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					                                               NAZI KNIFE N6
                                               ARTWORKS EXHIBITION
                                               saturday october 9th‘10
                                               from 7pm to 11pm

Artwork: Antoin Marquis — from NAZI KNIFE #6
RADIO x NAZI KNIFE n6                        saturday october 9th 2010 — from 7pm to 11pm
Curated by Valerio Mattioli and Massimiliano Bomba.
In collaboration with Motelsalieri.

With a show dedicated to the original artworks and the creation of a wall-drawing pro-
duced by the two founders, Jonas Delaborde and Hendrik Hegray, RADIO will host what
Valerio Mattioli calls ‘brink of a precipice for the eyes’, a radical fragment of the
independent publishing scene, which has enabled many artists, illustrators and influen-
tial musicians involved in international outsider art, to express themselves
boundlessly over the last ten years.

Sound: Heroin in Tahiti / Dracula Lewis

RADIO — locate, tune, amplify
A xister project | conceived by Marco Klefisch

RADIO is an exhibition space for selected audio and video materials, chosen and created
by ‘guest owners’ selected amongst artisans, curators, designers and photographers who
utilize RADIOs premises as a workshop for a three month period during which they carry
out research on a specific theme pertaining to their artistic field.
RADIO also hosts a bimonthly show of the material collected and developed by two travelers
singled out to be sent as envoys to specific locations in order to build a focus project.
RADIO promotes music, traveling and cultural events on a continual basis
via interchange between selected individuals.

RADIO is in Milan in Via Pestalozzi, 4
Opening times:
— monday to Friday
— midday to 8pm

n 2 — PORNOGRAPHY october/november/december ‘10
amateur press/abstinence/explicit zine/coneheads
viewers/voyeurs/drawing love/body light/art sellers
slutty media/open type/censored dialogues/social network
interracial/human animals/extreme aesthetics/hardcore

guest owner: Alberto Guerrini

— t. 02.25060192

RADIO — Milano — Via Pestalozzi, 4 —
DARK GREY FEELING — written by Valerio Mattioli

Nazi Knife is a brink of a precipice for the eyes.
When it first appeared in 2006, there were 100 photocopies full of crazy drawings, blotches
of colour, hand drawn rickety constructions, pencil and felt-tip pen nursery school
revivals, old recycled photos. And it was already oozing with that obsessive passion for
the juju that is paper, which in those years was forging the whole scene. Call it an
artist’s fanzine, call it contemporary drawing, call it indie draw: none of these labels
accurately represents that authentic transnational lineage that gave itself over to the
ambiguousand elusive practice of do-it-yourself right through the last decade, half-way as
it is between a home-made scribble and glossy mischief. Nazi Knife is the undeniable nerve
centre and point of reference of this lineage. Maybe not the most commercial (what with
that name and all), maybe the least accommodating: but Jonas Delaborde and Hendrik Hegray,
who invented the editorial imprint in Paris right in the middle of that decade, have made
an enormous contribution, assembling the best of a galaxy of variable and potentially
infinite environments.Number after number, Nazi Knife has evolved from a glaringly amateur
fanzine, in itself a self avowed expression of the real life milieu (the French one) that
was influencing aesthetic choices at boiling point more than ever before at that period of
time, to an authentic catalogue of the contemporary outsider scene: from Mat Brinkman
to Antoine Marquis, from Christopher Forgues to Mehdi Hercberg, from Mike Diana to Leif
Goldberg. To flick through a copy of Nazi Knife means to bite into a cosmos of markings,
names and figures crucial to the development of a visionary world that has, despite its
underground origins, in time ended up captivating the high echelons of the mainstream
culture and ‘constitutional’ art (to everyone’s surprise it must be said).
Every issue is a flux of visions arranged in an apparently casual way, chaotically, without
the useless burden of credits, page numbers and the names of the artists. The outcome is
a sort of extended hallucination bereft of cardinal points or references of any sort, a
kind of foam – in the words of Jonas Delaborde –spun from ‘Ufo magazines, rotten catalogues
of dusty museums, diagrams and layouts of jungle rituals, KKK and IRA fictives, stringency
and minimalism, geometric abstractions, bad reproductions, dark grey feeling”.
There is something mocking in the disorienting sequence of images that comprises Nazi
Knife: each page seems to be suspended in a bemused, maybe cynical, most certainly alien
no-man’s land. Hegray and Delaborde refer to their creation as a ‘radical magazine of
illustrations/pictures/diagrams, though to this deliberately vague and elusive definition,
they transfer a personality so precise that it has a flavor of applied science. The choice
of contributors and material worth publishing is never done casually, every issue has to
represent, albeit in its own way, a story / narration. Hegray underlines how all it all
starts from the ‘centerfold and the resilient coherence that can derive from how different
images tack onto each other. The effect, though deafening, though marred, withholds some
kind of homogeneity: taken one by one the various artworks are ‘simply’ little masterpieces
of outsider art (art brut, optical abstractions, found photographs, underground design, pop
culture in decay), but it is the putting them altogether that converts it all into a power-
ful energy force, that resonates at times in a violent, at times in a disorienting way.

