The exterior of Albion Jeune gallery with installations from I Want to Believe by Esben Weile Kjær

Lucca Hue-Williams has opened Fitzrovia’s newest gallery, Albion Jeune. Here, LUX speaks to the founder and the inaugural exhibitng artist, Esben Weile Kjær about the opening of the gallery and the messaging behind the solo show

LUX: What inspired you to found your own gallery?
Lucca Hue-Williams: Ever since I was little, It has been an abstract dream of mine to work with artists and curators in a meaningful way. I think it has been a question of when, and not how. There have been many influential people in my life who have given me the confidence to take the steps to be where I am now, and I am incredibly grateful to them.

LUX: What were the biggest challenges you faced setting up Albion Jeune?
LHW: I wouldn’t start with drawbacks or challenges, of which of course there are some, but I see Albion Jeuene as an opportunity to work with artists and curators who I believe to be influential and important.

Lucca Hue-Williams, Founder and Director of Albion Jeune

LUX: Why is Esben Weile Kjær the right artist for your gallery’s first exhibition?
LHW: Esben was the perfect artist to inaugurate the gallery due to the particularly electric performative qualities of his work. Esben also speaks to our generation in a way that makes the audience contemplate what their own construction of selfhood might be. We connected over discourse surrounding notions of the iconic image in media, the civil contract of photography, and themes surrounding liquid surveillance.

After the show closes, the space will be redesigned by an exciting architect. However, this won’t be made public until after Esben’s exhibition. We envisioned a raw and more brutal-appearing space in the first instance, and I don’t want to detract from the show. We will disclose the full programme for 2024 when we announce the architect in a few months time.

Esben Weile Kjær Installation view, I Want to Believe at Albion Jeune, London, 2023. Image courtesy the artist and Albion Jeune. Photographed by Todd-White

LUX: You’ve spoken about the gallery’s commitment to a ‘truly global art world’. How does Albion Jeune plan to showcase a truly global perspective?
LHW: In my preparations to launching Albion Jeune, I have worked in Beijing, where I was at UCCA and then in Saudi Arabia, where I supported the curatorial team for Diriyah Biennale Foundation. I look forward to working with artists from many parts of the world, who will present work that showcases many different perspectives and themes.

Albion Jeune opened in October 2023 and I Want to Believe by Esben Weile Kjær is the gallery’s first show

LUX: If you could choose one artist from any point in history to exhibit at Albion Jeune, who would they be?
LHW: Tehching Hsieh. It would be exciting to persuade him to make a new performance work in addition to the five ‘One Year Performances’.

Esben Weile Kjær, Under the Rainbow, 2023

LUX: What are you most looking forward to in Esben Weile Kjær’s upcoming exhibition, ‘I Want to Believe’?
LHW: Esben and I have worked together closely on this show for quite some time. As this is both Albion Jeune’s inaugural exhibition as well as Esben’s debut in London, I am looking forward to seeing how the show is received by it’s audience.

I Want to Believe is the first of a three part series by Esben Weile Kjær bringing together performance and traditional art

LUX: How would you describe the messaging and themes behind your upcoming exhibition at Albion Jeune?
Esben Weile Kjær: I make art because it’s one of the only places where you remain ambivalent. I never come with one message I always try to come up with a reflection. Through my art I try to understand the world around me. The exhibition shows how I work. You have the echo from previous performances showed as posters/propaganda in stained-glass suggesting to be part of potential architecture. Then you have the big alien skull wrecking balls pointing forward to the performance. The performance is the first act in a three act performance project continuing through 2024. The performance is a love story between humans, aliens and the youngsters wanting to identify as aliens to feel free from biology and gravity.

Artist Esben Weile Kjær

LUX: Your show, “I Want to Believe’, focuses on the relationship between art, identity and commercialisation. Do you think nowadays, technology and social media has made it easier or more difficult to show one’s true identity?
EWK: In many ways easier, yes, but also much more complicated because everything gets so commodified on social media. I’m not sure I know what true identity is but it sounds cool though. I hope the performance will look like fashion kids finding liberation in anything else than what’s real.

