Sie sind auf Seite 1von 6

Inside the Artists Studio: Pesce Khete | Art21 Blog

1/13/13 7:13 PM

HOME

GUEST BLOG

EDUCATION

VIDEO

Inside the Artists Studio: Pesce Khete


October 29th, 2010 by Georgia Kotretsos

new artists, new films


Like Tweet 41 3

search

subscribe
Art21 Blog feed Video feed Education feed Guest Blog feed

New films in New York Close Up premiering throughout 2012

flash points

communicate

recent comments
How are stories and art intertwined?
Pesce Khete at his studio, San Lorenzo, Rome, Italy.

Agnieszka in Dissecting the Social Self: A [Wo]Man, an Animal, and an Ambiguous I. : Interesting... dennis in When Works of Literature Make The Leap: Joe, looking at Glenn Ligon this summer inspired me to give my ap... Kyle in Videogame Appropriation in Contemporary Art: Grand Theft Auto (GTA): I love the amount of work Rockstar puts... Docsson in The Art + Brain Files: These sound, to me at least, the same comments that were (and for some continue to... Birgitte Lamb in More Moments, More Dialogue: Hi Joe. This sounds very interesting and is clearly a subject of...

Pesce Khete is an Italian painter based primarily in Rome, Italy. He has studied at the Classical Studies Department at the Liceo Ginnasio Torquato Tasso, later on at the Istituto Europeo di Design, and finally at the Accademia delle Arti in Rome. His studio is located in the San Lorenzo district, the area to be in the evening. Pesces studio smells like freshly used oil sticks, and the speakers are prominently placed in his space, where he enjoys whistling and singing along to his favorite tunes. For the past three years, Pesce has occupied a two-room studio space right across from a historic pasta factory built in 1905. It was later abandoned in the 60s, until it became the home of the Nuova Suola Romana a decade later by artists Nunzio, Pizzi Cannella, Gallo, Ceccobelli, Dessi, and Tirelli. A new generation of artists has moved in since then and Fondazione del Pastificio Cerere remains a vibrant artistic hub to this day. Funny enough, I came across Pesces work at the Art Athina fair in May 2010 in Athens. This year in particular, the fair was highly conservative. Unfortunately it had an art bazaar feel to it that made me very uncomfortable at times. Nonetheless, two booths down from the gallery I was showing with, Pesces work caught my eye at The FlatMassimo Carasi gallery booth. I spent three days at the fair walking around looking for something Id feel excited about. I totally surprised myself that figurative painting excited me the most and I went back to Pesces work again and again and again. His work is raw but highly controlled, very seductive, visually rich, innocently destructive, and kind of sexy. Bodies are captured in private moments whether they are clothed or not and bodily fluids are exposed. At times, his palette becomes dirty and his drawings messy but it is successful because this scatological delight works. Ill say no more but keep an eye on Pesce. I have a feeling well be seeing more of him and his work.

featured video

David Altmejd: "Assistants"

teaching with contemporary art

In and out of the classroom

pages
About Art21 About the Art21 Blog Writers and Contributors

blogger-in-residence

newsletter
Sign up

art21 online
Michael Neault, Content and Media Producer, Portland, OR on Art21.org on Blip.tv on Del.icio.us on Facebook on Flickr on iTunes on PBS on Twitter on YouTube

categories
> Columns (1284) > 5 Questions for Contemporary Practice (21) > Alchemy of Inspiration (5) > Art 2.1: Creating on the Social Web (16) > Bedfellows: Art and Visual Culture (15) > BOMB in the Building (19) > Bound: The Printed Object in

blogroll
16 Miles of String 2 Buildings 1 Blog Art Fag City

http://blog.art21.org/2010/10/29/inside-the-artists-studio-pesce-khete/

Page 1 of 6

Inside the Artists Studio: Pesce Khete | Art21 Blog


Context (6) > Cairo in Context: Art and Change in the Middle East (4) > Calling from Canada (15) > Center Field | Art in the Middle with Bad at Sports. (58) > Future Metaphors (3) > Gastro-Vision (37) > GIF(t) Basket (8) > Gimme Shelter: Performance Now (18) > Ink: Notes on the Contemporary Print (29) > Inside the Artist's Studio (40) > Inspired Reading (12) > Letter from London (92) > Lives and Works in Berlin (28)
Pesce Khete, "Untitled," 2010. 134 x 76.5 cm, oil stick and masking tape on cotton paper.

