DISCONTENT A PRATO / RAINER GANAHL PLEASE, TEACH ME .... CHINESE, ITALIAN PRATO fashion show

most of things were written below and things are commlicated. in the meantime. from summer 2018 til december I was ghosted and only their lawyer letters arrived. They refused to return my artwork and i had to hire a Milano lawfirm that cost over 5000 Euros to force the CENTRO PECCI under Cristiana Perrella who tries to hind behind farious institutions of the Come di Prato thougth she FINALLY MADE ALL THE DECISIONS AND THE MUSEUM WHO commissioned the work, who curatred teh show also was the site that HITCHECKED MY WORK AND finally returned THE WORK.. but not all../ ALL my video work was kept back and is still in their hands as well as quite some work that was not returned..

I WAS ALSO asked to give up all my pay that was promised and contractually agreed in writing. THIS KIND OF FINACIAL BLACKMAIL including promised costs exceeded 11000 Euros.

NOTE: THIS IS NOT ABOUT ME PERSOALLY BUT A WAY POWERFUL INSITTUTIONS HARASSED AN ARTIST BECAUSE HE INSISTED TO INCLUDE AND PROJECT JOURNALISTIC MATERAIL ON THE SITUATON OF WORK AND CHINESE WORKERS IN THIS center of Italy's textile center. There was PUBLIC TRASHIN By the basically absent uninfomed but put under pressure to act director CRISTIANA PERRELLA WHO was new to the job but in all likelyhood was pressured into acting against me by PR woman adn most powerful cultural lady in Prato, Rossana Tocco who even assaulted me physically verbally. PERRELLA only trashed me as incompetent and a bad artist bc i supposedly only showed google results...

anyway ONLY A FEW DAYS before the Vienna performance of the work I SIGNED THE DUMBED PAPER TO GET THE work in time.including a non disclosure agreement i am very happy toignore .... therefore , THE INSTITUTIONALS HARASSMENT OF PRATO AND THE PECCI finds now my response in form of an art work i call INSTITUTIONAL HARASSMENT.\

see HOW I PROJECTED MY LAWYERS english summery of contract // see italian version of it /// onto the stage.

imagine an aritst who is less experienced, who can't somehow survive a financial loss of 16 000 euros and who is not as connected and supported like me with coverage by artnews and people like CLIMA GALLERY Milan who dare to let me explain what s at stage..... bc now I keep it a mission to EXPLAIN AND SHAME THE INSTITUTONS and people involved under the label DOES ART MATTER .

ONE CAN HATE A ART WORK commission by a MUSEUM in conjuction with a town BUT ONE DOESN T HAVE TO assault the artist physically ( PR woman rossana tocco denies it but why doesn"t she then release the videos they have in possession, videos promised to me ) and on screen BOARD MEMBER EDOARDO DONATINI //// as well reducle an arist as a museum director...

ONE ALSO DOESN T force AN ARITST WHO WORKED A FULL YEAR ON A WORK AND ADVANCES THOUSANDS OF DOLLARS FOR PRODUCTION TO GIVE UP ALL CONTRACTUALLY FIXED AGREEMENTS ... AND FORCE THE ARTIST INTO A NON/DISCLOSURE AGREEMENT...

PECCI DIRECTOR CRISTIANA PERRELLA AND PRATO CITTA PR WOMAN rossanna tocco and pecci centro board member edowardo donatini ( THE MOST POWERFUL AS I WAS TOLD BC FULLY EMPLOID FOR YEARS AND IN CHARGE OF FINANCES // UNLIKE THE UNDERSTANDING cultural boss OF THE TOWN WHO always agreed with me ) shame on you , shame on you

\PLEASE, KEEP SEIND ME YOUR LAWYER LETTERS: I LL RIGHT AWAY PUBLISH THEM... .and i d love to see you in NYC court bc i live in NYC only and ignore any italian jurisdiction/// it wil only be rediculous HARASSMENT LITERATURE.

perrella, /// you defrauded the museum of this beuys marx suityou commissioned with funds cleared and passed by prato councel for NARCISISTIC REASONS... BC you failed to defend an artist you invited see video

PRESS RECEIVED
artnet - see pdf Naomi Rea, June 21. 2018
‘Art Can Be as Effective as Surveillance Cameras’: Why an Italian Fashion Capital Is Commissioning Artists to Relieve Racial Tensions- The city of Prato has invited artists including Rainer Ganahl and Yoko Ono to help bridge the sociocultural divide between its Chinese and Italian populations.

Prato: Rainer Ganahl fa arrabbiare tutti ( GANAHL MAKES EVERYBODY ANGRY)
L'artista austriaco proietta video di ispezioni di forze dell'ordine nei capannoni cinesi e scatta la polemica: si conclude quasi irissa la festa di quartiere "Pop Art".
Lorenzo Tempestini - 23 giugno 2018 / PRATOSFERA, local newspaper / translation to english is here.

--- yes.
my runway show as interrupted before the end
it came to tumultus scenes and i ended up being beaten. see below

The situation:

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 or a language learning project and called it PLEASE, TEACH ME ITALIAN / PLEASE, TEACH ME CHINESE. Given my involvement with an somehow ongoing Comme des Marxists fashion project, I wanted to create actual fabrics and make clothing for the managerial 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 fire 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 that blamed on the Chinese owners. But the very logic of the project consisted of building bridges. Without a Chinese factory, we also didn’t find in time Chinese workers willing to sell their outfits for a price of their liking. Hence the biographical parts also meant to constitute a label, were not available in time, neither to be made in to labels, not to be made into a preparatory film. When in Prato and we could find a Chinese factory owner, willing to let us deal with the workers, it became clear that the Museum/City didn’t really wanna show that part, because they refused to pay when we got an offer of 20 Euros a piece.

I still didn’t give up and worked with a bag full of garments that was presented to as workers outfit but was simply cheaply purchased anew since it still had price tags on it. I accepted this part as well and added an extra label saying Fake. But the degree of objection became clear when it came to the making of the preparatory video for the Chinese part of the presentation because the video editor was constantly withdrawn from me. Also during the rehearsal in spite of my request to let us work without constant supervision city and museum people had to constantly report back by phone and explain whether I now use the google information or not.

Finally, when the time of the presentation came, my outfits where ready / albeit of the fake nature of the workers part as they were unlike my concept never worn by workers / but 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 over an editor and a computer to assemble the preparatory video for the Chinese worker. For this I had lined up interviews by Chinese people and part of conflicts, unannounced police inspections called razzias of factories and mz 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 unfilteredness of razzias and police actions / justified or not / had surprised everybody and so also the performers themselves who refused to continue to perform. Thus the show was abruptly brought to and end and a discussion started in which the involved peopled accused me of lies and the museum director of failure and basically incapable to understand the complex situations. The the director also said that she had been living in Prato for 3 months and not experienced anything of what I presented on screen. This denounciation and the the aggressive screaming and interruipting by the museum board member of the Pezzi Edoardo Donattini created /// as a blogger obersverd 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 the 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 according to plan. The fact that a Comue di Prato offical with a directorial title - Director of PR or so - overstepped to attack me not only verbally with obscenities but to also physically ram her elbows into my body and the that the museum board member had to be hold back and I had to run away from him because of his attempt to physically hurt me was not making for good PR.

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 complextity 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 as an artist, independent of gender, age or race. 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.

This is about RACISM , FEAR OF THE FAR RIGHT, CENSHIP AND ARTIST HARASSMENT
(including physical assault by the very officals who invited me ) IT IS NOT ABOUT ME, rg.