RADIO — Milano — Via Pestalozzi, 4 —
 Hegray and Delaborde, both with their own individual cultural baggage and style represent
 the opposite extremes that characterize the publication almost without wanting to:
 the former is an illustrator of rough grubby figures inspired by “old cartoons,horror films
 of the ‘80’s, and The Boredoms front covers; the latter has literally invented a new kind
 of metaphysical style somewhere between De Chirico and a sort hypothetical Sottsass using
 a felt-tip pen, all of which is shifted onto an oblique astral plane populated by
 nothing other than ghosts. The exhibition hosted by Radio cannot but begin with the
 creations of the two founders and then move on to the works of some of the most important
 contributors to the artzine: there will be Mat Brinkman with his unmistakable hypertrophic
 fantasy monsters; Andres Ramiz with his obsessive geometric collages; Antoin Marquis with
 his oneiric-naif landscapes; Spencer Clark with his phantasmagorical copy art reproduc-
 tions. And finally the grandsire of the French scene Stephane Prigent, the infamous
 supporter of Le Dernier Cri Andy Bolus, the star of Shoboshobo underground pop with dozens
 of sheets of paper, drawings, prints, original copies torn from the pages of the magazine,
 as well as unpublished work that never even appeared in the magazine. All this to the
 extent that the very walls of Radio, will, despite itself, become part of Nazi Knife,
 rather than hosting it.

 Valerio Mattioli
 Valerio Mattioli, art & culture journalist for Repubblica XL, Blow Up and Vice, is the
 author of the book “Noisers”, dedicated to the new US underground art scene, and has
 written critiques and essays for publishers including Laterza, Meltemi and Manifestolibri.
 He is one of the founders of the magazine-book Catastrophe (ex Torazine) and at the moment
 is managing the video label AAVV.

 Massimiliano Bomba
 Massimiliano Bomba, born in 1981, works with illustrations, graphics and video.
 His most recent projects have been produced and published by: Kaugummi books, Dernier Cri,
 Ultra Eczema, Landfill editions, Nike, Hundebiss records, Opuntia Books, rrrproject,
 Sleeperholdpublications, FLTMSTPC.Seems book, Jhon magazine. He is a member of London
 based Famicon Express family and of the Parisian collective FREDERIC MAGAZINE.
 He is the founder of rawraw publications. He lives and works between Rome and Milan.

 Heroin in Tahiti
 HEROIN IN TAHITI come from the least glamorous beaches of Polynesia and play droneabilly/
 death surf, a mix of beach unease and deadly tube-riding.
 Otaheite Spleen.

 Dracula Lewis
 Dracula Lewis was born in Transylvania and now lives in the Italian countryside.
 Known to the locals as ‘the gypsy’, he is the author of lo-fi aggressive electronic music
 flavoured with mysterious field-recordings and odd sounds from outer space.

RADIO — Milano — Via Pestalozzi, 4 —

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