1/13/13 7:13 PM

Art Whirled Artlog ArtsBeat Bad at Sports BAM 150 BOMBlog C-Monster Creative Capital The Lab Culture Monster Ed Winkleman Eyeteeth Henry Art Gallery: Hankblog Hrag Vartanian Hyperallergic IMA Blog LACMA: Unframed Look Into My Owl Mattress Factory Modern Art Notes MoMA: Inside/Out New Curator OC Art Blog PBS NewsHour: Art Beat SFMOMA: Open Space The Artblog The Ben Street The Daily Beast The Gray Area (Grey Art Gallery, NYU) The Huffington Post Two Coats of Paint updownacross VernissageTV Walker Art Center

> Looking at Los Angeles (81) > New Kids on the Block (4) > No Preservatives: Conversations about Conservation (37) > On Location: Inside Art Documentary Production (9) > On View Now (32) > Open Enrollment (145) > Praxis Makes Perfect (35) > Problematic: Answering Questions with Questions (2) > Revolution 2.1 (3) > Teaching with Contemporary Art (268) > The Weekly Roundup (198) > Transmission (5) > Turkish and Other Delights (11) > What's Cookin': The Art21ndex (34) > Word is a Virus (7) Week in Review (1) > Flash Points: (421) Compassion: Do artists have a social responsibility? (29) Fantasy: Does art expand our ability to imagine? (26) How are stories and art intertwined? (12) How can art effect political change? (74) How do we experience art? (73) How does art respond to and redefine the natural world? (40) How is art influenced? (35) Must art be ethical? (40) Systems: Can art transcend paradigms? (32)

Georgia Kotretsos: Tell me a little bit about contemporary painting. What are your thoughts on the discipline and where do you place yourself in relation to your peers?

archives
January 2013 December 2012 November 2012 October 2012 September 2012 August 2012 July 2012 June 2012 May 2012 April 2012 March 2012 February 2012 January 2012 December 2011 November 2011 October 2011 September 2011 August 2011 July 2011 June 2011 May 2011 April 2011 March 2011 February 2011 January 2011 December 2010 November 2010 October 2010 September 2010 August 2010 July 2010 June 2010

Pesce Khete, work in progress at his studio, 2010

Pesce Khete: Well, I think that you are aware that your question has vast implications. To even touch on the theme of painting and its role in world of contemporary art could lead to an infinite number of discussions! In fact, as a result of an invitation to participate in the museum exhibition titled Impresa Pittura, organized here in Rome with the scope of capturing the essence of painting as it has evolved in Italy during the last 20 years, I have recently had many opportunities to discuss this subject. The debate is open, even if in reality it has never been closed, and the question is more or less the same: does the art of painting still hold any significance? The reply to this question, one that has been asked repeatedly for more than a century, goes without saying: yes.

Pesce Khete, work in progress at his studio, 2010

The New Culture Wars: What's at Stake? (9) Transformation: How does art adapt and change over time? (26)

Generally, when confronting questions like this, I tend to be very dry and strangely brusque: my approach to painting was a natural progression and this, for me, is an undeniable fact. However, I hold no sense of religious veneration for painting. I am more than anything, an animist or a sustainer of politea [1]: I am attracted to the creations of others, like insects that repeatedly bang into the bulb of a lamp in the brave attempt to enter into its light on the other side of the

http://blog.art21.org/2010/10/29/inside-the-artists-studio-pesce-khete/

Page 2 of 6

Inside the Artists Studio: Pesce Khete | Art21 Blog


glass. I dont want to fall into excessive explanations when I dont need them. I believe in keeping certain vagueness[es], and I do not consider it particularly important to know myself more than I do, or to expand my preferences. I find it difficult to consider myself as a painter, an artist. I prefer to be an artist, notwithstanding my volition. It would be fantastic to hear someone say: I am an artist, unfortunately. In my opinion (or perhaps, in a more prosaic sense, I feel) that becoming an artist is a trap which precedes ones own downfall, but of course, this does not signify chance, or vagueness; in fact it is quite the contrary. The unfortunately would be a good means through which to detach oneself of it, preserving instead ones creative capacity.