PRATO - center of MADE IN ITALY ... today, in very good shape thanks to the Chinese populations that are already multi-generational and still
replenishes (from one of the wealthiest, commerzially most activeeand for China most Christian population - the same that also dominates in other
diaspora Chinese communities including in New Yrok City - Zhejiang province WENZHOU ... )

below some of my GOOGLE based journalism based LABELS I attached to the workers clothing I wanted to purchase from the Chinese workers - this was EFFECTIVELY and pro-actively PREVENTED

https://www.nytimes.com/2013/12/08/world/europe/deadly-factory-fire-bares-racial-tensions-in-italy.html

the sccreen shut below is from the preparatory video of the workers - the screenshot above from the main part.

when the article of ARTNET appeared .. the inviting chief curator yelled at me and said "these are precisely the headlines that rasie racial tensions"
i have no recording of this incident but i wrote this quote several times in a group mail and to this day, it has not been denied. As pointed out
in many conversations - some recorded some in email and texts - THE APPEARANCE OF THIS HEADLLINE in the news has
fundamentally altered my approach and lifted my self-consored , my comoplicite last reservation . from that moment on, I started using it
and i decided not to give in. HENCE anybody who wants to quote me as an effect of THE POWER OF JOURNALISM AND THE POWER
OF PROPER NAMING.. please, FEEL FREE QUOTE ME.. thank you artnet. you lifted my own reacial complicity, and you encouraged me
to really stand up and PRODUCED MY WORKER PART that included my logo and the content so much hated.
in fact, the modus opperandi of obstruting me circled like around proxi-conflicts.. gucci logos ( even when NOBODY EVER complained form gucci

-- also again and again, i do NOT CRITIZICE GUCCI. II LOVE GUCCI . for many raesons. GUCCI - leasure capitalism is not a topic here. it just happens
that GUCCI produces in Prato and was founded 20 min away in Florence as i was told and as i have not varifiied as i do not care about
GUCCI in that sense.
DISCLAIMER: during the actual perfomance nearly all Gucci LOGOS were removed - I also signed 2 liability papers handed to me by their lawyers
so in case, Gucci would come after me, I would take any responsibility - Gucci is not a topic for me here.

Gucci is given only attention when it comes to their NY vitirne -- see elsewhere but even here . i say nohting accusing.

Please, contact me if interested in in more details ( rainerganahl @ yahoo . com)

3
CLASS TENSIONS between people owning Gucci and people who even find fake Gucci s a financial hurdle

This lady, Mei, - part of my Kinkaleri performer team , was interoducd to me as opera singer in Florence, assuming that she studied
in Florence and already is actively singing or not.I did not ask her about her class background , or how she can afford to study in
Europe when the average Mainland Chinese income would not allow usually for this kind of expense. But it is a fact that there exists
a wealthy Chinese middle class that populates international colleges and that buys authentic Gucci products around the world and in
China. see GUCCI sales and I am super happy for Gucci and the fact we see a properous Chinese Middle class. I am not a Marx,
Marx is quoteed saying and I share his assessment.

Now, she was a fantastic perofrmer and did as ALL THE THE KINKALERI team an amazing job. as you also can see, she enjoyed
acting and only OBJECTED ONCE BRIEFLY DURING THE PERFORMANCE when confronted with my OBVIOUSLY VERY
non-gucci resembling FAKE GUCCI ACCESESORIES AND SWEAT SHRITS either made out of cardboards (bags, and my fabrics).
transparent plexiglas (glasses) and on.

AT that moment she told me in a very serious way, THAT SHE ISPICES (DISPREZZO) PEOPLE WHO BY FAKE GUCCI.
This opinoin was immedialtly shared by my Chinese-Italian (born, living and styding in Italy but on Chinese passport - with parents
living in Prato) performer. Both carried according to them authentic Gucci product visibiel during the rehearsals.

I UNDERINE THIS EFFECT - BECAUSE MEI, CAME FIRST ON STAGE AFTER THE CHINATOWN PERFORMANCE,
- and inin the presence of still many Chinese factory workers (since that is the main plaza of that migrant /diasopora Chinese community )

to accuse me notibly and visible angry and worked up THAT WHAT THEY JUST SAW (the chinese worker part WAS A LIE - BUGIA.
see more of this discussed on this youtube commment page, where this scene is made available by person i don t know who s usual video
viewers are average below 50. Her Polemica video has so far near 1300 viewers and raising still. The author, who I want to thank a lot
that she published this first moment after the unplanned early interrupttion ... (((( when my performers refused to act because the screen showed
indeed painful to look at police action - see ore below - and read my commments in englsih that often translate the italian first dialog.))))
this person was opposed by another person who states ( and i was not even awaer of it really bc still under shock ) that the "cultural elite"
of "Prato " ( his term) was acutally STIRRING UIP THE TENSIONS AGAINST ME AND PREPARING WHAT WAS AOBUT TO COME

NOTE - IMPORTNAT.. .. DURING REHEARSAL, below. you can see that google materail was permanently on screen, including
htose concering police confrontations.
HENCE THE ACCUSATION BY THE PERFORMRES that i didn texpalin them what was coming when it was nonstop explained
is not valid. the accusation by the Museum director, Signora CRISTIANA PERRELLA who uses that argument to indiretly threaten me wiht a lawsuit if i kind of don"t just
go away as a probelm - see bleow - is even accusing me that i wasnt ready with the actual preparatory viceo.. they so actively tried me
from making - see below- but everybody knew from the very beginning of this work that google content was screened in form of PREPARATORY
VIDEOS.. hence nothing was here a trick or a diviation from the orignal and agreed concept. (now, also that is disputed by direction )

one complaint by one of my male performers replied when asked why he also didn 't like the work: He said that i ddn"t address
people he has in his family that lost their textile jobs to the Chinese or that faate of another family member who lost a limb in an textile
factory accident. --- my answer: this was not my job here but i d love to come back and make another work focusing on precisely that.

background: European textile industry --and i am born as well into an industrial small TEXTILE DOWN, BLUDENZ THAT was once
dominated by textile and lost it to OVERSEA COMPETITION.
The fact that Chinese migratns OUT-CHINESED the Chinese and otehrs kept the enoroumous textile wealth still in town and
maintains a textile centrci infrastrure that is VITAL TO any business

but class aspects were also addressed in the video. bc they really are also at hte core of the Prato (Italay - the entire world) problem

everybody loves Chinese clientes when they shop but nobody likes to see Chinese workes when they are accused of stealing work,
of copying *stealing ideas, and so on. ---

PERSONALLY SPEAKING -- I hoped that my work increases the respect for all Chinese communities and all migrant communities
around the worlD --- see also : Iwannabechinese.com or pleaseteachmechinese.com -- BECAUSE THEY ENRICH US IN MYRIAD
OF WAYS. hence , we need no humanitarian or vaticanian advise why we should respect other, lets just be uttiliarian and capitalist
- social, cultural, demographic, culinarian, educational, esthetic and so on and on CAPITAL...

China makes us and keeps us rich ON EVERY LEVEL China is really "us" - I WANNA BE CHINESE --see work made with the
Pecci musuem director about this topic hence see or guess what a loss this is for me, what a dissapointemnt this fall out is and how
INCOMPRENSIVE HER ACTING IS for me. - more about her below

4
PR-WORK versus AN ART WORK -M ISUNDERSTANDINGS (violation) OF DIFFERENCE BETWEEN these two categories of commissions

VIOLATION of the very aspects that constituttes an art work as well as defining what an art work is might not
be so easy to do in 3 sentences. . ALSO i heard many sentences and quite stunning emails that even verbally
showed how i was permanently told what i could do and what i could not do, to home i am responsible and to
homw not... -- but lets here just say a few lines and let the facts speak for themselves

There is also a general understanding that when a Museum is involved and IF it is advertised as art, that it can be art.
Thought there is nothing in form of a contract that defined what art is, I still want to DEFEND THE VERSION OF ART
AS WE HAVE SEEN IT RESPECTED AND ELABORATED, DISCUSSED AND VIOLATED IN ART CIRCLES
OVER THE LAST DECADES WITH MANY CONFLICTS. And even when the censored some artist s work when
politician found it unacceptable..--

- Let us remember teh current chief legal adviser to Pres. Trump, who is now acting
wiht the help of a formal Attorney general, and a former major, Rudolph Giuliani, who in his function as mayer censored
a Brooklyn museum work with the leverage and argument of THE USE OF pubilc MONE Y - THUS indirectly acknowledging
and respecting the very idea of the freedom of speech of an art work. let me also remind you that teh PECCI MUSEUM
boardmember, Eduardo Donatini -s ee below - was shuffing the PUBLIC MONEY ARGUEMNT IN MY FACE. which is actually quite interesteign
who himself profiting from public money and then in the name of PUBLIC MONEY, TRYING TO BEAT ME UP over his
perceived Waste of public money - me wasting it according to him . here reversed rules
THAT IS OBVISOULY MAKEING EVEN GIULIANI look like a respectful guy to the concept of art bc this one he didnt touch.

