gucci.. I love u
gucci - PLEASE, explain me
WHY ?
i just went shopping GUCCI a Milano
gucci
PEOPLE ALSO
LOVE U IN VIENNA
&
Why are people
of you ?
GUCCI
PLEASE, explainnn me ----- Gucci-----PLEASE, explainnn me-===Gucci===explain
Why
are people
speaking
FOR
you ?
PE centro CCI
centro
PECCI
board member Edoardo Donatini
COMUNE Prato director of PR Rosanna Tocco
Why are people
SELF/censuring
because of you ?
Why are people
censuring me
in your name ?
Why
are people
PHYSICALLY ASSAULTing
me
in
your GUCCI name
centro
PECCI
board member Edoardo Donatini
COMUNE Prato director of PR Rosanna Tocco
why
does
PECCI DIRECTOR
CRISTIANA PERRELLA
TRASH ME PUBLICLY
because I don't live up to (her idea) of excellence and only used Google ?
*** SEE MORE DETAILS AT BOTTOM OF PAGE ----
thank you google...
i love you too !!
authoritarian characters like pecci museum foundation board member Edoardo Donatini and Prato City/ Comune di Prato direttore Rosanna Tocco, cazzo and merda / penis and shit showering on her invited artist would NOT ALLOW YOU, google, TO EVEN EXIST BECAUSE THEY DON'T LKE THAT YOU MAKE
UNANNOUNCED POLICE RAIDS IN PRATO AND CHINESE RIOTS
be visible...
PLEASE,
Gucci, explain me
why
PERRELLA SPEAKS FOR ALL PERFORMERS WHEN WHEN THE LOUDEST ONE ON THE VIDEO ONLY YELLED AT ME "THAT THEY DID THIS ALREADY 10 YEARS AGO "
WHY DOES ANY ARTIST NEED TO BE VICTIM-BLAMED ?
OR
beaten
GUCCI explain
WHY CENTRO PECCI IS NOT PARTING FOR A BAORD MEMBER WHO ASSAULTS INVITES AN INVITED ARTIST
AND A DIRECTOR
HOW IS WHO VICTIM BLAMED AN ARIST IN A VIOLENT ATTACK
AND DISPLAYS ZERO UNDRSTANDING ABOUT CONTEMPORARY ART
accusing an artist for using PAINFUL NEWS CONTENT
about the host city ?
GUCCI, please,
GUCCI please GUESS
why
the city town can still allow
director Rosanna Tocco
to still work other but a low level stuffer job
since she assaulted me, an invited artist, physically
how can she still have such a job
she is a
public danger beating an artist in public
(and i m not talking about overstepping artistic rights)
and WHY INVITING AN ARTIST
IF SO AFRAID OF marx WHEN
having basically
PLEASE, GUCCI HELP ME
please, guess why
the museum
walls me
off
CENTRO PECCI KEEPS ALL THE VIDEOS FROM RELEASE
SO WE CANNOT SEE WHAT THE PECCI MUSEUM BOARDMEMBER DID
AND THE CITY OFFICIAL BOIARDMEMBER DID
ROSANNA TOCCO AND EDOARDO DONATINI
COUPLING UP FOR VIOLENCE
AND THE MUSEUMS GREAT DIRECTOR
for being beaten up
why
?
WHY DID I HAVE TO TAKE A MILANO LAWYER FOR OVER 5000 EUROS before the handed me my art work back
AND WHY DID I HAVE TO SIGN THESE ABSURED CONTRACTS ?
why do i have to give up all my due money that in contract ?
why can i not tell people about this work ?
why can I not let the world know what s going on ?
why
does
PECCI MUSEUM DIRECTOR CRISTIANA PERRELLA
BLAME ME FOR VIOLENCE
WHY does pecci museum deny the validity of the reality of
why were they so afraid of this video
why does Pecci director cristiana perrella
ridicule me for WORKING WITH GOOGLE RESULTS ?
