Alberto Albertini : LAST CHANCE


Alberto on a rock


I’ve always strongly disliked memories because time doesn’t exist. Memories, illusion: as if we could bring the past back. If time doesn’t exist, it’s obvious. The instant of our present is short, infinitely short like a film, only existing when the film frame encounters the small window of light. We do know there is a story within the film reel, go get it! If you have a film, you can project it again. You can’t do the same in real life. Although memories are there, to think of living  them again is nothing but frustration. Only the present, whatever the situation, is life, and thanks to our endless reaction times we are lucky enough to feel the present longer than an instant. For the vagabond each sip of beer is an instant, a sequence of instants extends the present. Past and future are always in the present. Being a moderate beer drinker, I chop onions and write this. 

Forgotten Garden


We used to walk through Corso Magenta to save the tramway fare, myself and some companions. Dirty jokes they told to each other were beyond my understanding, I was so different, their talking was strange. One of them was happy because for Christmas he was going to receive the balilla moschettiere gloves! [part of the uniform of fascist youth] Another was expecting a pair of shoes: for Christmas! That is something to buy when needed. 

My uniqueness was in trouble when Gloria was with us. A complex work. Gloria —her name was the same as the movie theater of the neighborhood—  used to appear and disappear, only randomly she strolled with us in Corso Magenta, yet to me she represented an exceptional presence of uniqueness. First her physical presence completely oblivious to me, and second my imagination about her which was strange because after all I didn’t often think of her nor for long, but I was waiting for her. Gloria was a girl with straight hair short enough not to touch her shoulders, and she was easy, mature, among the talk of her walking peers. 

It is hard for me to understand the key to her charm. As she was intermittently with us, I wasn’t allowed to know her better, but first of all it was me who had transposed her person into a story of an adult woman about to behave like an emancipated woman knowing who she is, able to run life and passions without reticence. Was it then that I perceived her, or now that I resurrect her eighty years later? Maybe Gloria never existed, I invented her in my unconscious, the unconscious invented her. 

First year after the end of fascism – Albertos’ journal


Giorgio had become a friend of mine after we spent so much time to design the recording studio that a song writer wanted to prepare for his sons in Rome. I met him again in Merano; instead of taking a vacation he was having a second job with P, the head of a studio that recorded and published Tyrolean and local groups’ music.  If I was going to P, I did it in order to sell equipment. P’s wife was interesting: a true lady of the Serenissima [Venice], she stood out, conducting herself as if she were the Doge’s wife, shapely without excess. I couldn’t understand why her husband wouldn’t consider her as a woman or as a secretary.

In the evening we went for dinner at a castle over Merano: myself, Giorgio, P’s wife and someone else, but not P.

On the way back, Giorgio with P’s beautiful wife brought me to my hotel and he left with her.  

The following day I congratulated Giorgio and asked: is P disregarding his wife because he is homosexual? No, absolutely not! He has fun with the young girls that come to the studio. 

City of Rome


A strange survival instinct often pushes human beings to turn themselves inside out trying to justify things they might complain about. Thinking of imaginary compensation, they keep their resentment quiet and often accept to be exploited, abused, cheated.  Only when the pressure goes beyond the limits, rage explodes, maybe even stronger than necessary.    

We kept living quietly as long as possible, and the creeping regime exploited this, of course. It’s not a mystery that jokes about the regime in the fascist era not only were tolerated, but also sent out from the regime itself. Giving vent to the discontent, while the regime kept going undisturbed. It comes back to my mind when I hear or receive jokes, often very beautiful, on our present creeping regime. Here it is, could our intense on line communications  be a verbal vent good to console, making us able to endure? 

Why is the talk of action missing, now? 

Fort Lauerdale
United States of America

SILENCE OF ONIONS – by Rosanna Albertini

First time Alberto stuck in my memory was the day his father, my grandfather, ended his journey on earth. It was summer. In the field next to our garden there was a small, temporary amusement park not worth noticing except it was noisy. The dismay among the living people in the house translated into equally noisy complaints that I found annoying. I was seven years old. The whole house from basement to the roof was pervaded by a sense of control: flowers! To me: go to your friend’s houses and ask for as many flowers as you can. It was a way to keep me out. We were like bees buzzing around the room where the only significant person of that day lay still on the bed, dressed up as in winter, with socks but no shoes.

That dead copy of my grandfather wasn’t interesting at all for me. But, I knew the real one was gone, probably flying to paradise with mountain boots on his feet, and naked like god had made him. I was so angry nobody mentioned him. It was a tragedy in which the characters couldn’t speak out the core of the story. I didn’t spill one tear. In the kitchen I found some people sitting around the table, grandmother and Alberto among them. Alberto’s eyes were red and puffy, no doubt he had spread many tears. Implacably dry, my little person asked him bluntly: why did you cry? He was silent. Grandmother answered for him: he was chopping onions.

NAOTAKA HIRO : Again, art is a mental thing

(I used the same title for the post about Marisa Merz.