(( NEEDLESS TO SAY, OUT OF RESPECT FOR THE VERY CONCEPT OF ART, THAT IS HERE VIOLATED OR LETS SAY
ASSAULTED PHYSICALLY, he would have disqualified himself alone through such accusations as a museum board member .(Eduardo Donatini)
Lilkewiese, in a proper transparent , non-corrupt context , somebody profiting of public money ( ONO AND MY project paid exclusively
with public funds. .. nand that arguemnt was even used to CENSOR ME, and to INTIMIDATE ME AND TO BULLY AND HARASS ME )
a persons like him and a person like a city employee cannot be justified anymore to recieve the funds, they so aggressively pretended to protect.

Back to the what is art ---- I am reliable on norms, on history and other discussions about this dfference. But for me, the fact that the
museum curaotr, Stefano Pezzato, invited me and that the City person told me and others over and over and seems to be also on recrod that the
town believes in "art versus politics" can generally be undrestood that general freedoms of art are coming and honrored also with my invitation.
I want to note : that I envie the payment of any PR company that would have cost much much much more thatn the time used on this project.

After all i was also responsbiel for performing about an hour on a PUBLIC TOWN HALL FESTIVA - infact be there the main figu INSPITE
THE FACT that the town advertiesed the ENTIRE EVENT WIHT THE TITLE OF MY SHOW.. but did not mention my name.
PLEASE, contact for proof.

There was NO censorship in form of clear orders by the top PRATO town official, L assensore di cultura, Simone Mangani.. Suggested changes ( to cover the school massacre IF film parts associated on my prep video with Gucci Trump Tower) were for me agreed and accepted by me but opposite to others, he had explicitly no problem with with the use of the name Marx, with the use of my google screenshots and with even thanking the town of Prato - Something that was vehemently ordered by the museum director, Cristiana Perrella. She had written to me - inspite of the fact that it kept me from working - that this is priority. She sent a video edtor to my hotel to make sure that my private youtube Channel had all final thanking removed. - email can be made available.

The situation became easier when the top cultural head of Prato gave in a 1hour meeting the ok. It got even more easier for me, when the Pecci Museum lawyer explicitly told us / during a really fine lunch over sushi / that i have a rigth to show what i want to show as an artist but need to sign some papers that keep the museum label free. I signed them. She also convinvced me that I should let them remove the Gucci LOGOS spread throughout my prep videos from the screen. I complied and it s gone.. .replaced by red blockers and poped up only for seconds on a couple of times becasue we oversaw these videos.

I fully have understanding that a these two insitutions had to protect themselves from potential claims from Gucci. I cannot state it often enought that GUCCI NEVER knew anything and so far never had asked me anytthing to remove or change. Also, i repeat myself, I am not critical of Gucci, I am not insutling Gucci, I am not out to damage Gucci s brand, to thereaten their business model or compete in any way with this mega brand. Even thougth i officially asked to copy Gucci, needless to say, the results of these on simple screenshot oriented so-called copies do not resemble anything Gucci. My artistic games are no threat to Gucci and never even intenteded to be any questoining of Gucci. As i said, i wish i could afford Gucci and i love the fact that Gucci has a life also as fake.

Yet, in the name of first the SPECTRE l of LEGA NORD - the right wing party that is anti-immigration and worse - in next years local election (2019) I was told by near everybodhy verbally and i think by email. that i can t use Marx a Prato .and Gucci a Prato. These fights exhasted me and stole a lot of time. More so, when for a while we had piece, approx a day before the performance, and i intended to finally make the Chinese worker preparatory video with the voluntary outside working hour help of an editor, the censorship process started up again in the usual way --- by practical obstruction.

She personally told me, that she was told she can t work with me late evening or as long as it takes. Also she was not allowed to come inthe monring,, at 8 am , or at any moment. When i called the second editor working at the museum, whetehr i can come to the msueum editing the material. I was told no.. because we need the OK from Stefano. That ok was long pulled out because he wanted the still absent director to take the burden of the NO. hence delaying the desicioin worked in their favor.

When i than canceled the show becuase i can t work under these conditoins. Everything was suddnely ok and approved again.I got suddenly the OK to all preparatory video material * thought practically they didn thand me the material but still withheld the material from the 1st day, due to technical problems. I LET IT GO and worekd with hwat i had. ALSO Ifor me insutlingly asked.. why didn t i come to the museum earlier and they tried to blame my abcense at the msueum on me. There was no mail that told me to come. ( those started to come when i said the show is over )

The museum director arives first time at the scene on the day of the performance. everything PREVIOIUSLY CLEARED AND DISCUSSED. SUDDNELY STARTED AGAIN.. you can t use, y8ou can t.. .....

my request to have nobody from the town or the city present WHILE WE WERE REHEARSING THE LAST TIEM AND WHILE I WAS EDITING THE PREPARATORY VIDEO AT THE SAME Time.. . was agreed but not honored. so Stefano was constntly htere and reported back all details. that i used the google labels, that i used htis and that materail..

the director then finally ARIVED Iin person and wanted to really take over ystunning way the control of it all THOUGTH SHE said things that claerly prooved the fact that she was not infomred about the project, that she has not read my endless communicatoins, and that only a few days ago, she stil was making fun with me on the phione from new york that the city has no right to tell me this and that. I have to notice the negoitating party and the biggest oposer to my project before mhy arrival after the first preparatorhy viceos were presented to her --- here a lot of significant emails are present --- this person left the negotiatino table with the head of the cultural departemnt.. when HER BOSS clearly spoke in my favor. She has then disappeared from my screen and my presence until she reappeard wiht an anger attack on me .. after the performance, that ended in ellbowy8ing me and carpeting me with all the head of a dick and the heads of a piece of shit there exists in italy

I started to ignore the director and just go about my business. and so did the administraton. My deciated editor who arleady prepaed materials for the stil lnot done yet Prato WORKING CLASS VDEO was suddnely removed, the computer also had to be occupeid for anthoiehr 90 min to remove yet more logos from my other videos and before we could even think. it was 9pm.. all performers and all object and outfits already in Chinatown prato. I WAS FINALLY NEEDED AND THEY asked for me while just sitting there, unable to do anything.

only after i answered - SORRY NO SHOW.. WIHTOIUT "the condition of the working class a Prato" videio, the video edtor and the computer was made available. I insisted to do it my way and after some 90 min we were able to grahically edit it .. wihtout a change to have it rendered and previewed. we just had to accept what would be rendered and only briefly viewed the materials i picked according to my eidting criteria /// By then i had no other optoin but tu use AP and Reuters Newscontent directlhy.

OBSTRUCTOIN:
inspite of may weeks and months o fbeggigin and insturcting how to find a Chinese facory to collaborate iwth us. only a fews days before my arrival thehy found somebody. AND EVEN THEN we needed to disuss nearly 90 min in total sun and heat to enter the place. from then things went wonderful... BUT YET.. again... THE FINALLY offered workers clohte were rejected with the agrument we have no money. please, gift them to us.. putting the very generous factory owner in a horrible position hence retracting his offer.. .

MORE OBSTRUCTOINS FIND ELSEWHER.. IT TIRED ME , IT STILL tires me out. also , the person who s job was to facilitate things, Sergio Bettini, who worked for the museum and the city, has been one of the nicest people in town. I will never be mad at him but he did lie into my face when he handed me over a bag with so/called worker clothing that came witoiut biographical storeis because of chinese fear of unannounced razias, controlls. the way, i can be so sure that his nice adn really conforting presence was a lie // he was also alwaays repsonding swiflty /// is proofed by the fact the the outfits were new, repeated themsleves. ( 2 or 3 the same( and mostly came with PRICE TAGS... I still like him.

Also Stefano was remarkable and tellingly so. He only lost a few times his cool. ( about the healine with the word 'racial tenseion " see above // When asked on the phone, are they mad if i use the subtiels MARX A PRATO, GUCCI APRATO.. he said, dont worry. do it on yoru web site adn in london but not in Prato. He also was surprising me when he envyingly told me " you have it easy because you can return to new york" but i have to stay here. I m not sure whether it was due to my constant warnings tob e careful hat he tells me indicating that i have no other chance but to consider in ... AT ONE POInE he did comply with the city town oders to let me work and was finally also just trying to intimidate me thorugh his presence.. I called him jokingly that he now fujllfills the role of a KGB or STASI agent since he was reporting back..to devidse the next obsturction .