Esben Weile Kjær’s solo show will be on at Albion Jeune gallery until 19th November.

Montegrappa’s online configurator allows full customisation of the brand’s iconic fountain pens

Responding to the ever increasing demand for custom-designed products, Italian luxury brand Montegrappa has recently launched an online configurator which allows customers to fully personalise their hand-crafted fountain pens. Here, the brand’s CEO Giuseppe Aquila discusses the rise of a collector culture, adapting to a new generation of luxury customers and how personalisation supports the artisanal industry

Giuseppe Aquila

‘As a company that has remained dedicated to handmade production, a service like the configurator is something we had always aspired to offer, but the technology and market climate simply didn’t exist until relatively recently to make such a step possible.

After spending years reorganising and refreshing our supply chain, eventually we were encouraged by the efforts of a few luxury brands to sell and offer individualised services online. From the outset, though, we knew that our offer needed to be much more than simple monogramming.’

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‘On the one hand, the generational shift in luxury is causing great upheaval. These emerging luxury customers have been nurtured on digital goods and platforms like Nike ID, so we must respond. On the other hand, people in general are much more interested in cultivating a personal style than adhering to fashion. To be different is the fashion.

Then there is the fact that acquiring truly scarce objects has become much more competitive in recent years – in almost all categories. Bespoke and custom production are avenues for collectors to expand their wish lists and secure ‘grail’ items on different terms. Collector culture is growing and diversifying – and will continue to do so.’

‘[Personalisation] is very welcome trend that allows artisanal industry to return to its roots. Of course, now our customer could be anywhere in the world; but in 2020, technology makes it possible to offer them a similar service to what a walk-up private client might have received in 1920. Unlike a century ago, though, production needs to be swift. This means that the modern atelier needs to be well stocked and perfectly organised.

Read more: Artist Yayoi Kusama’s designs for Veuve Clicquot celebrate joy and innovation

Personalised products also help craft businesses show their full repertoire. Many of the options found on the configurator are the result of experimentation and artisanal curiosity. Though beautiful and worthy, most would have considerably less opportunity to flourish if we were confined to offering our products within traditional distribution structures.’

‘The configurator is the only platform of its kind in the writing world, so it has been a been a real drawcard for our site and for Montegrappa in general. More importantly though, it has been tremendously helpful with attracting new customers: these are people whose desire to own a writing instrument is distinct from seasoned aficionados and collectors, and are interested in other paths of discovery.

Perhaps the most rewarding aspect has been the acceptance from established Montegrappisti. The configurator has been like a release valve for all their ideas – all the pens they have secretly wished to own. It has helped us make many good friends within the community, and to learn from them.’

Design your own Montegrappa pen: montegrappa.com

The Princess Yachts’ X95 flybridge

Antony Sheriff has transformed the fortunes of Bernard Arnault’s yachtmaker Princess, creating boats that are stylish, in demand and environmentally innovative, for a new generation of consumer. LUX gets his story

Antony Sheriff

“It’s the sports car of the range. The hull reduces drag by 30 per cent, and it has sports-car-like performance and a Pininfarina design.” Princess Yachts CEO Antony Sheriff is enthusing over a projection of the R35, his company’s cool-looking 35-foot yacht, the latest in a series of innovations he has overseen in what is fast becoming known as the most dynamic yachtmaker in the world.

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“Sometimes,” he says, “if you are doing something new and are innovating, customers don’t know what they want until you give it to them.” Sheriff has been responsible for a number of innovations at the company, which is owned by LVMH-owner Bernard Arnault through his private equity company L Catterton, both on the product side and on partnerships.

The stateroom (above) and exterior of X95 yacht

In 2016 he launched a collaboration with the Marine Conservation Society, aimed at helping clean up ocean plastics, conserve coral and aid the conservation of marine creatures such as turtles. The Italian-American, who in his previous job launched McLaren’s hybrid P1 hypercar as CEO of the company’s road-car division, is disarmingly straight talking. “We are an industry which makes beautiful products, but we haven’t always been that mindful of the effects they have. We wanted to do something quietly to reduce the impact of yachts on the sea.”