1/13/13 7:13 PM

What influences art? (47) What is the value of art? (83) What's so shocking about contemporary art? (40) > Video: (528) Classroom (15) Conversation (8) Excerpt (35) Exclusive (186) New York Close Up (62) Reblog (198) Spoof (6) Uncut (4) Access '12 (1) Art21 Access '09 (25) Art21 Artists: (1390) Ai Weiwei (19) Alejandro Almanza Pereda (1) Alfredo Jaar (59) Allan McCollum (40) Allora & Calzadilla (68) An-My L (30) Andrea Zittel (49) Ann Hamilton (47) Arturo Herrera (39) assume vivid astro focus (5) Barbara Kruger (65) Barry McGee (75) Beryl Korot (10) Bruce Nauman (82) Cai Guo-Qiang (68) Cao Fei (47) Carrie Mae Weems (79) Catherine Opie (7) Catherine Sullivan (26) Charles Atlas (28) Cindy Sherman (61) Collier Schorr (35) David Altmejd (4) David Brooks (3) Diana Al-Hadid (2) Do-Ho Suh (43) Doris Salcedo (30) El Anatsui (17) Eleanor Antin (40) Elizabeth Murray (17) Ellen Gallagher (26) Erin Shirreff (1) Florian Maier-Aichen (19) Fred Wilson (35) Gabriel Orozco (55) Glenn Ligon (15) Hiroshi Sugimoto (54) Hubbard & Birchler (8) Iigo Manglano-Ovalle (25) Ida Applebroog (27) James Turrell (48) Janine Antoni (43)

May 2010 April 2010 March 2010 February 2010 January 2010 December 2009 November 2009 October 2009 September 2009 August 2009 July 2009 June 2009 May 2009 April 2009 March 2009 February 2009 January 2009 December 2008 November 2008 October 2008 September 2008 August 2008 July 2008 June 2008 May 2008 April 2008 March 2008 February 2008 January 2008 December 2007 November 2007 October 2007 September 2007 August 2007 July 2007

Pesce Khete, "Untitled," 2010. 153 x 114 cm, oil stick and masking tape on cotton paper.

More than anything else, my attitude leads me to rationalize my work as a loner and not as part of a particular thought. Pesce Khete, for example, does not mean anything. It is a fictional name that does not belong to the language of any single nation; it is not Italian, nor is it Bulgarian, and above all, it is not American and in the same sense that I do not see myself as an Italian artist (unfortunately), or a Swiss (my second nationality) artist for that matter. In a similar vein, I feel that the drawings, sounds, photographs and the spatial compositions that I create somehow resemble each other. This way I, too, can bang relentlessly against the notes of Richard Utley (the guitarist of Portishead), the forms of Edvard Munch, or the photos of Wolfgang Tillmans. From this point of view, I am like an omnivore, but an omnivore with very complicated tastes. From this point of view I am like an omnivore, but an omnivore with very complicated tastes. I do not have any particular preferences regarding genre. For example: recently I have been captivated by young abstract artists, and in general by any work of art that is magically and powerfully present.

support art21
Your tax-deductible donation provides crucial support for Art21 projects.

admin
Admin access

Pesce Khete, "Untitled," 2009. 95 x 85 cm, oil stick and masking tape on cotton paper.

Jeff Koons (89) Jenny Holzer (99) Jessica Stockholder (37) John Baldessari (79) John Feodorov (4) Josephine Halvorson (2)

GK: I see youve shown a lot at art fairs. Has that kind of exposure affected your practice in any way? PK: To exhibit at an art fair is like playing the ukulele at a massive heavy metal music festival, but as a special guest. Honestly, I have never been enthralled by the kind of exhibition represented by contemporary art fairs, but through frequent participation, I have in part learnt to

http://blog.art21.org/2010/10/29/inside-the-artists-studio-pesce-khete/

Page 3 of 6

Inside the Artists Studio: Pesce Khete | Art21 Blog


understand them, if not appreciate them. The sensation fairs leave me with is that of being a part of something whose form is beyond control, a torrential overflow that breaches all banks. Excess that becomes too little, the excess that tires one or unexpectedly glides over reality, except when one stops to ask whether this is indeed reality? They are certainly unique occasions for comparison, and one has the chance to take advantage of a large visual window for ones work in fact, often my international exhibitions are born of the opportunities for increased visibility. Art fairs have no impact whatsoever on my artistic practice, as I believe it is essential to conserve a certain degree of creative integrity. The opportunity to compare is, in a way, important and indeed necessary, but the process of selfcriticism, which begins in the moment that a work is put on show, must be carefully contained. Thus, we can conclude that art fairs are also useful in creating inherent confusion. All said, fairs are great fun when one succeeds in selling works.