He tried very hard to be on both sides. Follow the control freak order from his director and understanding claerly that i has no chance but to do my artist work as scheduled, as explained etc. HE WAS also the first to stop communcating with me... since i made that also very clear that i ll use it to make my case.

typically, it was him, who said,, "don t worry, we send you back all your materail" . the last thing i head /. no action has followed, no ok to the edotor to transfer me the vidoes, or any other action.

right now , inspite of near daily begging to send me my works, my momney, my videos./// notihing has been replied

HERE TOO.. OBSTUCTON... and even my very responsive friend Sergio, and he would reassure me and understand my artistic position to hte very interaction , yet was forced by his instructions to do just exactly the opposite.... even he has now stopped communcatiing.

anbody interested in more details.. i have them, in proofs in form of emalis, i have them...

if interested in more details and the viewing of emails I can make them available.

self- ceonsorship --- THERE WAS NEVER A LEGA PERSON IN VIEW, THERE WAS NEVER A GUCCI REPRESENTAVIE AROUND, THERE WAS NEVER ANYBODY FROM GERMANY TO TELL THEM THAT MARX CAN T BE USED.

hence./// THIS KIND OF CENSORSHIP IN THE NAME OF CENSORSHIP WAS REALLY TECHNICALLY SELF=SENSORHSIP OF SPECTRES GOING AROUND IN EUROPE THAT MAKE ME DETERMENT TO REPORT THIS CASE INTO THE LAST DETAILS. also no google rep sshowed up

and be it SELF PUBLISHING ON AMAZON. COM.. calilng out each individual person complicit in this plot TO LET Chinese

6
REJECTION OF INTERNATIONAL NEWS CONTENT ( Associated Press, Rueters footage, New York Times, The Guardian etc. addressing the Prato situation)

In order to not repeat to often i refer to the workers outfit where i show, how how much my google results were not apprecitted withoiut ever really saying so. it was done by obstructon. The very fact that my performers stopped perforuming when the images of these Reuters video appeared. see above.. also the assaults on me started after my performance was interrupted when tese riot images could be seen on the moving screen.

7
PUBLIC INSULTS, PHYSICAL ASSAULT BY TWO MEMBERS OF BOTH involed entities. (Rosanna Tocco - a Prato City Official and Eduardo Donatini - a

the protagonist of this VIOLENT END SCENE -- and please, note the MAIN MOOD MAKER - see also below in blog - EDUARDO DONATINI - refered to also on blag by a to me unknown person as "cultural eltie "... WENT AROUND - AS TOLD BY FILM PERSON - that he told all ru nning cmaers to stop .. .HENCE I NEED TO RECONSTRUCT IT AND DOCUEMTN IT INDREICTLY

(( AGAIN I LOOK FORWARD TO ANY VIDEO -- i saw some phones filming - available and still look for it _ please, mail : rainerganahl@yahoo.com))

who had with force be kept back by several people about to smash my face-- his fiists were in the air -- he did not hit me but made mer run to safty. after insutling me publicly, accusing me of abusing public money - I also screamed at me that i don t know who he is -- which you can now see here.. a board member o the fondazione pecci - the ambrella organizaton of the co-inviting co hosting museum wiht the director Perrella -- who also explains me who this rabia person is...-- HE IsS ALSO REFERED To onteh blog below as RABIATTISSIMO VECCHite

and cited with a INDEED VERY IMPORTANT STATEMENT : "you do not know who i am " .... see various answers below

see below: CENTRO PECCI PRATO - consiglio di aminsitrayione -A MEMBER OF THE BOARD OF DIRECTORS

----C --- ACCUSES ME of many more cruxial things that i want to address point by point

Needless to say I blame any form of (A( violence or intimidation, but in order to understand what happened yesterday is important to know that (D) Edoardo Donatini is the (e) husband of Gina Monaco, from Kinkaleri. Again, (b) the rage was provoked not by you addressing political issues but by( C) exploiting the work of respected people (artists) from the town who trusted the project and embraced it and then was excluded by any discussion about it and forced to be part of something they didn’t shared or approved.

----remember the most important part is not to have my voice and have my opinion against others, and have me here as victimizes frsutatrted, and shell shockd person say how I felt.. THE MOST IMPORTANT THING IS TO HAVE IT THROUGHT THE EYES OF OTHERS. --- I m still collecing voice.. but i have to say, in a sad mood - nobody wants to have his or her report mentoined her.. .WHCIH INTISELF I SEE AS SYMPTOMATIC FOR OUR TIMES. .--- henc a period where wer not only enter new form of fascism , wehre peopel openly express fear of fascism and fascists are voted into goverments and teh supreme court of the united state ( now effectfily a trump court ) .. the tenor is not in speaking out .. but in moving on .. in not knowing, in just doing once own hting, and if complicit. .just follow hte law. .and indeed. .fascism not only follwed the law, it euqaled the law. the the first thing happneing now.. is to silence REPROTING, TO SILENCE MEDA, TO SLENCE JOURNALISM.. TO OUTLAW IT AND make it all NATIONA SECURITY INTEREST .. and in this case.. A MUESUEM INTERSETS

and i agree given the fact that DONATIINI IS A MEMBER OF THE DIRECTORS OF THE MUSEUM FOUNDATION ... MAKES the DIRECTOR OF THE CENTRO PECCI MUSEUM , CRISTIANA PERRELLA -- responsible to the board -- A PRIORITY

----A -----SPEAK OF VIOLENCE .... I blame any form of (A( violence or intimidation, .....

she clearly uses the word VIOLENCE - which I experienced - but i try to subtract myself and want others speak - BUT IMMEDIATLY MOVES TO A DIFFERENT FACT : INTIMIDATION - now i agree to both , I experienced both.. BECAUSE VIOLENCE IS INTIMIDATING. .and the moment i arrivd i was INTIMIDATED ... and threatened.. ( to have my money withdrawin..., STEFANO PEZZATO, cheif curator )

now, the word violence is for me important because i cannot show it . the very man who came at me in a claerly VIOLENT way, (HIS PUT IN PLACE VIOELNCE INFLICITING ARM HAD TO BE HOLD BACK ---and thatnks to all who held him back ) EDOARDO DONATINI MADE FIRST SURE THAT ALL CAMERAS WERE TURNED OFF
--- so he was not just angry and impulsive but he had awareness that a MUSEUM BOARD MEMBER, USING PUBLIC MONEY, would not look good on youtube, or in TV beating up an invited artist --- whether one makes something of hiis liking or not..

NOte: he never said what it made as art was bad... he only YELLED : "You do not know who I am " - "You wasted public money" , "you ... the worst cursewords Italian has to offer," and in line with the LEGA -new italian fascism - credto " Go back where you come frome" (((hence ---- and i was so undre chock that i cn t even remember.

Cristiana Perrella STRUCTURES her BLAMING THE VICTIM, me , very carfully . BLAMING THE ARTIST , blaming me, is all what they had permanently on their mind and to remind you --- the chief curator BLAMED ARTNEWS"s use of RACIAL TENSION as the cause for racial tension. .. (as we know..here during the TRUMP REGIME. oday THEY ARE blaming the migrants for having their newborns, 1, 2 and 3 year olds as well as any other mintores ripped of mothers and families and balme them: hitler blamed the jews for antisemitsm and anti-semtic LAWS etc.. )

she alreaady started the email wiht the word blame... and meant to say, condem.. but we undestand.

in the line below.. EVEN MORE CAREFULLY,.. she says "the rage (no talk of violence anymore. but downgraded) is NOT YOU (MY) FAULT".... but then lists all the things i did wrong..... hence she is indeed blaming me because she blames it on a bunch of absurd wrong doings of mine..

----C --- ACCUSES ME of many more cruxial things that i want to address point by point

the actors were hired and paid by the town/city. I was never involved in this process directly. they were introduced to me and we worked without any complaint until the very end of teh performance, when they saw in a shocking and also for me unsettling . disturbing way longer then intented brutal police actions against Chinese workers. the power of these journalistic images in a non -journalistic context was also impressing me very much SO. -- see reasons why it was not viewed before above - see brutal police video above. when you look at all hte images of the rehearsals, nobody looked stressed. above, she the most outspoken actress, Mei, who always enjoyed herself the most.