He says the impetus has not – yet – come from the market, but from his own initiative. “We are trying to do the right thing and would rather be on the front foot than the back foot. People enjoy yachting because of the beautiful environment, and we need to try and maintain the water in the state we found it in.”

Read more: Chelsea Barracks is redefining London’s garden squares

Sheriff says that, as with cars, the need to innovate for environmental reasons has actually ended up bringing better products to market. He points to the example of the X95, which has up to 40 per cent more space than its predecessor while using 30 per cent less fuel and matching it in performance; and the Y95, another super-slick collaboration with Italian design house Pininfarina, which seems to have taken up its unparalleled design of luxury modes of transport where it left off with Ferrari after the end of a collaboration there spanning decades.

The R35 performance sports yacht

Sheriff is a little scathing about some of the bloated products on offer from other yachtmakers, and adds: “We are putting the elegance and refinement back in yacht design, creating yachts that look like they belong on the ocean.”

Ultimately, though, he says the biggest change during his tenure since 2016 has been the change in the nature of the consumer. “Increasingly people are buying yachts not as status symbols but as places to spend a wonderful time with family and friends. You go on a family vacation in a yacht and it’s the best vacation possible: the kids stay together with you for fantastic family time, they can’t run away to the nightclub, and you get to spend time with each other in private in a beautiful place.” And, if some of the latest Pininfarina designs continue in the same vein, on a beautiful place, too.

Find out more: princessyachts.com

This article was originally published in the Summer 2020 Issue.

Installation shot from ‘Art in the Age of the Internet, 1989 to Today’ at the ICA/Boston, 2018: ‘Imagination, Dead Imagine’ (1991) by Judith Barry

We live in interesting times – so interesting, in fact, that not only are artists using ever-newer technologies and digital tools, but we are witnessing a whole new generation emerging: artists who were born, live and create with and on the internet. Anny Shaw investigates

DEUTSCHE BANK WEALTH MANAGEMENT x LUX

For several years now, neuroscientists have been arguing that the internet is remapping our brains, rewiring our neural connections – for better or worse. Now it appears that the internet is having a profound effect on artistic practice, with artists creating perpetual iterations of works or keeping projects in continual development, like the tabs left running in your web browser.

“There’s a freedom artists have now, which is perhaps a symptom of how the internet impacts on people’s thinking. There’s never a next stage or a finished version; the possibilities are endless,” says Elizabeth Neilson, the director of London’s Zabludowicz Collection.

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Neilson points to the artists in the collection who use virtual reality (VR), such as the Canadian artist and film-maker Jon Rafman, who continues to work on his animated film Dream Journal that he began in 2015, and the US artist Paul McCarthy, who has created 15 versions of C.S.S.C. Coach Stage Stage Coach VR experiment Mary and Eve (2017), a project first unveiled at the Venice Biennale in 2017.

Watch Dream Journal by Jon Rafman:

Another, younger case in point is the painter and self-taught programmer Rachel Rossin, who has previously worked for the American VR firm Oculus. The Zabludowicz Collection pre-purchased her acclaimed VR work The Sky Is a Gap (2017), which Rossin has described as “a Zabriskie Point-like explosion of a building”. The piece premiered at the Sundance Festival in 2017 and the latest version, specially commissioned by the collection, is due to go on show in London in March 2019. “No matter that the work already exists in one form, Rachel will keep working on it,” Neilson says.

The London-based writer and curator Omar Kholeif takes the idea a step further. He suggests that works of art could soon start to evolve independently of the artist. “It’s not about upgrading the video apparatus, it’s about upgrading the coding and how a work of art might actually be produced,” he says. “You could acquire a piece that in 10 years might be completely different. Every time it’s shown, it could be different.” Kholeif is behind two ground-breaking shows examining new media and net art: ‘Electronic Superhighway’, at the Whitechapel Gallery in London in 2016, and its technologically updated sequel, ‘I Was Raised on the Internet’, at the Museum of Contemporary Art Chicago in June 2018.