NAOTAKA HIRO, Armor (Blue) 2021, cast 2021, Bronze and stainless steel with patina Courtesy of the artist and The Box Gallery LA


at THE BOX, Los Angeles, June 29-July 24 2021

text by Rosanna Albertini – photos by Peter Kirby

The artist tries to see, and grab, the undefined images that are ghosts of reality drifting in his thoughts, in his feelings, in his guts. It’s surreal and it is work. Before they become drawings, sculptures, and paintings, things randomly absorbed aren’t necessarily visual. Somebody’s scream, explosions, crows whining a perpetual discontent, the dust in the wind along with a tormented flag that would like to cover all the stories of intolerance in our time, and fails. 

Naotaka Hiro could recount the poet’s words as if they were his:

I am the truth, since I am part of what is real, but neither more nor less than those around me. And I am imagination, in a leaden time and in a world that doesn’t move for the weight of its own heaviness

(Wallace Stevens)

And he could say — art is my armor making me the blue warrior, a skin without body because all of my inside has been invaded by the pandemic, the news, the riots, the killings, my living space has been devoured, my only strength is my art.  

Reality found a place somewhere under the skin, as every experience of life gets sucked up, filtered, and sits in us if we feel and think about it long enough. No no, memory is not the major actor.  Imagine particles of reality becoming parts of us. We don’t even know we have them. Unconscious? Who knows? Physical rather, what and who merge into each other.  

What the eye beholds may be the text of life. It is, nevertheless, a text that we don’t writeWallace Stevens

Here we are. What am I doing? I replace one absurdity with another. Naotaka Hiro’s own world, squeezed out of his body (somehow like playing an accordion) appears on board or canvas giving an external presence to some things that were already deposited, or crystallized in each of his organs. Impossible to separate real world and the imagined. That’s the secret dance of the living. Everyone has a share of this destiny. But Nao discloses the mental offsprings he generated in unique visual partitions gushing and spilling from his hands like music.  Flat bodies whose parts fluctuate spreading layers of colors. Lines have their inscrutable developments, forms don’t have any resemblance to what comes from nature’s womb. Even less they meet words able to express them. I might be delusional, yet I see a few eyes, or crickets? things that are more masks than faces, leaves here and there. Tunes trying to be images without leaving the aerial freedom in which they vibrate.  

NAOTAKA HIRO, Untitled (Forum) 2021, Acrylic, graphite, grease pencil, crayon on wood
 96 x 84 x 2 1/4 inches.
Courtesy of the artist and The Box Gallery LA
NAOTAKA HIRO, Untitled (Rhyzome) 2021, Acrylic, graphite, grease pencil, crayon on wood,
 96 x 84 x 2 1/4 inches. Courtesy of the artist and The Box Gallery LA
NAOTAKA HIRO, Untitled (Belle Vue) 2021, Acrylic, graphite, grease pencil, crayon on wood
98 x 84 x 2 1/4 inches. Courtesy of the artist and The Box Gallery LA

I can see from my keyboard how desperately the artist wants to export something, intuitions that push him to bring them out, he is obsessed by his blindness about them. Imagination has already reshaped them. Restless, they change and change, they slip away. They must be stopped. Nao gives four legs to each board, two feet high, so he can introduce his body underneath the board. It’s surreal and it is work.

I crawled underneath the wood panel and laid flat with a face-up position. With the physical limitation, I have to keep my body quite close to the surface. I drew, often with both hands, reflecting my body parts, positions, and movement. I flipped the board over, stood, and sat on it to analyze, edit, and paint colors in. I repeated until the distinctions and binary systems got blurry and abstract, merging the two personal worlds. (Naotaka Hiro)


The finished pieces reveal the accomplishment of these magnificent self-portraits of an artist facing the constant transformation through time (the six wooden pieces at the center of the exhibition) and the endless variations that follow board by board, half conscious, and half blind. Although impossible, his desire to resemble himself is so strong that his hands at times stub the wood, inflict exasperation and pain, you bring me in, stubborn surface! There he is, painted and sculpted in bas relief on the same surface. Our sense of reality in front of the hidden conflicts of cells, organs and limbs, grows emotionally and mentally.      

When we look at the blue of the sky

“…we live in the center of a physical poetry, a geography that would be intolerable except for the non-geography that exists there —few people realize that they are looking at the world of their own thoughts and the world of their own feelings.” Wallace Stevens

When we look at Nao’s self-portraits, we are as well in the center of a physical poetry. Because we are as humans as Nao is we can try to be him, and admire his challenging work while our body, inside, kicks our brain: I am your real treasure, and you don’t know me. Ha!


Rebecca Campbell : painting is erasing

Infinite Density, Infinite Light

May -June 2021 LA LOUVER Venice CA

REBECCA CAMPBELL, Reflection 2021 oil on board 36 x 48 in. Courtesy of the artist and LA LOUVER, Venice CA
REBECCA CAMPBELL, Beautiful Boy 2019 oil on board, 18 x 24 in. Courtesy of the artist and LA LOUVER, Venica CA

El tiempo es la diversa

trama de sueños avidos que somos

y que el secreto Soñador dispersa

Time is the manifold 

texture of avid dreams that we are

and that the secret Dreamer dissipates


ROSANNA ALBERTINI Painting is deceiving. I ended up loving being unsettled in front of paintings I see for the first time, almost lightheaded. Like heaving to burst a dam, a barrier: that is not my world, not even the same colors I see. Each brain is hit by light in a personal way, we have our own colors within. The artist has hers, I hope she doesn’t believe we see them. Something similar. That’s why I let my whole body exposed to the paintings and wait. I wait for the heart beat. 