Also, I do not speak for the acotrs, how they felt, bc their are actually 7 of them, but i am sure. the african person who came on a boat via liblya and who cannot be named for obvious reasons, might have another impression and actualy have experienced itlaian police actions.

also - EVERYBODY will at least admit that it was planned . .but i couldn t do it to all the OBSRUCTIONS I HAD TO GO THROUGHT ORDERED BY THE MSUEUM DIRECTOR ... .... that i d interview before the performance what each individual actor was thinking. I wa s not having here some annoying case making for this violent outcome in mind. but wanted to ask each member, how they felt persoally in regard to the other groiup. ( simply speaking, italians - chinese- africans)
I also wanted to ask whther the work . .which was embedded in many discussions and explanations about the issues at stage ... AND THE FINAL POSITIV ENCOUNTERS WE HAD while making the runway show where Chinese workers and the boss participated somehow .... i wanted to ask whehter that had an impact on their thinking of the otehr group. I walso wanted to ask them how they experience my permanent harrassment BY THE INVITING PARTIES against me.

AND UNLIKE SIGNORA DIRECTOR, WHO all the time speaks for others, -- that is very common to experience --- I wanted the actors as much say hwat they felt working with me. as I wanted to have during the chinese part of the work ( the worker part ) at least chinese voices projected during the performance.

I did send a letter immediatly after for their comments, and their reactions and complaints and how it was fo R THEm.

NO anwer. ((9 THERE IS NOW A LOT OF SILENCING GOING ON . .hence i have to carefully work with everything i have and not whith my opinion and my experience..

IF I HAD REALLY EXPLOITED THEM ... they wouldnt have even practiced and rehearsed with me, they wouldn thave worked wiht me for 4 days , tuesday til friday .

saying this, I also found it interesting. that one of my performers yelled into the confusing tumultuous scene THAT I HAD OT RIGHT TO SHOW THESE IMAGSE OF RAZZIAS, , UNANNOUNCED POLICE RAIDS AND POLICE ACTIONS directed at the chinese communithy BECASUE THEY DID IT ALREYD.. HENCE she, it was a she, claims her copy right or awnership and i as an artist, am not allowed to use it.

before anybody again wants to speak for me: I am very ahppy with their work until they boycotted and interrupted it. until they turned against me and falsly started claiming that they were not informed about what was to come. when we practiced days with projected news content. including the above seen Bprutal police scenE. I WANNA THANK THE TEAM . but regret.. it ended so badly. Marxo, with who i worked for months, was fully understanding and showing sympathy for me and empathy for the CENSORING AND ARTIST HARRASSMENT I had to endure.. because tehy were present.

cccccc 2 - excluded by any discussion about it and forced to be part of something they didn’t shared or approved.

again, PEREELA WHO WAS NOT BOTHERING TO GET INVOLVD IN THE PROJECT, NEVER ANSWERED TO MANY OF MAY MAILS... as u can see IN WHEN HER harrassing, censoring and unfinromed but accusing EMAILS STRATED TO enter my inbox.. / she started her job many months before, was even in NYC aFOR A BOUT A WEEK nd i invted her to come my place to talk ... she had no time. but visited for example gaven brown gallery, only a few blocks away from me. .. yes, she wanted it , yes, she talked to me, yes, we saw briefly at a GBE party and she wanted to come. but it just wasn t apriority.=HENCE IT DIDN HAPPEN.

anywaya.. my many group emails.. and there are really many . .my "kilometer long emails" (STeafon, chief curotor) is correct

my obsession wiht details and with explaining ((( see alone here ))) i s known .

Hnece , explanations by me abut what was happneing are recorded, were filling the space from morngint to evening. I WAS NOSTOP EXPLAINING AND JUSTFIYING ... PLUS, officials came ranning in and i had to start anew. over and over again.

PEOPLE WERE PHOTOGRAPHED and filmed wihile all the stuff they then turned again , ( google results etc.) was projected

The head of hte performer team , kinkaleri , Marco Mazzoni, who was my contact point ...

Biografia Kinkaleri

www.kinkaleri.it

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Il gruppo è attualmente formato da: Matteo Bambi, Massimo Conti, Marco Mazzoni, Gina Monaco. Oltre a spettacoli realizza diversi progetti installativi e ...

he himself operated the google searcheS AND WAS ENDLESSLY EXPOSED TO MY EXPLANATIoNS.

But they never questioned that i had teh fully responsibility for the direction of the piece - that i was in charge and here Perrella should have may be done some homework to undrstand that the dance group .../ a fantastic team i d recommned to otheres / was paid and commmissioned TO WORK UNDER MY ARItSTIC DIRECTION. and not the other way aroudn..

SO AS YOIU CAN SEE.. this MUSEUM DIRCTOR OUTS HERSELF ON EVERY BASIC LEVEL AS COMPLETELY INCOMPETENT - not following a producting but jumping uninformed and cleuless ( so she todl me a week before , the day before and she appologized . which is all fine.. ) BUT WHY WOULD SHE THEN GET INVOLVED. AND WRITE ABSURD ACCUSASTONS.

and humiliate me publicly as well. ? OTEHR DISQUALIFYING ASPECTS : OVERSTEPPING HER ROLE and turning into a censor, and obstructor of an art work, threatennng me wiht legal actions... . see these mails elsehwer.. AND MORE. speaking (* basically lying in the name of others.. .BECAUSE SHE WILL INSPITE OF THE GROUPS disappointment not find anybody.. (( i woudl be very surprised even witht eh hsuband of the BOARDMEMBER.. .IF SHE WOULD SAY, THAT I NEVER EXPALINED HER WHAT WE WERE DOING. .BC DUE TO THE HARASSMENT BY HER.. in the end, i could only explain it to Gina.and she woudl direct my my explanations and instrutoins..

they also saw me fighting for my computer accdess for my eidotrs, and SIMPLY FOR THE RHT THE PRODUCE A WOKERS VIDEO.

hence.. IF SOMEBODY CNA BE FOUND SAYING THAT I NEVER EXPALINED SOMEBODY .. IM GOINNA SEND THAT PERSON the vidoegrpahed material and the reocridngs i have..

ANYBODY who doubts this please, conact me and i provide RECORDINGS OF HOW I EXPALIN AND XPALIN... bc i got some material. ( THOUGHT I HOPE THE STILL IMAGES HERE SPEAK FO RTHEMSELVES )

when i wrote, that the main AGGRESSOR EDOARDO DONATINI was ON THE BOARD OF DIRECTORS, HER ANSWER WANTS to c cover up this fact by stating.. ...((WITHOIUT ACTULALLY COMMING A IE ) THAT SHE IS THE HUSBAND,of one of my performers,

hence THIS GROUP DISCLOSURE of usually a very private and non nesessary information abut hte merital adn relatinsip status of a person had only one goal: to indireclthy, wihtout engaging in a lie, suggest that he was not a boardmember of the Pecci. as u can see , as of today, he still is on the web stie of the pecci.

LET ME NOTE HEE: ANY DECENT PUBLIC CULTURAL INSITTUTION WOULD REMOVE A MEMBER OF THE BOARD WIHT HTIS UNLAWFUL, CRAZY, AGGRESSIVE BEHAVIOR FROM THEIR BOARD. IT WOUDL BE UNIMAGINABLE THAT A BORADMEMBER OF THE MOMA OR HTE NEW MSEUM PHYSICALLY ATTACKS AN INVTIED ARTIST. Because he or she doestnt agree with an artwork...

SO WHY IS THIS PERSON STILL ON THE BOARD AND NOT JUST REDUCED TO "MARITO" husband of Gina.?

TAT ALONE WILL BE PRESENTED TO EVERY ITALIA MEDIA OUTLET I DEAM DECENT. .BC WE ARE DEALING WITH PUBLIC MONEY

.. and i am not aware how much money they really get from the town a year, but i know for fact that my project was paid in total by the town, and please, contact if you need proof

FAMILY AFFARIS .since SIGNERE ECOARDO DONATI to have a daughter with Gina, one of my performers, as indicated and as i assume, thta htey both are the parents.. (i might be wrong on this) IALL ALONG AND ONLY SHORTLY BEFORE HE CAME ON STAGE to really raise the heat and the aggreesion and encouraged the TOWN LADY TO ACTUALLY ELLLB OW ME.. HWILE h yealled in the back.... I SAW HIM HOLDING a young girl i d say is between 8 and 10 but i might be wrong concerning her age.

