2010. – Rim, Istituto Svizzero, kustosi: C. Pietroiusti i M. Sossai. 29. listopada 2010. – Verona, Galerija Artericambi. – Milano, Artoteca. – Rijeka, Galerija SIZ Giovanni Morbin je post-konceptualni umjetnik koji se izvedbenim i vizualnim medijima referira na talijansku i svjetsku avangardnu i povijesnu angažiranu umjetnost, koristeći se vizualnim metajezikom kao sredstvom za kritiku i politički komentar suvremenog društa. Beskompromisan u formalnoj i čistoći komunikacije Morbin je umjetnik koji izvodi raspravu o poziciji, ulozi i odgovornosti umjetnika u društvu poljuljanih vrijednosti, u odsudstvu političke i klasne svijesti. U četvrtoj, riječkoj ediciji performansa Me, umjetnik nas upozorava na opasnosti i katastrofalne posljedice, koje desne političke opcije, u opsjenarskoj službi globalnog kapitala proizvode u društvu, koketiranjem s povijesnim fašizmima i nacizmom, kao i s alarmantno širokim spektrom njihovih novih kopija i inačica. Fiumanski kontekst za predposljednje izdanje performansa Morbin odabire radi značaja Rijeke za povijest Talijanske republike, kao mjesta proto-fašističke prakse Gabrielea D’Annunzia ostvarene konstitucijom države Reggenza Italiana del Carnaro, za koju povjesničari tvrde da je fenomen prve fašističke države u Europi. U trenutku kada se neo-fašističke ideologije i prakse, u svim svojim prikrivenim antropološko-kulturnim, zakonodavno-demokratskim i eksplicitnim vojno-političkim oblicima razuzdano šire na globalnom nivou, u europskom, a s posebnom revnošću u lokalnom hrvatskom kontekstu, smatrali smo od iznimne važnosti predstaviti angažman Giovannija Morbina upravo na Dan državnosti Republike Hrvatske kroz program Galerije SIZ, kako bi ukazali na nužnost zajedničke međunarodne borbe protiv svakog oblika fašizma. Giovanni Morbin (Vicenza, Italija, 1956.) diplomirao je na Akademiji likovnih umjetnosti u Veneciji u klasi profesora Emilija Vedove. Nakon svog prvog nastupa, svoje istraživanje usmjerava na ponašanje i performans i bavi se predmetima koji mogu služiti kao funkcionalni alati. Njegova djela i performansi izlagali su se u sljedećim muzejima i galerijama: MMSU, Rijeka (2014), Museo Marino Marini, Firenca (2014), Centrale Fies – Ambienti per la produzione di Performing Arts, Trento (2013), Museo d’Arte Contemporanea Villa Croce, Genova (2013), Museo MaGa, Gallarate (2011), Artericambi, Verona (2010), galeriji Gregor Podnar, Ljubljana (2010), Istituto Svizzero, Rim (2010), Mart, Rovereto (2010), ViaFarini, Milano (2009). 1 Govor, 10.lipnja 1940.g. Rim, Trg Venezia 2 Stolica se vrti zahvaljujući elektromotoru skrivenom u postamentu i manualno pokrenutom.