{"id":539593,"date":"2022-08-25T00:00:00","date_gmt":"1970-01-01T00:00:00","guid":{"rendered":"https:\/\/numero.com\/non-classifiee-2\/marlene-dietrichs-myth-reinvented-by-francesco-vezzoli-2\/"},"modified":"2022-08-25T00:00:00","modified_gmt":"1970-01-01T00:00:00","slug":"marlene-dietrichs-myth-reinvented-by-francesco-vezzoli-2","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/non-classifiee\/marlene-dietrichs-myth-reinvented-by-francesco-vezzoli-2\/","title":{"rendered":"Marlene Dietrich\u2019s myth reinvented by Francesco Vezzoli"},"content":{"rendered":"\n
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Self-portraits : Francesco Vezzoli.<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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\u00c0 l\u2019occasion de son exposition Villa Marlene, \u00e0 Monaco, Francesco Vezzoli a r\u00e9alis\u00e9 la performance The Songs of Songs. Francesco, en Marlene Dietrich, porte une robe Prada par Fabio Zambernardi.<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Francesco Vezzoli photographi\u00e9 lors du vernissage organis\u00e9 par Prada \u00e0 la Villa Sauber. Photo : St\u00e9phane Gallois.<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Francesco Vezzoli photographi\u00e9 lors du vernissage organis\u00e9 par Prada \u00e0 la Villa Sauber. Photo : St\u00e9phane Gallois.<\/figcaption>\n <\/figure>\n \n <\/div>\n <\/div>\n

From his collaboration with Lady Gaga<\/strong>to a trailer for a film that doesn\u2019t exist, Italian artist Francesco Vezzoli<\/strong> has long subverted pop culture and the star system. In Monaco<\/strong> he\u2019s just turned the Villa Sauber<\/strong> into a fantasy residence for Marlene Dietrich.<\/strong> As well as presenting portraits of the Hollywood star<\/strong> painted in the grand manner, he gave an evening\u2019s performance as Dietrich herself, dressed up in a majestic black cocktail gown. Num\u00e9ro<\/em> <\/strong>spoke to him about the thin line between truth and fiction.<\/strong><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Num\u00e9ro: You partly owe your fame to your collaborations with living stars, such as Lady Gaga or Sharon Stone. Does your show dedicated to Marlene Dietrich betray a new fascination for dead divas?<\/strong><\/p>\r\n\r\n

Francesco Vezzoli:<\/strong> What\u2019s certain is I no longer have the patience to work with flesh-and-blood divas. I spent so much time getting turned down and trying to convince them. I asked Stromae to do the performance that I ended up doing myself in Monaco, but he wasn\u2019t available. And I\u2019m at a point in my career where I prefer to work with people who are available. My state of mind has changed. I prefer a real collaboration and exchange with artists rather than manipulating divas as I did in the past. They no longer fascinate me.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

Can you tell us about your one-off performance at the Villa Sauber?<\/strong><\/p>\r\n\r\n

I constructed the Monaco exhibition entirely around Marlene Dietrich. The Villa Sauber became not only a place to show works inspired by her [fake film posters, sculptures, embroidery portraits as well as painted portraits in the grand manner] but also a residence that she could have lived in herself. I spent five exhausting hours on set, as it were, dressed up as Dietrich in a black dress. I sprayed the place with her perfume, to the point of making myself ill. It was my very first performance (if you don\u2019t count the three-minute one I did with Lady Gaga). I wasn\u2019t trying to exactly impersonate Marlene; I didn\u2019t want to wear latex on my face. What I was looking for was to put myself in danger both physically  (I lost 7 kilos) and mentally. A good artist is a courageous artist. The audience\u2019s respect is not a given. You have to dare to call yourself into question and confront yourself with new practices.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

Do you often do drag?<\/strong><\/p>\r\n\r\n

If I met a man who I was mad about who asked me to make love in a dress, I\u2019d do it without thinking. Nothing is dirty when it\u2019s a question of giving pleasure. You see, I always try to be as honest as possible. So if I did drag quietly at home out of the public eye, I\u2019d tell you straight away. These days, it would probably be the coolest thing I could admit to. But I\u2019m sorry to have to tell you that it\u2019s just not the case.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

Catherine Deneuve, with whom you\u2019ve worked, would have said that there are no longer any stars. Is putting on a show about Marlene Dietrich a way of highlighting what separates yesteryear\u2019s myths from today\u2019s celebrities?<\/strong><\/p>\r\n\r\n

Discretion is a form of power.  And intelligence is a form of power. Jeanne Moreau used to say, \u201cIt\u2019s not the films you do that make your career, but those you refuse.\u201d One might perhaps regret that Rihanna \u2013 who I like a lot, let me make that clear \u2013 doesn\u2019t have the brain of  a Jeanne Moreau. But that\u2019s life. If Rihanna spoke with the same intelligence as Jeanne Moreau, would she maybe lose her sex appeal? I don\u2019t know. But it would be good if in our current climate stars took a stance and got involved, for example, in the American presidential elections. Unless we really want Carrot Skin to become U.S. president.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