I NOTICED HER and felt immediatly THE TERROR AND CONFUSION SHE HAD IN HER FACE ABOUT SEEING HER FATHER AGRESSING A PERFORMER, AN ARTIST AND THEN TRYING TO SMASH HIS FACE..

in NYC such a behavor would constitute a family sevice case because they do not want to explose young kids to active parent vioelnce .

purly private note ... BUT I FEEL here invited to say soething priavat since perrella disclosed private informatin about my aggresssor.

also ... IF SOMEBHDO CAN GET SO WORKED UP.. (( zes, i mn not only austrian with freud, but also New Yorker for 28 years love pshychoanalysis - whch is big biz in the town he wanted to send me so despeately back )))

i fear for the kids adns the wifes well buying and want to just point out.. IN NYC, ANY FORM OF DOMESTIC VIOLENCE IS TAKEN SERIOUSY. THEREY IS ZERO TOLERANCE... .

SO GINA, ( in case you read this because you never answered me since this conflict turned violent and driven upi and encourage by the out of control behavior of yoru husbnad... . .shoudl yo ueve read this PPLEASE, DO NEVER EVER ACCEPT ANY OF THIS BEHAVOR HE SHOWED WITH ME IN PUBLIC.. withoiut having had any contac before..

the chinese voices wiht a bit of police vioence, HAVE DRIVEN THIS MAN SO MAD THAT HE INTERPTED VERBALLY ,THAT HE INSTULTED ME PUBLICY AND NEEDED TO BE HOLD BACK BY VARIOUS PEOPLE TO NOT SMASH MY FACE as he INTENDED WITH BODY LANGAUGE... .. at least, i was able to run back, to run away from him and had other people restain him.. but i Fear for you r duagher and for you . .tTHAT THESE INCREDILBLY , UNBELIEVEABLE SCENES REPLICATE at home.

IF SO, .. .and i so much hoipe my feeling, my exprience with people liek that , and my literature about people liek that is wroing in your case. I HOPE IT FOR YOU AND YOUR NICE DAUGHTER. HWO LOOKED TERRIFIED. terrrified.

please, everybody reading this.. SEE HWAT THIS DEFACTO VIDEO.. PRJECTED TO MINTUER 5 OR SO.. contains SO MADENING THAT IT PROVKED THSEE REACTIONS ..

i m only speaking for me... i love it . .I LOVE IT .. I PRODUCED IT UNDER DUREESS. I LOVE IT.. and iam happy to see here for the first time.. chinese working class voices speak that are not SINGING at the opera and tell me how they detest people who buy fake gucci, and how AP and Reuters news are lies , buggie,

THESE CHIENSE PEOPLE ON THE TAPE... are really all making very reasonable arguemnts. not angry, . .only the italain accsuing voice at the very beginnign.. was angery.... ...

MISTER DONATINI EDUAROD, MEMBERS OF DIRECTOR OF THE PECCI, HUSTBAND TO GERAT PERFOMER GINA AND MOST LIKELY DADY TO A GREAT daughtter. --

DID WE HERE ANSEwR YOUR QUSETION .. ? you do not knowyou yelled at me, and was picked uip by person i do ot know. but posted it on a n italian blog a scandalizyed by yoru behaior> who yoiu are taling to

E soprattutto chi è il vecchiettino arrabbiatissimo che strilla contro l'artista? Nel filmato non si vede ma è andato avanti a strillargli come un pazzo fino a mezzanotte e a un certo punto gli ha detto la frase "lei-non-sa-chi-sono-io" e quindi a questo punto sono curioso

" And in particular, the VECCIETTTINO ARRABIATISSIMO CHE STRILLA CONTRO L ARTISTA

.... the short l old super agnry guy, who jelled a tthe artist ?? . You can t see it on the video (Polemica video yotuube. see belwo) that this guy went on until midnight and at a particiular point , he told him the phrase : YOU DO NOT KNOW WHO I AM ....

this is the second person who physically assaulted me publicly right immedialty after the public performance of my piece, interrupted thorught the terror made by the musuem board member profiled above a little bit

ROSANNA TOCCO ... was , HIDDING HER ELLBOWS FORCEFULLY in my body - WHILE yealling the worst things ITALIAN LANGUAGE HAS TO OFFEr, WEARING A TSHIRT BY YOKO ONO WITH HTE WORD DREAM..

Unità di Staff Comunicazione e partecipazione - Comune di Prato

www.comune.prato.it › Struttura organizzativa

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Mar 5, 2018 - Unità di Staff Comunicazione e partecipazione. Dirigente: Rosanna Tocco email r.tocco@comune.prato.it telefono 05741835034. Curriculum ...

as displayed here, she is still on the COMMUNE PRATO , the town of prato web site --- IN THE USA, HIGH PUBLIC OFFICIALS THAT BEAT AND AGGRESS EVEN PHYSICALLHY THE VERY ARTIST THEY INVITE IS NOT what you usually get. I can hardly imagine the NYCity cultuarl commissionair hidding and insutling in the most vulgar manner ( testa di cazzo and testo di merca .. translates as DICKHEAD and PIECE OF SHIT ) .. if they don t like a public commmission .

well. . SHE WAS WEARING THE TSHIRT OF YOKO ONO the first guerst invited, displaying DREAM whiele rendering the experience of the second invited artist into a NIGHTMARE.

BEFORE goiing into details, I want to point out , that once her superior, L assensore di cultura, Simone Mangani., made claer THAT I HAVE A WRITE TO basically do what i wanted to do as an artist ( see above ) ---- SHE LEFT THE SCENE and was not anymore heard and seen until she reapaerd.. driven to escalation most likely /-- as a bloger suggestsn. / but MISTER BORAD MEMBER WHO REALLY TRIED TO DRIVE HATRED AND OPPIIION AGAINST ME.

so ---- I WAS SUPERISED WHEN SHE SUDDENLY STOOD in front of me, DOWNLOADNING ALL THAT STORED ANGER AND FRSUTATION she mihgt have accumulated against me .. ( otherwise i cannot expalin why she was so angry.... )

THERE IS NOT REALLY MUCH TO SAY.. ellbowing an artist accrsoss half the plazza, and yelling ,how i have "ruined it all " how i am a p iece of shit, how i am a ( forgive me but most likely a better tranlation for testa di cazzo is - ) a fucking dick (headless in english ....

more would be needed to interpret her emailed suggestion ( i can provide details ) what she means exactly when she suggested :

LET ME GO TO THE FOR ME INTEREsTING ASPECS.. .: - MY COMMMENTS IN CAPS AND BOLD / ORIGINAL SEE ABOVE. SO I JUST CUT OFF ...

when you came to Prato last fall I explained to you that the focus point of this project is : the correct weapon to fight fears and racism is to build social networks that join social actors, museums, public administration , cultural actors, business owners Chinese and Italian, simple people.
From the beginning, we ( I, you, Sergio, stefano and the others) had shared the meaning of “Please teach me Italian, please teach me Chinese” , that it is a positive message.

In these months many people had worked for the project and the performance .
It has been very hard to work with Chinese people to convince them for opening their farm for the video .

I WANTED THE ITALIAN ORGANIZERS TO INTERACT WITH THE CHINESE BUSINESS COMUNITY - MAIN PART IN ALL THIS..

Your video Marx in Parto/ Gucci In Prato pointing a light about violence, guns, contradditions but don’t give a positive message . it is a bomb.
some words can offence Chinese people , others give troubles to Marini and to the other Chinese people.