‘Graft and Ash for a Three Monitor Workstation’ (2016) by Sondra Perry

Of course, net art, or art made on or for the internet, is nothing new. Its genesis can be traced back to the early 1990s, when a diverse group of artists including Vuk Ćosić, Joan Heemskerk, Dirk Paesmans, Alexei Shulgin, Olia Lialina and Heath Bunting began to exhibit online and to build programs to create software art. Even then, artists were exploring the idea of open-ended projects. In 1994, the Israeli-American artist Yael Kanarek began World of Awe, a fictional online diary of a traveler in search of treasure, which she updated several times before finishing it in 2011. Meanwhile, John F. Simon Jr has said that his ongoing work Every Icon, which began in 1997, will take several hundred trillion years to complete with the 1.8 x 10308 possible combinations of black and white squares in the icon’s 32-by-32 grid.

Read more: Artist Tom Pope’s ‘One Square Club’

For these pioneers, the internet was a nascent phenomenon, but, for Generations Y and X, blogging, Tweeting and posting to Instagram are second nature. Indeed, it is increasingly common for younger artists to be just as well-versed in programming as they are in painting. The American artist Ian Cheng, for example, studied computer science while Toronto-based Jeremy Bailey trained as a software developer.

Still from ‘Grosse Fatigue’ (2013) by Camille Henrot

Despite this, there is still a tendency to view the internet as a site for distribution rather than as a space where art can simply exist, Kholeif says. “Artists have a real discomfort with not being part of the white-cube gallery or institutional realm, because that is a space for validation where income is generated,” he observes.

There are, of course, exceptions. In 2011, the Dutch-Brazilian artist Rafaël Rozendaal wrote and made available, with the help of his lawyer and dealer, a sales contract specifically for the sale of websites as works of art – the domain name is transferred to the collector, who must renew it annually, while ensuring the website remains free and available publicly.

‘David, Florida, USA, 28th September 2015’ (2015) by Celia Hempton

Other artists have employed the internet as a form of activism. HowDoYouSayYaminAfrican, a collective of artists and activists, founded thewayblackmachine.net in 2014, an ongoing project that tracks via the internet the proliferation of images, mobile phone videos and news clips of the systemic violence against African Americans by white Americans. “The piece is a reality check about how little the needle has moved despite the wide access to and circulation of these images,” says Eva Respini, the curator of ‘Art in the Age of the Internet, 1989 to Today’. The exhibition, which opened at the Institute of Contemporary Art (ICA), Boston in February 2018, was one of the largest historical surveys of its kind to be mounted in the US.

Respini acknowledges that it is difficult to be optimistic in these divisive, post-truth times, citing “the proliferation of fake news, the internet’s nefarious influence on politics, mass surveillance, and in some areas of the world, strict control over information on the internet”. But she also believes that digital media has given “incredible power” to movements such as #MeToo and #BlackLivesMatter, “mobilizing and giving visibility to those with marginalized voices”.

‘Juliana’ (2014–15) by Frank Benson

Meanwhile, the artist and writer Miao Ying, who divides her time between Shanghai and New York but whose official biography states that she “resides on the internet”, dedicates much of her work to censorship in China. In 2016, she launched Chinternet Plus, a web-based project commissioned by New York’s New Museum that parodies the Chinese government’s much-hyped Internet Plus, which is aimed at rebooting economic growth but is carefully managed (read: censored) by the government.

Read more: In conversation with artist Victoria Fu

Miao describes her relationship with the Chinese internet as a form of Stockholm Syndrome, whereby she has formed a bond with her ‘captor’. “Chinternet Plus is self-censored,” she says, and consequently full of branding and devoid of content. Despite its seeming banality, Chinternet Plus has been blocked in China for several months. Miao adds that she would never show her political work in China. “A lot of my art has two versions; one is a self-censored version that I show in China,” she explains.