Are you referring to Donald Trump?<\/strong><\/p>\r\n\r\n

I met him twice. One day my mentor, the architecture critic at The New York Times<\/em>, made me an offer that intrigued me. He said, \u201cThis evening I\u2019m inviting you to take part in <\/em>The Satyricon [a Roman novel of the first century A.D. which inspired Fellini\u2019s 1969 film of the same name].\u201d He came to get me and we ended up with Donald Trump at a Ricky Martin concert. It was over ten years ago and Ricky Martin hadn\u2019t yet come out of the closet. But Trump was already considered a possible candidate for the White House. And let me tell you something: contrary to what a lot of Europeans think, there\u2019s absolutely no irony in Donald Trump. Everything about him should be taken at face value. When I collaborated with him, Gore Vidal warned me, \u201cYour work will never be understood here. There\u2019s no room for irony in the U.S.\u201d<\/em><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Your work hasn\u2019t always been well received \u2013 some people have even dismissed you as a \u201cred-carpet artist.\u201d<\/strong><\/p>\r\n\r\n

I\u2019ve long been reproached for embracing pop culture when all I was trying to do was analyse it. And now people call me a Marxist! In any case that\u2019s what the president of Italian television said, who I\u2019m working with at the moment. I put all my energy into coming out of the closet as a gay man, and now I\u2019m forced to come out of the closet as a Marxist! It\u2019s the new cross I have to bear! [Laughs.] I can only repeat the words of Gloria Gaynor: \u201cI am what I am.\u201d There\u2019s no point to an artist if they don\u2019t inspire diverse interpretations. And everyone\u2019s free to enjoy themselves having a go at interpreting my work.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

Would you say your work is a critique of the system?<\/strong><\/p>\r\n\r\n

I don\u2019t consider my work as a critical reaction to institutions. But I have a lot to say about the contemporary-art system, which nowadays strangely resembles the Hollywood system. A whole load of hype is made up from scratch about a handful of artists rather than helping them create their own identity.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

You don\u2019t spare yourself either. One of the fake film posters in Monaco shows you with the following caption: \u201cHe [Francesco Vezzoli] wanted to become a star\u2026 Does his ambition know no limits?\u201d<\/strong><\/p>\r\n\r\n

I don\u2019t want to turn into Isabelle Adjani and spend my life under a layer of collagen refusing to call myself into question!<\/p>\r\n\r\n

 <\/p>\r\n\r\n

In the film you show, you stage your own descent into hell by getting prostitutes to recount their experiences with you. Where does fiction start and reality stop?<\/strong><\/p>\r\n\r\n

The whole point of the exhibition is to blur the boundaries. I\u2019m very happy, for example, that people have taken for the real thing the portrait I did of Marlene in the manner of Francis Bacon. The line between the real and the false is even further questioned by the real Matisse that I\u2019ve installed nearby, a work that looks like it takes Dietrich as a model. Playing with the true and the false is a way of questioning reality in order, I hope, to bring out a certain truth about the world. Why do people think it\u2019s a real Francis Bacon? Because we\u2019re in Monaco. It\u2019s perfectly credible that a museum or even an individual here would own a Francis Bacon. So the place where my installations are shown is crucial. What I do is haute couture: each work is specially conceived for the place where it will be shown. Only the market could think that a work can be beautiful any old where in the hands of any old collector.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

Have you left your fetish subjects behind in favour of a critical stance towards the art world?<\/strong><\/p>\r\n\r\n

When I started out as an artist in Italy, I was probably the first to grapple with subjects like homosexuality in a \u201cgeneral public\u201d sort of way. And then I moved onto other things, before realizing that certain truths and freedoms that I thought could now be taken for granted in our society actually can\u2019t.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

You\u2019ve never been censored?<\/strong><\/p>\r\n\r\n

Strangely no. Not even in Qatar, even though my show there clearly celebrated gay culture. Perhaps they wanted to be modern with me\u2026<\/p>\r\n\r\n

 <\/p>\r\n\r\n

Or perhaps there are also a lot of homosexuals in Qatar?<\/strong><\/p>\r\n\r\n

Clearly I\u2019m the living proof of it!<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Francesco Vezzoli, \u201cVilla Marlene\u201d, <\/em>until September 11th 2016 <\/strong>at the Nouveau Mus\u00e9e national de Monaco<\/a> \u2013 Villa Sauber, Monaco.<\/strong><\/p>\r\n","protected":false},"excerpt":{"rendered":"

From his collaboration with Lady Gagato a trailer for a film that doesn\u2019t exist, Italian artist Francesco Vezzoli has […]<\/p>\n

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