The Gone Cat: Tell us a little bit about some recent exhibits you’ve visited and enjoyed?
Diletta Moricca: One of the shows that I loved the most this year was Robert Mapplethorpe at LACMA. I have always had a passion for the elegance of his photography and his aspiration to that classical form and veneration of the human body. The search for the harmony of form and composition conjure up a traditional idea of beauty and fragility resulting in blow ups injected in power and lust.
Doug Aitken’s Electric Earth at MOCA was very contemporary combining technology and natural elements used to plot out a personal cosmology. It masters 20th century avant-garde cinema, music and sculpture creating a new immersive aesthetic. In a way the body of work argues against Walter Benjamin’s claim that modern art no longer had a ritualistic function in society and that technologies of mechanical reproduction such as photography had stripped it of it aura in that it accounts for the unrelenting human, industrial, urban and environmental decline defining this century’s existence.
Non-fiction at the Underground Museum. This is a love letter from artist Noah Davis to the victims of racial violence. The emphasis on the spiritual in this show challenges the way in which art is commonly understood. It invites to look inside, to find a horizon it is an argument for the possibility of art to become history. It is the valorization of art. It treats art with power.
GC: What has been your favorite exhibit so far and why?
DM: One of my favorite exhibits so far has been ‘Savage Beauty’ at the Victoria and Albert Museum in London. The curatorial craft is class. Entering the show you get detached from custom straight away. It is a journey into the transcendent through sublime sensory elevations and melodies of menace that carry you away to another level through the alteration, hyperbolizing and resolution of traditional form. The romanticism is brutal.
GC: Which city in the US do you think has the most to offer in terms of good art?
DM: As of right now I would say L.A. the art scene is still growing but this makes it very accessible and young with a funky energetic vibe. It imbues all you consider hip and happening. The traditional relationship of art and its display in various media makes it experimental and this, I believe is very empowering.
GC: How do you feel about people who say that the art world is currently in crisis? Do you agree?
DM: I think the art market is unrelated to the larger economy. The work of art is a symbolic rather than economic asset and it only become this if the person is able to decipher it. I don’t agree. Art considered as a terrific inflationary hedge. Everyone is so obsessed! This is due to a paradigm shift with globalization and emerging markets, the proliferation of fairs and increasing focus on spectacle, the rise of mega galleries and young artists entering the secondary market.
GC: Who are some current artists that you admire?
DM: My heart is with the old masters but some of the contemporary artists that I admire are Richard Prince, John Baldessari, Francis Bacon, and Cindy Sherman.
GC: If you could have a dinner party with 3 artists (past or present/alive or past), which three artists would you choose?
DM: Michelangelo Buonarroti, Salvador Dalì and Ai WeiWei