Still from ‘RMB City: A Second Life City Planning 04’, (2007) by Cao Fei

At the end of 2018, Miao unveiled a new website, Hardcore Digital Detox, commissioned by the privately run museum M+ in Hong Kong. Due to open in 2020, M+ is already known for acquiring digital art, such as its recent purchase of the entire archive of the internet art collective Young-Hae Chang Heavy Industries, as well as the rights to all their future works by the duo.

The acquisition reflects the growing interest of institutions in net art. This has been spurred on in part by 2019’s 30th anniversary of the British scientist Tim Berners-Lee’s proposal of the concept of the world wide web to his colleagues at the research organization CERN. As Respini notes, “1989 was also the fall of the Berlin Wall, Tiananmen Square, and arguably the beginning of our global era that we cannot imagine without the internet.”

This article was first published in the Winter 2019 issue.

View across the lake of Bellagio dubbed ‘The Pearl of Lake Como’

Emma Love discovers a slew of fresh restaurant openings and exciting events attracting a cool new crowd to one of Italy’s favourite destinations

When the hotly anticipated Michelin Guide 2018 was launched, it came as no surprise that Ristorante Berton al Lago, part of Il Sereno hotel on the shores of Lake Como, was awarded a Michelin star within one year of opening. The restaurant, which is headed up by Milan-based restaurateur and chef Andrea Berton (he is already a heavyweight on the Milan dining scene with four Michelin stars across three restaurants) and executive chef Raffaele Lenzi,excels at Italian dishes with a modern twist, using seasonal ingredients from northern Italy. Paired with interiors by renowned architect and designer Patricia Urquiola and a terrace with a prime position right on the lake, it was always going to be a winning combination.

The lake is lined with picturesque villages

Yet this restaurant is simply the latest addition to Lake Como’s buzzing foodie scene. While once the region was mostly renowned for grand stately hotels and historic villas, now a bunch of game-changing openings are appealing to a new generation of jet-set visitors. Smartly dressed Milanese are still flocking here each weekend during the summer (it is only an hour outside the city) to nip between the pretty shoreside villages on sleek wooden boats and sip negronis at Harry’s Bar in Cernobbio, but these days they are also snapping up tables at the new wave of talked-about restaurants.

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“With the opening of Il Sereno and the new life that has been instilled in the Grand Hotel Tremezzo by owner Valentina de Santis, Lake Como feels ‘cool’ again,” says Emily Fitzroy, who founded Bellini Travel almost 20 years ago, and is a leading expert on Italy. “With Milan in easy reach – 20 minutes by helicopter – Como feels more accessible than ever, which makes it all the more attractive for younger visitors who tend to be time poor and adventure seeking. The lake has become a place of pilgrimage for hikers and cyclists, who come to experience some of the most important cycle routes in all of Italy.”

Another hot spot causing a stir since it opened in 2016 is Ristorante Materia (also in Cernobbio). At the helm is young chef Davide Caranchini (named in this year’s Forbes 30 Under 30 Europe list) whose radical offering goes against the meat-rich norm by featuring an inspired five-course ‘green power’ vegetarian tasting menu (think dishes such as poached egg, spring legumes and tomato tea, or goat’s cheese ravioli with black cabbage and Sarawak black pepper juice) with ingredients grown in the restaurant’s own greenhouse. His signature dessert is called Banksy: a paper-thin layer of smoked yoghurt and chamomile cream stencilled in the shape of one of the street artist’s iconic images.

Ristorante Materia is known for its vegetarian tasting menu

Equally as exciting as what’s served up on the plate are the developments in the drinks industry. While Italy might be renowned for its wines (and lagers such as Birra Moretti and Peroni), for the past few years there has also been a growing craft-beer movement. Small local brewery Birrificio Italiano produces a complex dark wheat beer called Vudù, while brew pub Il Birrificio di Como in Como’s city centre is the place to try a selection of malt beers. There are also a number of cocktail bars upping the ante and attracting the hip crowd, including street-food restaurant and bar 100 Lire and the Fresco Cocktail Shop in Como, with its 1940s-themed interiors, jazzy soundtrack and waistcoat-wearing mixologists who will shake up drinks made with citrus fruits grown nearby.