WHAT DID I DO SO WRONG
not to live up to her expectation
please, EXPLAIN ME prato
or anybody else
?
could this be an answer ?
may I put to use what I have learned in Prato / BASIC ITALIAN ?
Prato: Rainer Ganahl makes everybody angry
The Austrian artist projects video of forced unannounced /out of the normal inspections of Chinese (industrial) work shops and launches a polemic
I would definitly agree with this correct assesment
WOULD YOU ???
Dear Gucci
we love you and I'm you are careful and play bz the rules
I love you GUCCI
sorry, to bother / Gucci / but isn't art allowed to do such things
like to project videos in the back.
DO YOU MIND..?
you havn t done that yet on your runnway shows but you
THAT SO at your GUCCI FLAG SHIT STORE
where you projeted massacre scenes from the 1968 film IF ...
I"m sure IF your designers had known.. , also you showed only the explosions
but not the guns... and hope you can forgive me that I
complemented the shooting scenes you edited out,
because , i got some great design idea for your next show
hopefully directly at your
VATICAN CHAPPEL
do u lke it.. ?
(yes, these shooting kids look so great and you should team up with the pink gun maker berreta who also produce MADE IN ITALY for the world, at leats fo rhte NRA, the natial riffel association so beloved bz Trump who just lives above your flagship store at TRUMP TOWER and navigates the boat... nad has now found a Great ITALIAN PRIME MINISTER do clean his ship deck
here...
you can order them on line directly or from today , print the plans out with your 3D home printer
i know we don t wanna die.. but we remember the death.. // like zou did in Arles !!!
WHAT A GREAT SHOW..
fire and monsters and devils
like in Prato
Why are people obstructing me work in your name ?
Why are pepole so scared of you ?
Why ?
GUCCI
I
LOVE YOU
My friends wear Gucci
I would love to wear Gucci as well
I don"t even buy Gucci Fakes
i love Real Gucci
&
I love Fake Gucci
GUCCI
non-capisco -- but ask tocco.. her most used word...
CITY OFFICAL CALLING ME
TESSUTO/ lumpen DI CAZZO.
FUR COAT-DICK HEAD
NON CAPSICO ROSANNA TOCCO, PRATO TOWN OFFICIAL
NON CAPISCO EDOARDO DONATINI FOR TRYING TO SMASH MY HEAD AND ACCUSING ME FOR WASINT PUBLIC MONEY
GUCCI
please
help me !
Please, visit my
DIY
digg-IT-Yoe
GUCCI FASHION SHOW
PRATO FAKE s
and so sorry that we did such a bad job COPYING YOU
IT JUST DOESN T RESEMBLE ANYTHING GUCCI
YET Cristiana Perrella and everybody asked me to remove Logos
and I complied
see my videos - i complied
i complied
YOU DO NOT MIND MARX
HE IS DEAD... in case people don t know
(he too was not appreciated a Prato
and Cristiana Perrella had an edtior come to my hotel
and had any reference to Marx removed from my private
youtube channel
I love you too - you tube
* in case u want documents ./ find them here. or contact
gucci...
tell
what did I do wrong ? me
tell me lwhy
didn't / doesn't me resemble gucci ?
Why SOME PERFORERMS INTERRUPTED my SHOW ?
WHY did a peCCi musuem BOARD MEMEBER
PECCI FOUNDATION MUSEUM MEMBER
aggress me physically
why did rosanna toCCo, cume di parto official in director possition
ramm her ellbows into me
callling me testa di cazzo ( please translate as dickhead or did she wanna .. NO WAy!!
and testa di merda ( pleease, image an head on a pile of shit.. )
Why did they not even mention your name ?
Why does nobody let me show my GUCCI LOVE products ?
Why they threaten with law suits ?