IT IS THE RIGHT OF THE ARTIST TO SHOW WHAT THEY DEAM A WAY TO ADDRESS INTERCULTURAL STRESS. IT IS NOT UP TO HER TO FORBID IT

BUT YES, THERE WERE TWO VIOLENT BOMBS DROPPED ON ME AFTER THE PERFORMANCE.. HER AND DONAITS VIOLENT ACTING UIP

NOTE HERE AGAIN THE VERY TYPICAL WAY, HOW PEOPLE DO SPEAK FOR OTHERS IMMEDIATLY AFTER THIS MAIL, . I TALKED TO MARIN CONTACT I AND HE LOVED THE VIDDO SHE REFERS TO. I DO NOT HAVE DIRECT WORKER CHINSE BACK GORUND. AND CANNOT SAY WHAT THEIR REACTION WAS.. BUT THE PEOPLE ON THE PLACE WHO I ASSUMED WORKED IN CHIENSE FACTORY..WERE STANDING QUITE ALONG TIME AROUND, KEPT VERY MUCH TO THEMSELVVS, DISUSSED MY CASE, AND GAVE ME UNDERSTANDING LOOKS.. AFTER ALL I SHOWED WHAT THEY EXPERIENCE. BUT AGAIN. I DO NOT WANNA SPEAK FOR ANYBODY.. BUT AFTER THE PERFORMACE I INVITED IN PRATO WORKING CHINSE TO HEAR THEIR OPINION.. BUT I AS AGAIN INTERRUPTED NO REAL DIEALGO WAS ENCOURAGED SINCE IT BECAOME A NEAR REPODUCTION OF WHAT WE JUST SAW ON THE SCREEN.. TUMULTURS VIOLENT AGREEEIVE SCENES AND PEOPOE,ME HAD OT RUN TO SAFTY.

I know that you have a good intention but the risk is that your work’ll have an opposite result .

IT FOR SURE TURNED OUT FOR ME A DESASTER.. .BUT WE DO HAVE A DISCUSION EVEN ABOUT THE TOPIC.. RACIAL TENSiION ..

all the work that we have made in these months to create a network can become trash. If the people that had worked to the project will be angry and stop to work to the common project , we ‘ll fail

But I think that our and yours goals are the same , in this moment there are two different ways : we want to join people , you want shock people and force them to reflect about contradictions.

but we and you had shared a project and we can do this again. help us to give the right message to people without risking to destroy our work .

We know people who live here , trust us .

THIS SPEAKS FOR ITSELF -- BUT I m LIKE THE FACT THAT SHE ABLE TO EXACTLY DEFINE MY METHOD OF WORKING. : I LOVE THAT EXPRESSION.. to reflect about contradictions.

YES. I DO REFLECT ABOUT CONTRADITON. AND HtIS VERY ABNOXIOUS ACRIBIC DETAILING HERE AND ANNOYING EXPLAINING IS TO SHOW CONTRADITONS ..

- ASKED TO BE REALLY POSITIVE, I MADE THIS VIDEO. BASED ON THE 1972 COKE AD.. MADE IN ITALY TO SPREAD PERFECT HARMONY AND LOVE
Please, teach me Chinese, Please, teach me Italian, Harmony & Love, 2018, 4.26 min
youtube video
https://www.youtube.com/watch?v=3PNI2mQV-7U&feature=youtu.be
more images

and just her last obsesion about my subtiles that waree ok d by steafno as long as i dont bring them to prato.. :

HERe .. ALSO NEEDS ONLY A RRANSLATEION.. i m told not to use a subtitle.. .. ( ISNT AN ARTIST ALLOWED TO SUBTILE HIS WORKS.. . ?)

SHE WANTED TO ALL TOGETEHR GET RID OF ME, NOT ONLY MY SUBTITLE MARX A PRATO, GUCCI APRATO..

SHE ALSO GOT RID OF MY VERY NAME ON THE OFFICAL INVITATION CARD. ... JUST THE TITLED REMAINED.

note: til today, july 10, THERE ARE NO DOUCMENTS TO BE FOUND ON ANY PRATO TOWN OR MSUEUM PLATTFORM

SO 3 WEEKS AFGER.. ALL VIDEO GRAPHED MATERIAL IS WITHHOLD AND NOT PUBLSIHED..

THIS IN ITSELF IS INTERSING.. ADN REALLY MOTIVATES ME TO WRITE THESE HIDDIOUS PAGES DOCUEMNTING

- I think I should ask how long this NIGHTMARE LASTS.. i could ask YOKO ONO too..

do see what happened a PratoAS SYMPTOMATIC FOR A NEO-FASHIST PERIOD we are entering anf for ;which TRUMP (A REACTIONALY SUPREME COURT SET FOR DECADES !!!) , BREXIT, LEGA NORD - ITALY , AFD, POLAND"S ELIMINATION OF BASIC RIGHTS, CZEC REPUBLIC, HUNGARY, AUSTRIA, ETC ETC. STAND

THIS VIDEO WAS POSTED ON LINE BY A PERSON who rather disliked me
BUT HAD THE COURAGE TO PUT THE POLEMICS ABOUT ME ON LINE
A DEABATE ON ME ENSUED .. I JOINED THE DEBATE AND ASNWER TO
MOST ISSUES IN ENGLISH ALSO PARTIALLY TRANSLATING CRUcIAL
Aspects

*already three weeks after the event. no video material thought promised and guaranteed. has
been forwarded to me by TOWN OR museum.

THIS PART IS IN PARTICULAR INTER1ESING ... as I WAS attacked by all sides for differnt things

* the perfrormerS refused to play to end of the worker part.. subject to obstruction and threats because of
my inclusion of news content

taken by a private discussed polemics THING S GOT REALLY AGGRESSIVE AGAINST ME AND PHYSICAL.

BEATING --- i was PHYSICALLY ASSAULTED BY THE SECOND IN CHARGE oF THE COMMUNE PRATO . rosanna Tocco

the city offical incited heat against me and then he could climb donw on me.. beat me ... THAT IS WHAT HE LITERALLY SAID

Sicuramente hanno incitato il pubblico contro di lui. Sicuramente alla fine sembrava che alcuni esponenti delle élite lo potessero picchiare, cosa che è ridicola e spaventosa al tempo stesso secondo me. ( please, correct my translation to english of this sentence which i read like following for sure, at the end, it *( this manipulation) it looked like some figures of the elite could beat him (therefore) up ---- *PICCHIARE - to beat ---- , therefore it is ridiculous and scary *SPAVENTOSO at the same time as much as i can see.

THANK YOU .. also note.. to this day, i have not found anybody yet. who would either report to me in writing or send me a video that speak of the physical assault by Rosanna Tocco * second in charge of culture o prato, who elbowed me in the body and eduardo donatini, consigliere administrativo fundazione pecci -- who had to be hold back physically for not smashing my face. - i also had to run away because he aggressed me really dangerously angry and out of control in front of his very young daughter . ((( i feel really sorry for her )))

------- below material that is less strucutred ... ... but turns about hte same issue

Unfortunately the inviting parties did not want me to finish this part of the fashion show because of the reality content shown by the results of the Goggle screenshots involved.

GOGOLE SEARCH RESULTS BECAME QUICKLY PART OF MY COMMUNICATED AND web site PUBLISHED CONCEPT.

I was accused of being "SUPERFICIAL" for using Google results but for me they introduced net-objectivity and helped me to CLICK to the real problems of Prato. Those were never communicated to me by anybody on my various visits. I found articles about riots (nobody told me of) - PLEASE Google AND FIND The Guardian, The New York Times, AP, Reuters, The New Yorker etc.

THE USE OF GOOGLE RESULTS WAS MADE CLEAR AT LEAST 5 MONTHS EARLIER.. THIS CONCEPTUAL CRUXIAL PART WAS NEVER OPPOSED IN WRITING but OPPOSED PRACTICALLY:
1
A Chinese factory for a runway show could not be found for about 5 months, except a week before my arrival.
2
The promised Chinese worker outfits where given to me from yet "another factory" but came without any clearly asked for biographical info and photos: They told me: "They didn't want to cooperate" . Mysteriously, nearly all outfits handed to me as worn by Chinese factory workers came attached with price tags and were never used.
3
When I was finally able to speak to a Chinese factory owner in Prato directly and somehow able to explain the concept - asking him, whether I could ask his workers to sell me their shirts and pants -to be picked up the following day / he immediately said: "20 Euros for each item." He offered his own T-shirt as a present (According to him: by Versace, price 400 Euros)
NOTE: the factory owner changed his tshirt during our fashion show on top of his long working table with installed machinery (assuming that he wanted to hand it to me.) At this very positive point ---impossible to be reached for 5 months, but established by me in a few minutes - the project for the workers outfits could have gone forward by plan.