Read more: Founder of Corinthia Hotels Alfred Pisani on going global

Of course, as you might expect from such a holidaymaker’s honeypot, a packed programme of events takes place throughout the year, from the annual Lake Como International Music Festival (during the summer season) to the historic car show at Villa d’Este (every May) and a series of ‘Night at the Park’ evenings where funky live bands play in Park Teresio in Tremezzo. By far the most-anticipated happening this year was Dolce & Gabbana’s Alta Moda couture presentation (the Italian couture line is presented via a series of special events around the world), consisting of a men’s show at Villa Carlotta Park and women’s runway at Teresio Olivelli, both in Tremezzina. “The fact that the lake played host to the Dolce & Gabbana couture show ensures that it’s now firmly on the fashionista’s Grand Tour,” says Fitzroy. “It was a big moment for Como.”

A popular aperitivo spot Harry’s Bar in Cernobbio. Above: Lecco at Sunset.

Another new happening that drew a very different crowd was the inaugural Lake Como Comic Art Festival at Villa Erba in Cernobbio (it was a huge success and takes place again in May 2019). Bestselling cult comic-book artists such as Americans Neal Adams and Greg Capullo (between them, they are best known for creating some of the imagery of the DC Comics characters Batman and Green Arrow) were among the guest appearances.

The best way to see Como is by boat

With so much on the calendar, it’s no wonder Lake Como has long proved to be a favourite destination for second home owners. “Its central position in Europe and the beauty of the mountains means it’s ideal for a quick vacation, suitable for both domestic and international buyers,” says Lodovico Pignatti Morano, managing partner of Italy Sotheby’s International Realty, a company that sells lake-front detached properties with a starting point of €4.5million. “Although jet-setters have always visited Lake Como, it is becoming increasingly popular as more people become aware of the area’s unique offering.”

Read more: New luxury hotel Chais Monnet opens near Bordeaux

Savvy shoppers come to Lake Como for the regular markets, scooping up antique finds in Como’s San Fedele Square (on the first Saturday of each month) and anything from original bespoke handmade furniture to locally made gifts and fashion accessories at Mercato dell’ Artigianato, an artisan crafts market held at the end of October in Lecco. Also top of the shopping list is the region’s most famous export – silk. Two of the best-known brands are Mantero and Ratti, suppliers to major fashion houses such as Saint Laurent, Nina Ricci and Trussardi. Beautiful scarves and neck ties can be bought at the Mantero outlet shop in Grandate, while the little-known Fondazione Antonio Ratti is a textiles museum in 18th-century Villa Sucota, which displays fabrics collected by Antonio Ratti throughout his life.

The pretty village of Menaggio on the Western side of the lake and its jetty

Other under-the-radar gems on Lake Como include the quirky La Ca di Radio Vecc museum in Bellano, where you can lust after the kind of groovy old radios and gramophones that are making a comeback, and the lido in Menaggio. A 15-minute walk from the harbour, it is surely the town’s best-kept secret and with two swimming pools, a sandy beach and a deck that stretches out over the water – the perfect place to spend a lazy afternoon in the sun. Across the water, the lido in Bellagio is another beach hangout by day and turns into a nightclub after dark (Friday dinner parties begin with aperitivo at 7.30pm and end at 4am).

The best way to explore is still by getting out on the water or up in the air. Bellagio Water Sports offers kayaking and stand-up paddle-board tours, while the AeroClub Como specialises in private seaplane flights and lessons. And despite all that’s new, Lake Como’s timeless, sophisticated charms remain – and are now being enjoyed by the next generation.