Rebecca Campbell paintings are the second skin of her life. She expands through the texture of time, feelings and light. Members of her family, the first boyfriend, images from the memory appear as her brush made them, as if guided by a state of mind that floats in midair. Gestures and tasks of every day are erased, what remains are symbols.

Feelings of the present wrapping an imags of the past: a friend passed away and the following day Rebecca made a painting of a family member when he was a boy, a beautiful boy holding four puppies, but the painting is the symbolic portrait of the dead friend’s kindness. The touch of pink beyond the edge of the house gives the mood of the piece: a twilight that once was dawn. “Purification and oblivion.” 

“What texture is this

of will be, is and was?” 


 That texture can be painting. I thank you Rebecca, for the constant displacement and mysterious tension you gave to each of these pieces.  Feelings remove from the scenes the certainty of only one moment in time. Time flows like light that makes the landscapes fluid, dissolved by colors, the seashore a repository of air and transparent secrets, almost ready to give birth. 

REBECCA CAMPBELL, Still Waters 2020, oil on board 36 x 48 in. Courtesy of the artist and LA LOUVER, Venice CA
REBECCA CAMPBELL, Kin 2021, oil on board 36 x 24 in.
Courtesy of the artist and LA LOUVER, Venice CA Photo RA
REBECCA CAMPBELL, Nature Boy 2021, oil on canvas 60 x 110 in. DETAIL
Cortesy of the artist and LA LOUVER, Venice CA Photo RA
REBECCA CAMPBELL, Passage 2021, oil on board, 36 x 24, DETAIL Courtesy of the artist and LA LOUVER. Venice CA Photo RA

Painted humans seem to keep their features steady; their visage, their body defies the pressure of time. Not their story, which remains untold. Children are almost swallowed by exuberant bushes or trees so luxuriant and dense they could hide them forever, or clasp them in the density of ponds. Marvel and fear are tight together. In real life children share with nature a surprisingly fast and untamed transformation. As if an act of magic had given life to them. As if their growth, their unique figure had been prepared by the same secret Dreamer who refuses to be detected in any physical configuration, except his creatures. Shells, trees or humans are the development of His/Her/Its nature. Each destined to the same kind of measure, the only thing we know says Carlos Williams, each trying an infinite number of dances.

The flower dies down 

and rots away  . 

But there is a hole

 in the bottom of the bag.

It is the imagination

which cannot be fathomed.

It is through this hole

we escape   .   .

(William Carlos Williams)

Is it the children presence in some paintings that makes the brush strokes lighter and lighter? melting foliage into soft clouds, spreading veils of luminous gold, a dry rain of painted light may be the artist wishing to preserve forever the beauty of a moment? It was, already. Is and will be. Shaken in the memory’s bag, at every instant they are not the same. 

REBECCA CAMPBELL, Trevin 2018, oil on board 36 x 48 in.
Courtesy of the artist and LA LOUVER, Venice CA Photo RA
REBECCA CAMPBELL, Vanta Envy 2021, oil on canvas 75 x 51 in.
Courtesy of the artist and LA LOUVER, Venice CA Photo RA
REBECCA CAMPBELL, To Have And To Hold 2019, oil on canvas 75 x 51 in.
Courtesy of the artist and LA LOUVER, Venice CA Photo RA

Patterns. Adult life. Search for an order of things. Everything that mind can build: good, rough, perverse, uneven, smooth, hard. Rebecca has recently introduced patterns into her paintings. Soft and benevolent. The white young men wearing a white shirt doesn’t care if colors and lines from the pattern behind him go through his body. A smiling face. The woman sitting on a chair wears the pattern in her silky dress, and the regular texture might help her to face the opacity of the black box she holds in her hands. A disturbing darkness sits on her laps. A man wears a blue pattern, the woman next to him had a sudden De Kooning style transformation. The contrast is striking. 

REBECCA CAMPBELL, Radiant White 2020, oil on canvas 88 x 109 in.

Through Rebecca’s artwork, the order of things, geometry  we rely on to make sure our feet are still on the ground and our head is not spinning, progressively adapts to the human body, expands and mutates. It becomes a cluster of bodies softly falling asleep on one another. The magic touch of her painted images. Not a crossing of straight lines: every shoulder is a pillow for a head giving up with awareness, heads become heavy, slipping into sleep. Geometry is only a mental thing, living bodies gladly forget it resting in their round, fleshy, heavy physical presence at the edge of light and dark, of black and white.

“Between dawn and dark lies the history of the world.” (Borges)

  “Nature gave to Raphael the gift of painting the sweetest and most gracious expressions on faces”  Vasari wrote a few centuries ago. I would write the same about Rebecca. Not only her skill equals the old masters, here and there she adds to these contemporary portraits a cut of the scene on the right side which brings into the painting the colors of time, in which eternity quivers. 

