DROME 19 – SUPERNATURAL
DROME magazine n. 19 – the SUPERNATURAL issue
cover: Emeli Theander
MATTHEW DAY JACKSON / UMBERTO CHIODI / MARINA ABRAMOVIC
MOUNIR FATMI / LUC TUYMANS / ANGEL VERGARA / BOUROULLEC
DAN PERJOVSCHI / MASTER MUSICIANS OF BUKKAKE / RAW EDGES
:: PRÉLUDE ::
Mass media amplify our senses. Technology makes us believe that anything is possible. Only reality, which we do not seem to see anymore, is destined to leave us flabbergasted.
This issue, dedicated to the supernatural, clearly chosen to leave you spellbound, reflects, rejoices and introduces itself in the short passage by Agnieszka Kurant in the INTRO section: her new art pieces represent a stunning cartography of islands that do not exist, but which actually might exist because once they existed – as someone, just for one day or for years, believed they were there. Phantasmagorical strips of land with blurry boundaries, where the spectrum of possibilities is not limited to the simplified, if not adulterated, reality that surrounds us every day. Beauty and mystery, therefore, but also a further proof that even imaginary world is not safe from colonialism and socio-economic interests.
Through these pages, everything is imbued with the dual concept of reality/illusion. The enchantment that got us hooked over its composition arose from the encounter of technology and poetry, of politics and poetics, and from the exploration of the connections that relate contemporary art to the first signs of photography and cinema. As aesthetic explorers, we have been hunting for ghosts – whose time is, according to Derrida, the future -, making ourselves their hunting trophies. Elegant dichotomous figures destined to outlive us, spectres who act as a reflecting pool where we can observe the raw nerve of our society, where we find ourselves (almost) unable to represent reality, because of the incessant flow of images running into our life, which get together and overflow our souls (Tuymans/Vergara, Perjovschi). However, there is also a sublime significance in all this: such as in the visionariness that in its rigour turns into a call for awareness (Chiodi, Bouroullec, Abramovic, von Bingen), in the revealing aesthetics of mistake (Teotino) and fall (Valdoca), in the pheromonic and creative prodigy of love (Fatmi, Palomino/von Christann).
Then, there are all the possible special effects that might be translated into another cartography, to trace our constant trance-disciplinary voyages. DROME was founded seven years ago because of our visionary desire to inform Italian people about what was going on in the art and culture scene beyond the boundaries of the boot-shaped country, thus providing them with inspiration. Eight issues after its creation, DROME was talking to its readers from and about any possible latitude. Such concept has shaped the unique identity of the magazine, which has found a natural self-expression in the more and more intense organisation of events. Its growth over the last two years, with the opening of the offices in Paris and Brussels, does reveal one simple thing: DROME is a ghost island, where we can land, from which we can set out again, and where anyone can be allowed citizenship.