Please,
say yes - so I can share my idea
of your
stunning beauty
more questions to come
more help needed
in particular
who has any video/phone recording from the
UGLY VIOLENT SCENES
AT PRATO
MACROLOTTO ZERO
the museum PECCI
WITHHOLDS ALL video MATERIAL
and builds a wall around me
everybody is in line
since SO many involved
are
on payroll
by
Pecci
but this doesn t change the fact
that I GOT
physically aggressed
by
Rossana Tocco and Edoardo Donatini ?
GUCCI, .do you have any recording ?
can u
please, help me ?
PS:
I m OK if u don't thank me for pointing out
that in NEW YORK CITY
it s ok not to advertisment teenage outfits with
the sex appeal of school shooters
and even if you rent from @Trumptower
NYers and you seem to be a YANKEE FAN
LOVE OUR OUTFITS EVEN WITHOUT A HINT OF VIOLENCE
(no explosioins necessary - we are safe her except from your LANDLORD)
also by the way
please, help us
to
MORE ABOUT INSTITUTIONAL HARASSEMENT
LOOKING FOR PRATO POST / PRESENTATIOIN VIDEO MATERIAL about PHYSICAL ASSUALT OF ME BY ROSANNATOCCO, PRATO OFFIICIAL, AND EDOARDO DONATINI, PECCI MUSEUM BOARD MEMBER
please, contact, me, rainer ganahl E10029 (AT) YAHOO.COM
why my worker part was not presented as plaanned and interrupted
I was invited to present an art project to ease tensions between the Italian and the Chinese community in Prato. Prato is said to have 50 000 Chinese inhabitants in a city of below 200 000. I was right away told that the budget was coming from the city. The city representative Rosanna Tocco said verbally: “We believe in art versus security cameras.”
Given my nearly 20 year old attempt to learn Chinese, I opted for a language learning project and called it PLEASE, TEACH ME ITALIAN / PLEASE, TEACH ME CHINESE. Given my involvement with a somehow ongoing Comme des Marxists fashion project, I wanted to create actual fabrics and make clothing for the managerial class and the working segment of the population. I was agreed and everybody was happy.
In the meantime, I started to inform myself on Prato with the help of Google. I found out that the city had created really bad headlines over the last decade, including deadly factory fires in sweatshops and clashes between Italian authorities and Chinese workers and factory owners. It become for me more and more important to work this information into my project as it was unknown to me. Hence, for the worker part of the outfits, I decided to stay all realistic and simply try to purchase the actual garments worn to work and retrofit them with my labels.
For the actual presentation of the entire project, I announced that I will project visual material to explain the project, the small details as given with the fine fabrics and offer orientation to the actors and presenters. This logic applied to both parts of the show. I encountered only little resistance for the rich, managerial part of the preparatory videos organized around Gucci catwalk footage as found on the fashion channel. For the working class part of the presentation, I wanted to focus on Chinese voices and show material that propped up when searching “Prato” and “textile worker.”
Here, the problem started. The proper interaction with the Chinese operated factories was not established in time and blamed on the “cinesei,”, Chinese owners that could be first or second generation immigrants with Italian passports. But the very logic of the project consisted of building bridges, hence it was an important part that the people who invited me find Chinese collaborators. Without a Chinese collaboration, --- as I was told over 6 4 months – we couldn’t find any Chinese workers willing to sell their outfits for a price of their liking. There was also a label that uses biographical parts and that also was not available in time. The absence of the worker part information and photographs was therefore making the preparatory film difficult and it needed to be done in Prato. Finally, when I arrived in Prato they could find a Chinese factory owner, willing to let us stage a runway show in a sweat shop and even on top of a delicate mechanized work table. I was also able to ask myself for permission to ask workers whether they could sell their outfits. It was not only immediately agreed, the owner offered me to give his Versace tshrit as a present to me personally (he mentioned the price, 400 Euros) and gave a price for all his workers garments (20 Euros) each. TO MY SURPRISE, this offer was immediately rejected by Sergio who was my Prato relationship man saying they had no money. AT that moment it become clear that the museum had no interest in the making of my working clothing part because of the labels, that contained google results with negative information about their town.