REBECCA CAMPBELL, Look Up 2020, oil on board 10 x 8 in. Courtesy of the artist and LA LOUVER, Venice CA Photo RA


JORGE LUIS BORGES, In Praise of Darkness, transl. by Norman Di Giovanni, New York, Dutton & Co., Inc., 1974

WILLIAM CARLOS WILLIAM, Paterson, 1946. A New Directions Book, 1995

GIORGIO VASARI, The Lives of the Artists, New transl. by Julia Conaway Bondanella and Peyer Bondanella, Oxford University Press, 1998


The Light and the Dark at Roberts Projects – Los Angeles

BRENNA YOUNGBLOOD, No More Drama 2021 Mixed media on canvas, 72 x 59.75 x 6.5 in
Courtesy of the artist and Roberts Projects, Los Angeles. Photo Alan Shaffer

A slice of life, words of Brenna. They include the fact that each art piece is also cut off and detached from a bundle of experiences that everyone carries and burns, to feed the mysterious envelope of their body inside and around. The living life. Do paintings have it? No doubt yes. If the artist gave it to them. For how long it is hard to tell. 

Brenna Youngblood 2021 is like a springtime blooming. A year of isolation and hard time made her hands lighter and witty, they can glue her shoes on canvas and tell them to walk away, drama is over. Remains of the reclusion enter the geometrical space of the canvas without embarrassment becoming the image of a headless garment, a bodiless, playable thing once filled and reshaped by a human sitting on a pile of darkness. The human vanished like Aladdin’s spirit quitting the lamp, and the tag remains, hung on the new prison of this object that strangely moves from wrapping a person to being framed, literally, as an icon of emptiness. 

BRENNA YOUNGLBLOOD, Incarceration 2020, Mixed media on canvas 69.75 x 40 in Courtesy of the artist and Roberts Projects, Los Angeles. Photo Alan Shaffer
BRENNA YOUNGBLOOD, Hourglass 2021, Oil on canvas 72 x 60 x 1.5 in
Courtesy of the artist and Roberts Projects Los Angeles. Photo Peter Kirby
BRENNA YOUNGBLOOD, Closure # 6 2021 Mixed media on canvas 24 x 24 x 2.25 in Courtesy of the artist and Roberts Projects Los Angeles. Photo Peter Kirby

Robert Rauschenberg    “When I lived on Broadway, I would go out to the middle of Union Square and take Polaroids to have made into silkscreens.  I needed some very simple images, like perhaps a glass of water, or a piece of string, or the bathroom floor with a roll of toilet paper on it. They didn’t need to have any immediate emotional content. I needed them to dull the social implications, to neutralize the calamities that were going on in the outside world.”* 

In the isolated time that’s what Brenna did: she unscrewed herself from the obligations of self-expression, maybe accepting to float among the clouds of the general uncertainty, and lifting from her artworks of 2020-21 the burden of showing what the public expectation asks for: coherence, continuity, identity, fear and rage.

BRENNA YOUNGBLOOD, Jolly Rancher 2021. Mixed media on canvas 72 x 60 in
Courtesy of the artist and Roberts Projects Los Angeles Photo Alan Shaffer

What a relief to find her hands returning to the art manners of many predecessors with no drama and no affiliation. She takes walks into their fields as it works for her feet, as her mind rethinks them so her hands create an atmosphere she can breath. What we see is the visual outcome of Brenna’s conversation with Hammons, Magritte, Rauschenberg, maybe Frankenthaler, Mondrian, or herself of the past. Arbitrary references, my own incarceration in thoughts. 

Only Hourglass  is an oil on canvas. All the other pieces are mixed media on canvas, but they are all paintings. Single creatures telling their story, the artist gives them the energy to be an exuberant Jolly Rancher, an almost threatening Hourglass, a funny anti-geometrical field of rectangles incapable of keeping their edges clean, they are pieces of paper: Dirty Mondrian. Mondrian might be flustered in his grave trying to make the lines straight.

BRENNA YOUNGBLOOD, Out the Blue 2021 Mixed media, including archival hand-made wall paper by Kristin Calabrese, on canvas 60 x 72 in
Courtesy of the artist and Roberts Projects Los Angeles Photo Peter Kirby

Out the Blue, details

The most surprising encounter is Out the Blue. It needs a long, accurate visitation. Brenna places directly on canvas pieces of wallpaper that painter Kristin Calabrese has handed her years ago.

The thickness of life is made flat on canvas, and yet, because some layers have been scratched out, small caves appear with a few words of a love story, or the drawing of a dog, graffiti on canvas. And five vertical cracks, mostly painted, suggest other stories hidden behind the cracks in full contrast to the blue flowers on wallpaper, breaking the wall and pestering them. It is life’s squeezebox, opening and closing according to no choice, it just happens, nothing to do about it. Calamities are neutralized. Brenna, what a great work! If there is a group to which I would like to associate you, it’s the old group of “artists of the humble Infinity” —a group of artists of the early 70s, who were considered inconsequential: the artists of Studio Z. 

You are a contemporary griot.  