1/13/13 7:13 PM

Josiah McElheny (44) Judy Pfaff (40) Julie Mehretu (60) Kalup Linzy (20) Kara Walker (86) Keltie Ferris (10) Kerry James Marshall (47) Kiki Smith (85) Kimsooja (20) Krzysztof Wodiczko (37) Lari Pittman (21) LaToya Ruby Frazier (12) Laurie Anderson (57) Laurie Simmons (42) Laylah Ali (36) Liz Magic Laser (2) Louise Bourgeois (93) Lucas Blalock (8) Lynda Benglis (5) Margaret Kilgallen (17) Mariah Robertson (5) Marina Abramovi (16) Mark Bradford (100) Mark Dion (88) Martha Colburn (8) Martin Puryear (35) Mary Heilmann (33) Mary Reid Kelley (8) Matthew Barney (52) Matthew Ritchie (30) Maya Lin (56) Mel Chin (32) Michael Ray Charles (6) Mika Tajima (7) Mike Kelley (84) Nancy Spero (51) Oliver Herring (54) Paul McCarthy (46) Paul Pfeiffer (22) Pepn Osorio (16) Pierre Huyghe (35) Rackstraw Downes (5) Rashid Johnson (17) Raymond Pettibon (52) Richard Serra (69) Richard Tuttle (37) Robert Adams (37) Robert Mangold (4) Robert Ryman (31) Roni Horn (34) Sally Mann (30) Sarah Sze (11) Shahzia Sikander (32) Shana Moulton (11) Susan Rothenberg (19) Tabaimo (4) Tim Hawkinson (22) Tommy Hartung (4) Trenton Doyle Hancock (38) Ursula von Rydingsvard (35) Vija Celmins (29) Walton Ford (21) William Kentridge (91) William Wegman (35)

Pesce Khete, work in progress at his studio in Rome, Italy.

GK: You are based in both Rome and Zurich. How do you fit in these two art scenes? Do you make art in both cities? Do you keep two studios too? PK: In reality, I should speak more generally of Switzerland as a whole. Being my second nationality from my mothers side and having numerous family relations throughout the country, I cannot limit my discussion to Zurich alone. Switzerland is like a second home where I spend much time during different periods of the year. I do not have a real studio there as for the most part, I only really need a studio during the final phase of my work when I give vent to creative expression at the point when I feel that I have accumulated enough. (This said, I buy my paints in Switzerland!) I do not have a precise take on the two different art scenes because, as I have already mentioned, I tend to isolate myself quite a lot and do not intentionally look for direct contact with other artists. But when, by chance, these meetings do happen they can be wonderful experiences. However, as I was saying earlier, by nature I am not a person who purposefully investigates and broadens my knowledge in a rational way; instead I prefer to perceive things, as this approach is more coherent with my way of working. I suppose I could say that the process of accumulation that unfolds through that irrational state beyond directed thought is more telling of my style and in this sense, the Internet helps me enormously. The Internet allows me both to float and to weigh myself down with immersion weights in order to sink below the surface. More than anything else, it bears witness to my perception of myself as being free of any cultural bonds (this is interesting as I have often encountered this notion while speaking to other people with dual nationality). In this way, my interests and personal tastes go beyond any frontiers, just as my name itself, Pesce Khete, does not belong to any language. But having to improvise a personal overview of these cultural states, I would say that Italy has yet to free itself from a certain cultural heaviness (is this a gift or a defect? Often it is a defect), while Switzerland is inherently characterized by a pronouncedly open approach to contemporary culture (saying this at times leaves me with a sensation of superficiality). And certainly, only in Switzerland have I seen beautiful exhibitions of contemporary art in tiny isolated towns of the Alps!