Six must-book restaurants on Lake Como

La Mistral, Bellagio
This Michelin star restaurant has a superb terrace overlooking the lake. Expect inventive, molecular cuisine.
ristorante-mistral.com

Locanda la Tirlindana, Sala Comacina
Set in a pretty waterfront square with fantastic views of Isola Comacina. The lemon ravioli is the stand-out dish.
latirlindana.it

I Tigli in Theoria, Como
A Michelin star restaurant and art gallery set in a restored 15th-century palazzo.
theoriagallery.it

Feel, Como
Farm-to-table food with a focus on local ingredients, served in a contemporary setting.
feelcomo.com

La Punta, Bellagio
Its menu features lake fish caught by the owners, the wine list has more than 300 Italian and French labels, views are stunning.
ristorantelapunta.it

Momi, Blevio
Michelin star food served in a simple, charming restaurant by the jetty. The homemade desserts are especially delicious.
ristorantemomi.it

Il Cinema Ritrovato. Image by Lorenzo Burlando

LUX’s Contributing Poet, Rhiannon Williams finds herself treading the path of heroic visionary poets through Italy, and discovers the illusive poetry collective crafting the ‘New Italian Epic’

Bologna by digital artist Dorpell

Italy has a bacchanal reputation for being the traditional haunt of heroic visionaries. Seen by Byron as ‘the garden of the world’ the number of illustrious writers who have graced the land is truly astonishing, and render it a top destination for any poetic pilgrimage today. The soft touch of history, the clean open spaces and balm of an impractical beauty have a lot to offer. But what I also realised, travelling through Como, Milan, Parma, Bologna and Florence this summer, is that the effect of the ancient poets upon the young poets working here today is far more profound than many realise. How do the contemporary generation feel able to compete? One might assume that the long tradition of luminaries in whose shadow any young Italian poet these days will find themselves might intimidate. The opposite in fact appears to be true; instead of hindering, the rich history only enhances the inspirations and aspirations of the next generation.

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Wu Ming (无名) is the name of a rousing poetry collective and occasional punk-rock band based in Bologna, Italy who are demonstrating how cutting edge Italian poetry is still at the forefront today, despite being some fifty years after the neoavanguardia movement of the 1960s which was the era of the avant-garde Italian literary elite. The pseudonym for the five poets, ‘Wu Ming’, can mean different things in Chinese; either anonymous or five people, depending on the tone of the first syllable. This perfectly encompasses the vision of these poets, because in its emphasis upon anonymity ‘Wu Ming’ is a purposeful rejection of the cult of celebrity that can surround literary stars, a philosophy very much in line with the collective’s growing reputation of being challengers of long-existing paradigms and traditions. The group justify their mysterious façade (each of the poets are known only by the names ‘Wu Ming 1, 2, 3, 4 and 5’ and refuse to have photographs taken) with the unusual stance that ‘Once the writer becomes a face… it’s a cannibalistic jumble: a photo paralyses me, it freezes my life into an instant, it negates my ability to transform into something else’.

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But despite their best efforts, the presence of Wu Ming on the Italian poetry scene is becoming more and more prominent and influential. Through their work, which includes collaborative fiction and poetry collections as well as band gigs and podcasts, they coined the term the ‘New Italian Epic’ which is now taking a hold of the Italian literary world. This original new style has been described as a ‘particular kind of metahistorical fiction’ with updated, experimental form that still derives certain features from the ancient Italian context, inspired by epics such as Dante’s The Divine Comedy written in 1472, and thus in sync with Italy’s rich cultural history. In this way Wu Ming has solved the problem that the young creatives in Italy face in the daunting shadow of so many Greats; through evocations of the parent figures’ liberalism expressed in contemporary sentiments while still retaining a classical resonance. It is an applause-worthy feat.

Il Cinema Ritrovato. Image by Lorenzo Burlando

The group were most recently to be found involved in their home city Bologna’s wonderful Il Cinema Ritrovato celebrations, reading in Piazza Maggiore one evening as the sun set splendidly over the famous San Petronio Basilica. The local student movement was out in full force to support, upholding Bologna’s reputation as the ‘unofficial capital of the Italian counterculture’, which is affirmed when you visit the city in the striking graffiti tags such as ‘L’onda non si arresta’ (the wave doesn’t stop) lining the Via Stalingradoas well as elsewhere in the ancient streets. Coming from a place with such iconoclastic energy and armed with a brave approach to literature, at and politics in the 21st century it seems unsurprising that these enigmatic Bolognese writers are drawing plenty of (seemingly unwanted) attention from across the world stage.