  • RAUSCHENBERG An interview with Robert Rauschenberg by Barbara Rose, Vintage Books, 1987

Doug Aitken’s FLAGS AND DEBRIS: the other side of Los Angeles

At Regen Project, Los Angeles, January 16 – March 13, 2021

below: DOUG AITKEN Flags and Debris, 2020 Photo: Peter Kirby

Always about us: Act 2


Ruthless as leopards, / sharper than wolves, / the powerful gallop / in the dark,  /coming from on high / like a falling star / to destroy. / They always want something, their faces / hard as a coin, / contagious / as a dollar. / The powerful /scoff at power / and laugh / at regulations. / They are everywhere, / blind to boundaries. Then wind changes / and they dry up / and are carried away. / It is a mistake to worship power, / even your own.

From Unbuttoned Sleeves, by Forti, Johnson, Swenson, Wadle, 2006

The following images are stills from the excerpt provided by Regen Projects, the stills were selected and grabbed by RA

And, for once, an artist channels his own power through the sleeves of his old shirts, blankets and fabric of his home, looking through the fabric of his life. Oh, ronawave certainly blocked him, forcing his day in a contingent straightjacket like all of us all over the world. This is now normal life, almost, as it always should be: facing sister death as a constant companion who smiles at our aging and ailments, little things after all. 

The artists, Doug Aitken, covered the many days of isolation with the same patience as Penelope waiting for Ulysses, cutting fabric and sewing the seams and hamming the edges of a population of words dressed with magnificent colors or gently depleted as if thoughts had dimmed the light on their skin. Paintings /  Flags / Banners / Quilts?  All of that. Some of them are hung at Regen Project, until March 13, 2021.

below: DOUG AITKEN, Digital Detox 2020 Mixed fabrics 115×102 1/4×3 inches

Others fell from the artists hands to start a completely different life. Sliding down the parapet of a bridge they fly for a short while until the water welcomes their flat body and caressing the surface of the fabric transforms them into translucent magic rags floating under the astonished eyes of birds. Homeless art. I hope the artist let them go away, for their natural polluted journey in the liquid realm. 

DOUG AITKEN, Digital Detox 2020 Mixed fabrics 115×102 1/4×3 inches

The scenes Aitken prepared for the 3 channel video installation (Flags and Debris) deserve more than a description. They have to be seen in person, sucked into the light space and sounds of an almost empty city. Carried away by cars roaring on a freeway like dark animals with fire in their eyes stealing your eyes for a ride with no direction. The loud slaps of fabric, the emotional voice of fabricated blankets folding and unfolding over invisible bodies with no identity. Homeless art on homeless humans. Homeless artist? At least for a while?

Lack of identity becomes monumental. It moves the figures and their coats to unnamed places of our time and to others, centuries old, dramatically balanced as in the baroque paintings. This symphony of images and sounds —13  minutes 20 seconds long— reveals something that cannot be described: despair, pain, delusion, fears   can be looked at as images of incredible beauty even on the most flat and gray beds of concrete. A whole day from morning to dark. The artist gives to walls, sidewalks and rivers of Los Angeles a down-to-earth portrait. Through a modest amount of time the dance of dispersed bodies that is the living city among cars, trains and bikes, shows what really those bodies are: simply humans, and wonderful. A foot emerge from the sidewalk like a classic pedestal. A hand raises from darkness and it feels like a tender flower breaking the ground after winter, naked and still colorless.        

I don’t know if Doug Aitken ever worshipped his own power as an artist, I don’t think he let his flags out unprotected without a bump in his heart. Then he followed the estranged creatures with his camera and composed a videopoem in their praise, and in praise of the most surprising city. Frankly, ronawave started the process, but the artist brought it out of time, on the other side of the Acheron. 


 Sprüth Magers Los Angeles  August 2020–January 2021

Senga Nengudi, BULEMIA 1988-2018

About us fabula narratur  Act 1

By Rosanna Albertini

Macaronic latin, the morning light brings it to me, no reason to dismiss it. The new camellias drop tears of rain from the pink tutu of petals still swollen with water. Affection and admiration seem to be hidden in these flowers. Beyond the thick greenery of the fence a bunch of preschool children chirp names of things maybe for the first time and slip them into the fantasy game. How can I read the news? I don’t know where I am, walking through the garden first thing in the morning. It seems the other side of the world. News of the last six months condensed into a rock at the center of my body. Place undetermined. What’s wrong? History switched, it’s a new day. Something continues to feel wrong.

 I have no more the desire to know everything from the political arena; it was at the tip of my mind until a few days ago. And now I am surrounded by the power of security operations: the functional castle of women and men of good will trying to remake the country healthy, prosperous and happy. I see the grapes like the fox of the fable, can’t reach them. But I won’t say they are not ripe. The fox in me is moved around by a tornado of voices, opinions, commentaries; such a dense cacophony that it becomes an enormous cocoon. Simple facts of every day end up obliterated.

 Furthermore, it’s hard not to see that, as we search for certainty in this life, we avoid the sense of dread, the surprise that feeds the beauty of being alive. As we look for protection, we deplete the bag of energies moving our feet toward the unknown, inside and after the vanishing cloud that we call life. 

