Nanda Vigo in her Milan apartment, September 2014. Photo: Martin Kennedy.
Going to interview Nanda Vigo in the late summer of 2014, we were lucky enough to be received in her Milanese penthouse - though ‘penthouse’ does not really render the otherworldly quality of her enveloping home-studio, a gesamtkunstwerk par excellence. There was plenty of evidence here of Vigo’s friendships and collaborations with some of postwar Italy - and Europe’s – most vital avant-garde artists, relationships that for some time threatened to overshadow her own remarkable accomplishments.
Perhaps more than any other of her works, her home was the environment that best embodied her lack of regard for distinctions between the role of ‘artist’, ‘designer’, ‘sculptor’, ‘architect’, categories that dissipated in her totalising vision of all manner of disciplines, not only artistic. A science fiction fanatic, as a child Vigo was an avid reader of Flash Gordon and used to dream of living on the planet Mongo, in a levitating city with diminished gravity. Aptly, so many of her inventions, whose unifying feature was perhaps the manipulation of light, attained that astral dimension. At the risk of invoking sometimes overworked notions, Nanda Vigo was a visionary and, in person, a force to be reckoned with.
Interview by ANGERIA RIGAMONTI dI CUTÒ
Filmed by MARTIN KENNEDY
Deb Covell interview: ‘I want to show how far painting can be pushed’
Deb Covell (b1966) is a painter who seeks to celebrate the material qualities of paint. Rejecting pictorial imagery, she also eschews the traditional canvas support, producing paintings that hang from walls like drapes or lie folded and crumpled on the floor. There is a sculptural element to her works but, she explains, it is far more about form, materiality and the versatility of paint.
Nanda Vigo: interview
A pioneer in modern Italian art, Nanda Vigo has continually skirted the confines of design, architecture and installation to compelling effect, in her own practice, as well as in her collaborations with other radical figures such as Lucio Fontana and Giò Ponti.
The Space Where I Am
The exhibition at Blain Southern in London this summer represents the opportunity to experience the manner in which artists have explored the relationship between personal experience and space, between the void and emptiness from the 1960s to the present day.
Starting at Zero: Black Mountain College 1933-57
Radical educational establishment and sanctuary of the avant-garde in art, music, poetry and dance, Black Mountain College survived for only 24 years, but its influence spread far beyond its isolated North Carolina location. This exhibition, and its accompanying catalogue, offers 'a kind of afterlife to [the] artists' practices'1 by assembling the sometimes contradictory memories and records of the college's experimental achievements in paint, print, dance, pottery, photography, poetry, theatre and music.