Pesce Khete, work in progress at his studio in Rome, Italy.

http://blog.art21.org/2010/10/29/inside-the-artists-studio-pesce-khete/

Page 4 of 6

Inside the Artists Studio: Pesce Khete | Art21 Blog


GK: What did you do last summer? PK: This past summer was very particular. I spent nearly all of July and August in Rome, playing at home. In September, I had the pleasure of going on the Italian tour with a fantastic, super talented musician from New York called Vandana Jain. We rented a house deep in the Sicilian countryside for all of us, where we could play uninterrupted for a whole ten days before the gigs. It was a great experience that allowed me to strengthen my relationship with music. In fact, my relationship with sounds is not dissimilar to my rapport with paints and paper: it is a process that is controlled, to some degree, by experience, but in its realization it is actually untamed. A few years ago, over a relatively short period, I composed twenty songs. I played them myself at home and filmed this process using a non-professional video camera. Each instrument, sound, or noise was captured one at a time. Then, using a computer I eliminated the video data and finally the remaining sound tracks were edited using a multi-track audio program. Here, the result is also one of a felt superimposition. Even today, I feel the work is not complete, or produced and will never have a conclusion; I see it as one of the most important things I have ever done. Its sincerity almost frightens me in it almost everything has a visceral interpretation.

1/13/13 7:13 PM

Yinka Shonibare MBE (61) Art21 News (300) Biennials (61) Education (432) Exhibitions (735) Festivals (49) Guest Blog (710) Interviews (305) Locations: (1669) Africa (15) Argentina (5) Asia (15) Australia (12) Brazil (2) Canada (48) Caribbean (2) China (24) Colombia (5) Cuba (4) Denmark (11) Egypt (2) Finland (10) France (26) Germany (83)

Vandana Jain in concert with Pesce Khete at La Riunione Di Condominio, September 2010. Right photo credit: Nelson Cavallari.

Greece (23) Guatemala (1) Iceland (2) India (7) Iraq (2) Ireland (7) Israel (1) Italy (31) Japan (6) Korea (2) Mexico (11) Middle East (14) Netherlands (13) Peru (3) Poland (3) Russia (2) Scotland (3) South Africa (13) Spain (29) Sweden (10) Switzerland (18) Taiwan (1) Thailand (1)

Naturally, playing in a group is a totally different experience, especially because it is an opportunity to compare yourself with and confront the other band members and then the audience. My affinity to painting cannot have been a chance, being an almost entirely solitary practice in which interpretation is mediated. A drawing is exhibited without the need for me to be there with it. Practice and interpretation are two separate moments, also in infinity, and from this point of view, a soundtrack played and recorded alone is more similar to a drawing. However, this time it was wonderful to find a perfect harmony with the other band members, and therefore my approach could remain the same. Also, one last thing: to play in front of an audience of 5000 people in the open air at night, with a light breeze, is incredible! Who would ever have thought it so? And thats a wrap!
[1] According to Liddell and Scotts Greek-English Lexicon a meaning of politeia is the conditions and rights of the citizen, or citizenship, analogous to the Latin civitas (http://en.wikipedia.org/wiki/Politeia)

Tweet

Like

41

Posted in: > Inside the Artist's Studio, Interviews, Italy, Painting Similar posts: Selina Trepp: Artist Avoiding Painting , I do that. , Seeing More , NYCU | Eddie Martinez Whistles While He Works , Inside the Artists Studio |Storm Janse van Rensburg Comments (0)

Trackback URI | Comments RSS Name (required) Email (required) Website Leave a Reply

Turkey (22) Ukraine (1) United Kingdom (154) USA (1271) Boston (27) Chicago (165) Connecticut (3) Houston (9) Indianapolis (28) Los Angeles (185) Miami (18) Minneapolis (3) Nebraska (3) New Orleans (23) New York City (569) North Carolina (4) Ohio (10)

Submit Comment

http://blog.art21.org/2010/10/29/inside-the-artists-studio-pesce-khete/

Page 5 of 6

Inside the Artists Studio: Pesce Khete | Art21 Blog

1/13/13 7:13 PM

Philadelphia (21) Pittsburgh (6) Portland (3) San Francisco (89) Seattle (12) Texas (30) Washington (4) Washington D.C. (28) Media: (1629) Architecture (60) Design (82) Drawing & Collage (285) Fashion (27) Film & Video (421) Food (42) Installation (590) New Media (261) Painting (377) Performance (346) Photography (329) Printmaking (95) Public Art (224) Sculpture (455) Social (208) Sound (41) Sound & Music (100) Photos (23) Podcasts (14) Prizes (46) Programs-Events (297) Publications (103) Season 5 (113) Season 6 (32) Support Art21 (19) Uncategorized (75) William Kentridge: Anything is Possible (20)

Art21, Inc. 20012013. All rights reserved. Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.
contact us posts(RSS) comments (RSS) top

http://blog.art21.org/2010/10/29/inside-the-artists-studio-pesce-khete/

Page 6 of 6

Verwandte Interessen