I still didn’t give up on the Chinese part of the work and accepted a bag full of garments that was presented to me as workers’ outfit. On the first look, it became clear that it was cheaply purchased anew since it still had price tags on it. I also was lied at that the fictious workers of this part didn’t want any biographical data be used. For the logic of the project but also to show the degree of resistance to my project and the unease with their Chinese population and the unease with handling negative information about their town, I accepted this part and added an extra label saying Fake. But to what degree this objection arose became clear when it came to the making of the preparatory video for the Chinese part of the presentation. The video editor with his computer was constantly withdrawn from me and many excuses were found so we couldn’t not produce the preparatory film. Also during the rehearsal and in spite of a promise to let us work without constant supervision by city and museum people the place was filled with people who constantly reported back by phone and explained whether I now use the google information or not.
Finally, when the time of the presentation came, my outfits where ready, my preparatory project was not. At 9 pm, I insisted to not present anything without the Chinese part. Only then, the museum gave permission to send back an editor and a computer to assemble the preparatory video for the Chinese worker segment of the runway show. For this video, I had lined up interviews by Chinese people taken from newscasts. I also prepared news reports of of conflicts, unannounced police inspections of factories called razzias and my google screenshots to be pasted on a timeline. After about an hour we could render the video and drive directly to the site of the fashion show where the editor and I saw the video for the first time.
The impact of the rough editing, / with no preview / the unfiltered presentation of razzias and police actions / justified or not / had surprised everybody, including me and the performers themselves who knew what to expect but who refused to continue to perform. Thus the show was abruptly brought to and end and a discussion started. Two involved actors accused me of lies. The Pecci museum director, Cristiana Perrella, ridiculed me of failure and suggested publicly, that I was incapable to understand the complex situations of Prato. The director also added that she had been living in Prato for 3 months and not experienced anything of what I presented on screen, corroborating that it was a lie. This denunciation and the aggressive screaming and interrupting by the museum board member of the Pezzi Edoardo Donatini created /// as a blogger observed correctly on a youtube comment /// a climate that lead to the aggressive physical attacks on me by the city official Rosanna Tocco and the attemtps of physical aussault by that very board member immediately after the performance.
According to the film crew, the museum ordered all video material about the show and the scenes afterwards to not be released or handed over to me as it was planned, discussed and agreed upon. Nor was any of the works including my camera and my ipad be returned within the last 2 months. This so far has prevented to show and visually proof that the Comue di Prato official Rosanna Tocco with a directorial title - Director of PR or so - overstepped her role and attacked me not only verbally with obscenities but also physically by ramming her elbows into my body. It also protects the museum board member who had to be hold back. I had to run away from him because of his attempt to physically hurt me. So far, we have nearly 2 months passed and nothing has been released. I was told by the Prato journalist Lorenzo Tempestini that the city “has built a wall” around me and any questions about me. Just like the printed the on ground invitation card without my name, they know act as if this event never happened.
While the Pezzi director Cristiana Perrella was ridiculing me directly after the show for using google, for misrepresenting the town and for not being capable of understanding the complexity of the city, in subsequent emails she also blamed me for the violence and the tumultuous scenes that followed.
Again, I do not care what happened to me personally but I do care what happened to me in the function as an artist If an artist doesn’t have a right to work with journalistic material, if an artist doesn”t have a right to use google results, if an artist is physically attacked it is not just a question of personalities or styles of communication. It represents a big problem for the understanding of art and the institution it stands for. A people like this should find a different type of occupation because she fundamentally disqualify themselves.
More information on this can be found HERE
INSTITUTIONAL HARRASSMENT
ANSWERED WITH
INSTITUTIONAL HARRASSEMENT
KUNSTHALLE Vienna, JAN 2019
A FASHION SHOW & MANHATTAN MARXISM/book
Please, teach me Chinese, Please, teach me Italian/ Marx a Prato/ Gucci a Prato
see VIDEO OF THIS SHOW
marx a prato / gucci a prato / prato