We always drew, wrote and told stories from the beginning of human time to keep track of existence. They were often indirect, or suggesting a moral, parables or metaphors. Truth only sits inside a story, becomes tangible at the end of day, an inner sensation, mostly invisible. In this life of today we don’t wait. But, to know everything at once? Impossible, it doesn’t make sense. 

Senga Nengudi, BULEMIA 1988-2018
Senga Nengudi, BULEMIA 1988-2018

Opening the file with Senga Nengudi’s installation images l finally find a visual story that is also, maybe, the other side of the world. Her collection of newspapers and the one of her mother, without separation. People of color and white, news, advertisements and portraits of the Pope and of Martin Luther King. “Bridging the gap”, “End the taboo, proceed with care,” “just hold on,” “See more love,” “an inside job,” “Remain Unshaken.” Isolated words with no context. You enter a room with a tapestry of papers on the 4 walls: a big mouth chewing words and images, inevitably throwing up the excess of BULEMIA from reading too much, as Senga calls it. She covered some areas with gold, painted over some sheets to establish a new space for mind and heart to recover, a space of undeniable beauty. Repeated, made of cut outs in different fonts, the word CLEARANCE goes through the gold like a river. Toward the floor, papers become an unreadable mass, the one human bodies had contained, and then expelled according to the laws of gravity. Yet they remain suspended on the walls like the news in our mind, bending their head and shrinking like a flower that has lost its ink.  Small golden paper balls rest on a shelf, more are on the floor. Even discarded, they belong to the humans and shine, perhaps, of living particles.

“We are all part of the same tapestry. It’s important that we know as much as we can know, and be exposed as much as possible, and be motivated, inspired, and show interest in something that’s beyond our own personal history.” SENGA NENGUDI

Senga Nengudi, BULEMIA 1988-2018
Senga Nengudi, SANDMINING B

That’s the real landscape of this time in history, a dejected and wounded land. Pain springing from forgetfulness and lack of care vibrates in the dark vertical creature near the wall, a body of spines in tension between two metal pieces. Not able to stand up by herself, the creature witnesses the miracle staged by the artist in her hopeful mind: little sandbreasts emerging from the desert bed, exposing their colored, bright nipples in the air. 

It’s a disconcerting, attractive scene sowing colors and industrial metals on the ground. They are hardly compatible. 

It’s a prayer asking for husbandry: “not a simple list of practices, but an attitude toward living that entails honesty and economy” (William Bryant Logan).

It’s a concert for crystallized physical evidence in the sand  and the heartbeat of the artist, and ours if we close our eyes and listen to her voice 

My ancestors I honor you,

I remember you I we need you

I we thank you for your guidance…

It is time. It is time… to chant the same song 

Hum the same melody of Now…

Heart to heart, our blood still flows from your origin 

Toes touching soil, muddied

1619, from human being to a commodity,

Soul of a nation, lost in an instant

Only love, still, only love can make it right

Only love can save the day  

Colors on the wall around the vertical creature and on parts of the sand are light, almost vanishing shades of pink, green and blue. They might announce the beginning of a new day, or the end of any day.

Senga Nengudi does not spread illusions, nor tries to seduce bringing up mirrors of eternal utopias.

She is just here, as we all are, turning pain and dread into gold.

A camellia to her from my grateful, quivering fingers.


Hannah Kirby with open hand holding fire

Participants and materials

A Cat from Paris on Bianca Sforni’s computer, photo by Bianca

The Moon, scientific image from Michal C. McMillen’s archive

The Owl and the Pussy-Cat, poem by Edward Lear 1812-1888

from Michael C. McMillen remembrance of his grandmother reading it to him.

The White Owl from my search of a title for a book about LA artists;

Hannah Kirby with open hand holding the fire.


Introduction by Rosanna Albertini

Three friends are surfing the waves of distance. “There is a great deal of nonsense talked about the subject of anything,” said Gertrude Stein. In their hearts there is no distance at all nor an ocean or a hill: they see the same things since the beginning of time and after all they are pleased to be on the same wave without having to measure the distance, no need to count the money to cover the distance, either.

Black circles the cat’s eyes and turns around the moon. 

One two three the white light removes them from the chair of identity. Pages flew away like magic carpets. The black and white remains clear in the written words but fades into the infinite grays of the images. A perfectly white camelia blooms the day of my birthday, pure whiteness still uncontaminated like the days in their undisclosed bud. 

This is a black and white song repeating with Jon Batiste: “What a wonderful world” please don’t forget it. This is a song of silence for the contagious nonsense that is killing hope and joy and beauty all around the world. Like Torch Song, Alison’s Saar sculpture that wears a black and white keyboard like a vest of bullets and holds a burning torch in her right hand, I wear my pearls asking them to bloom flowers of light, and give them to the white owl to fight the darkness and announce a new year: a new, joyful, wonderful year. 



The Owl and the Pussy-Cat went to sea

In a beautiful pea-green boat:

They took some honey, and plenty of money

Wrapped up in a five-pound note.

The Owl looked up to the starts above,

And sang to a small guitar,

O lovely Pussy, O Pussy, my love,

What a beautiful Pussy you are,

You are,

You are!

Pussy said to the Owl, “You elegant fowl,

How charmingly sweet you sing!

Oh! let us be married; too long we have tarried.

But what shall we do for a ring?”

They sailed away, for a year and a day,

To the land where the bong-tree grows;

And there in a wood a Piggy-wig stood,

With a ring at he end of his nose,

His nose,

His nose,

With a ring at the end of his nose.

Dear Pig, are you willing to sell for one shilling

Your ring?” Said the Piggy, “I will,”

So they took it away, and were married next day

By the turkey who lives on the hill.

They dined on mince and slices of quince,

Which they ate with a runcible spoon;

And hand in hand, on the edge of the sand,

They danced by the light of the moon,

The moon, The moon,

They danced by the light of the moon.

In life and death the noble rider: JOHN OUTTERBRIDGE

March 12, 1933 – December 23, 2020

Photo: © Peter Kirby

John Outterbridge. The sower moved away from earth while the seeds he has planted keep cycling through the seasons well beyond racial and cultural differences. Mostly among artists who probably don’t even know his name or tentatively grasp the secret of the ancient art John Outterbridge shared with all his friends as a normal way of living: the art of storytelling. His sculptures are his hands recombining simple remains of used materials, or traditional rituals mysteriously repeated and contained in pieces of fabric, glass, leather, metal, and his hands were remaking a new life for them not because they were coming from dumpsters, or they were found at the corner of a sidewalk — damn the mythology of artists as scavengers of garbage —  but because they were consumed and altered by unknown lives, broken stories without a leash. 

Photo: © Peter Kirby

I remember him shaking in a big smile without stopping to inquire about the person in front of him with no words, looking into her eyes. It was like being shot by his dark interrogative pupils: who are you? From which stories are you coming from? See? I wear African hats and colored shirts, what are you bringing to me which is not only words? Can I trust you? John had the same fierce, commanding request of authenticity I found meeting Maori tribal members. You can’t lie — the direct physical communication speaks before words. Once the threshold is passed, and earned, a river of stories can flow for hours. 

John and Peter

Lunch with John. A pervasive smell of sweet potatoes soup had filled every corner of his studio-house. It had already boiled four hours — John told my husband Peter — he loved to cook and feel the vegetable and the human bodies merge into unique organic transformations. Interior sculptures, for sure. Never would he have competed with the succulent plants’ creativity: he proudly took care of his grandfather’s cacti, trying to maintain the family husbandry. 

Never was his art separate from the feeling that things and people could be lost and broken down forever if someone wasn’t caring for them, giving them a personal, surprising place in their lives.

Photo: © Ulysses Jenkins

Skeletons of broken cars were a passion for him. He could spend years rebuilding and restoring them. On the evening of an opening downtown he picked me up in West LA with another friend who was already in the car. The blue little Volkswagen was not complete. I sat behind John on a piece of cardboard, there were no back seats, and I had the most exciting drive to Downtown: there was not car on the freeway whose driver wasn’t bugging their eyes at the arrival of the little shiny monster that was us. 

Art was for John an offering to life asking for clemency, hoping for inclusiveness. Universe isn’t an audience, doesn’t listen, cares even less. If it wasn’t for humans, lady earth wouldn’t have a face, the many faces she shows to the sky who still cries tears and storms over their eternal separation.

Photo: © Peter Kirby
Photo: © Peter Kirby

In this blog there is another post about John Outterbridge, from 2016:


The progression of a painter’s work, as it travels in time from point to point, will be toward clarity: toward the elimination of all obstacles between the painter and the idea, and between the idea and the observer. As examples of such obstacles, I give (among others) memory, history, and geometry.

Mark Rothko, 1949


by Rosanna Albertini

I wonder, what happens with the progression of a writer’s work? Just the same I think, as objects and humans share the same destiny: “an equal indifferent value in the algebra of the mystery.” (Pessoa’s voice) I don’t know why I kept for 6 years UMAN paintings’ files – regularly sent by the artist, and I didn’t write. Perhaps they were a treasure I didn’t want to share. I’m not John Ruskin, criticism was refused by my heart since day one of my journalistic journey. But all this is memory, history, therefore to be discarded. Geometry applied to human reality reached sublime peaks only with Spinoza and Wittgenstein, the art of their minds. It floats like a flock of thin and parallel clouds for a moment, then vanishes. Obstacles removed.

UMAN paintings,  I observed them year after year trying not to dissect them with thoughts, for fear they could bleed. Now, in the middle of isolation and pandemic threat, I chose my favorites, grouped by year. I made a new year small exhibition showing the artist’s progression toward clarity, which is the opposite of simplicity. My Christmas present to unknown readers. UMAN painter is a homeless spirit as I am, transplanted in a new landscape far way from the native place. Over time, the two homelands merge in each of our bodies but nostalgia remains.




UMAN doesn’t paint what she sees, the work unfolds and makes visible the living world of many organs that have ingested myriad sensations in Africa, European countries, and North America, upstate New York. Paintings are life filtered through colors. The artist’s body, as anybody else’s, is porous like a colander. At each instant absorbing the mood of the day, temperature, palm leaves or pine branches swaying in the breeze, a blow of dust, the concert of traffic, preschool children laughing next door, the smell of food on the stove, constantly we are transformed, all life long. And things that happen underneath the skin, things we don’t see nor control, have a story on their own, only some of it becomes words, or paintings. There is no day that UMAN doesn’t think of Africa, when nostalgia shrinks her stomach it is not pain, it’s a sensation of missing something that is strangely already within the person and is eager for more, more of the old home. To be an immigrant is to be forever homeless. Memory is not enough, she also changes when triggered. Spoken stories never the same. Although, watching  birds in migration UMAN “wants to be in that moment with them,” this a permanent thorn, and a rose at the same time.

Every day is surprising with the passage of light, sound, as we go through a carousel of scenes melted into one another, our legs are the stitches, the eyes the most selective and capricious camera, while the brain doesn’t always do the work. So much of the process is unconscious. No theories are needed to understand that the major incongruous ingredient in the salad of life is the human being, each single person different from the other like the leaves of the same tree.



Every person sends out her own, digested, or badly filtered, unique world. In home-made short films from all over the world during this pandemic a popular message is repeated: art opens a different way to look at reality.  But, what’s reality? if not the singular, peculiar perception of everyone. Artists do not envision a better reality. They are a musical instrument introducing resonance and vibrations into parts of our reality at times ignored, other times dismissed. Most of all, they don’t ask permission to express basic human emotions as they want and can. That’s what UMAN does every day, along with the many usual chores. 


Progression toward clarity is undeniable. UMAN paints how Mombasa and her Somalian origins made her, as well as Vienna and New York City. Never followed rules here or there. Indian Ocean, stars in the Northwest desert of Kenya, stars over child UMAN on a mat, outdoors. A pickup truck full of empty water jugs goes to the village twice a day to refill them. Turkana the beloved place for vacation with an aunt. No electricity, except for a generator one hour a day, in the evening, to listen to the news on the radio. Now lifted in her mind, Africa is not distant.  Nothing but movement drives the artist’s fingers. Obstacles disappear for mind and hands digging into life and resurfacing full of presents: whatever you see in the paintings is a messenger of the living, in its fullness of pleasures pains and nostalgia almost choking my throat how beautiful and more and more clear they are.

 Did I reach my clarity? I don’t know.  Merry Christmas to you all.



Francesca Lalanne, Lamentations 2020

At Galerie Lakaye, specializing in Haitian Art, Los Angeles

September 26-December 26, 2020

to be with them

by Rosanna Albertini

The artist scratched lines of feeling into the metal. The metal is flat like a page. It has natural colors as if earth and sky had been absorbed by the implacable stillness of the surface that doesn’t bear any resemblance to any living space. Francesca Lalanne followed her feelings during the many months of ronawave, let them work through her hands grabbing and carving the outlines of human bodies she never saw, they were numbers, massive clouds of names and addresses. She carved the memory of their presence. Giving legs to the coffins, or placing the coffin on human shoulders, without place. They move in the emptiness of a non-lieu, tableau vivants (as the artist calls them) of the dead peoples lives, or maybe after-lives, because emptiness is great, and beautiful, escapes description.  

 She had to cross the line of the unknown and, in so doing, gave form to an imagined flow of gentle, elegant movements for flat bodies and their flat houses, carrying  other bodies with grace and silence, a dance in the void sometimes becoming one thing with the house. She freed the figures from the heaviness of memory.

“Description is revelation. It is not

The thing described, nor false facsimile.

It is an artificial thing that exists,

In its own seeming, plainly visible,

Yet not too closely the double of our lives,

Intenser than any other life could be….     

WALLACE STEVENS, Description Without Place vi, in Transport to Summer, (1947)

Yet the plague is a burden on our hearts. The artist is one of us. Heaviness must be in the scene. And it is, completely out of the scene carved on metal: a piece of granite hung with a white thread seems to cut vertically each picture in the middle, and ends beyond the lower edge of each tableau. Images open a sense of balance, pain that is contained, almost hidden. 

Francesca grew up Catholic in Haiti. Left the island at age 8, a very young political refugee. The more I dive into the scenes she recently carved, the more I recognize the same style of the rituals of my childhood in an Italian village. Catholic culture is a master of controlled, staged actions inducing the many to pour themselves into a common moment of grace, in which routine, fatigue, chores, despair are lifted, even only for a little while. As I opened my mouth for the communion, the mystery was so overwhelming that I had to shut down rational questions and try not to feel I could hurt Jesus with my teeth. For a seven year old, the issue was serious. Confession was an inner trial. During the ritual and after, personal feelings were not allowed to leak out. Balance and composure disclose a non-invasive sense of beauty, the art of sharing without words, giving to the body the primary role. Such a mysterious gift of life! One by one, like leaves of the same tree, each is one. If to face death without place brings back a sense of debt for the unique story we are one by one, I mentally give back to this artist a deep thanks, my mouth never opened.  

Francesca Lalanne, Under Construction, 2015-17
Francesca Lalanne, Under Construction, 2015-17