BUT the Italian coordinator, Sergio, working for Prato' cultural councel on this project and for the museum, answered to him in a for all chocking manner; “We have no money but may be you can gift it to us.” Thus, his talk switched to "regalo,"; gifting. This made the generous and cooperative factory owner withdraw his offer immediately with a wondering, consternated face of stress and embarrassment. The window - he just offered to make his own workers sell us their private outfits for really little money- was shut energetically and I had no way to reopen it.

ABOVE: see price ticket as a proof that factory new item was purchased newly. On the right see GOOGLE
SCREENSHOT as a paper printout which was not prepared as agreed on.
BELOW: the labels with the GOOGLE INFORMATION were not prepared and made as conceptualized..
Only after the Ok from the Prato's cultural emmissary did they start prode the. Typically even those
were not printed as projected because they only printed the images WITHOUT ANY news content.

5
I was told that it was technically NOT possible to have the Google screenshots printed.
6
The police action as a Google screen result was not attached even as paper label. as seen on photo above, they finally printed them wrong cutting off the news content
7
During the rehearsal, people from the city and the museum crowded our work space engaging me and reengaging me in permanent discussions on what I was allowed and what not, effectivly keeping me from working, and preparing the video for the workers.
8
my very motivated and engaged video edtior was various times explicitely kept from working with me and removed. so was also the computer for making the preparatory video .
9
ONLY WHEN I MADE it CRISTAL CLEAR AND REFUSED TO EVEN GO to the PERFORMANCE ON THE DAY OF THE PERFORMANCE, AND ABOUT 30 MINTUES BEFORE I WAS SCHEDULED, they returned a new editor
with a computer and let me do what I wanted to do: HENCE a performance guiding video for the Chinese part of my show that included interviews of Chinese workers, news content and google results. Due to extreme time constraints, we edited very roughly,and unknowingly that sound parts were missing, video interviews repeating and unnerving police actions reiterating and long. We had no chance to view the 9 minute clip upfront before screening during the performnace to which we arrivd 90 minutes late.

HERE IS the result.. https://www.youtube.com/edit?o=U&video_id=gU4mVy_nh80 i love it.

THIS IS NOW MYe OFFICIAL VERSION for that CHINESE WORKER part of my show. The roughness, the repetititon, the missing parts and the absence of titels amnd any editorial finess is representative for the stress and the DISCONTENT THIS WORK has created. Given the tumultuouos scenes that followed immediatly after the INTERRUPTED AND BROKEN OFF SCREENING AND PERFORMING, it reflected the very racial stress this Chinese Italian community is subjected to on a daily level .

10
the performance was interrupted once the police action dominated for more then 5 seconds about 5 minutes into the performance. Like in all other sections for the managerial parts ( they were applauded by the general public but had needed lots of discussions and disclosure signatures to be screened) , the worker part video was also meant to pace and structure the performars acts, as has we had practiced it a day with still images taken from google and my web site

11
The journalistic work provided and made available on youtube by AP, Reuteres and other legitimate sources led to these protests and noticeably agnry a few people: This let to tumultous scenes and made protesting people come on stage. I and everything i showed was decried as LIES - bugie.

12
more tumultuous scene and even physcal assaults on me by people who live or directly are paid by puplic money followed.

BELOW SEE THE OPENING STILL IMAGE OF THE preparatory video- TAKEN FROM an artnet anoucement of this event that caused the lead curator to yelll at me - as if I had commissioned and headlined it it was the use of "racial tensions" THAT PROVOKED THE LEAD CURATOR TO SNAP ON ME. This embarrasing episode opened my eyes and encouraged me to work without any regard to the raciallly biased sentiment of the town, that i was made to share, SINCE THE MONSTER was out ed by name.

please note:
THIS HEADLINE BY ARTNET STRIPPED AWAY MY COMPLICITY IN SIDING WITH THE
BETTER OFF PARTS of Prato AND THeir PERKS: GREAT DINNERS, - MICHELIN STARS -
GREAT LUNCHES ( with lawyer who clearly sided with me that i had a right to show as an artsit what
i wanted to show ) MONEY ( quite a bit which is now basically all in limbo. an easy RETURN OF MY WORK . and a ONE
PERSON SHOW under discussion

VICTIM BLAMING / VICTIM THREATENING - about the SUPERORITY OF CRISTIANA PERRELLA
( obvoiuslz above just googling. /// thought i that any google entry wiht her name comes accross my pages... on her.. -- thank you even one more time GOOGLE< i love you .. Guccipleasehelme.com I love you gucci.. plase, help )

needs not explanation .. --SHOWN ABOVE AS WELL. but saying.. ....."Again, the rage was provoked not by you addressing political issues but by exploiting ...."

IS BASICALLY... SAYING IT WAS MY FUALT THAT edowardo donatitin and rossana tocco were assaulting me physicallY

(( also would YOU BE SO KIND AND RELEASE THE VDIEO MATEIAL WHICH YOU AHVE BEEN SUPPRESSSING ALREDAY FOR 6 WEESK AS OF TODAY, JAUGST 4TH. )

note last paragraph ---- another venue.. means here the a lawsuit.. I look forward to this.. I WILL RIGHT AWAY PUT IT ON LINE.. --- ALSO WHY does she think she needs to sue me, IF ZI Am "not considering this matter closed"?

With this I consider close the communication on the matter, reserving, if necessary, the right to continue it in another, more appropriate venue, considering the discrepancy of your project compared to the agreements originally taken; the delay with which the work was delivered, which caused a delay in the performance compared to the program and a lack of success; the possible violation of the rights of the artists involved in a project whose authorship is disregarded; the possible infringement of the rights of third parties through unauthorized use of materials.

right to continue it in another, more appropriate venue- means here the a lawsuit.. I look forward to this.. I WILL RIGHT AWAY PUT IT ON LINE.. --

\ WHY does she think she needs to sue me, IF ZI Am "not considering this matter closed"?

2 delay with which the work was delivered, which caused a delay in the performance compared to the program

4 the possible violation of the rights of the artists involved in a project whose authorship is disregarded;

5 the possible infringement of the rights of third parties through unauthorized use of materials.

AD: 1 ---- not true; conept was propeprly communiated and never verbally or visusally opposed unilt i arrived.

AD: 2 --- the delay of the show was caused by the fact that she did not th editor and computer asked for this until the time my show was on. hence i came 90 min late and was not able to previous the edited preparatory vidoe. that "made everbybody made because I showed ununnounced razzias / inspections of chiense factories" accoring to an article and blog / which i share and elaborated above

AD: 3 --- INSPITE of financial loss, loss of a discussed one person show at the Pecci,, Loss of friendships with perrella and other curators, emotional trauma of being beaten and trashed by musuem and town people, loss of getting acccess to my video and mz camera and my artworks , stonewalling , etc... i DO CONSIDER THIS PROJECT A SUCCESS BECAUSE IT BROUGHT TO THE SERFACE THE HATRED OF TRUTH, THE HATRED OF ART, THE REPRESSIVE CHARACTER OF OUR TIMES, THE INOLLEARNCE TOWARS ANYTHING BUT PR, BAD ACTING OF PEOPLE INVOLVED, AND I D SAY THE RACIAL TENSION OF THE TOWN THE CITY COULND T HANDLE. AS U CAN SEE THE IMAGES ARE BEAUFUL

LAST BUT NOT leaset, IF ART HAS ANY FUNCTION LEFT IN OUR SOCIETY, IT S TO SHOW TRUTH AND BEAUTY, TO SHOW BEAUTY AND TRUTH, BEATUFY AND TRAUMA, BEAUTY AND FREE SPEECH, BAUTFY AND THE FREEDOM OF ART AS A CONCEPT only a TOLERANT FEARLESS SOCIETY CAN AFFRORD.. HENCE i see here myself not as a victim BUT AS A FIGHTER FOR HTE RIGHT OF ART IN A FREE DEMOCRATIC SOCIETY THAT SHOULD ALLOWE USELESS STUPID EMBARRASSING IDEAL LIKE ART /// best exprssed in dadaism and all kind of avantguards, inclucing hans haacks INSTITUTIONAL CRITICS *versus todays celebrated instutujtion narcisism /// be allowed..

hence inspite of my personal loss and trAUM. .and perella.. PLEASE, LEARN TO SPEAK FOR YOURSELF AND NOT FOR OTHERS / I DO SPEAK FOR MYSLF. AND I DO DECLARE THIS PROJECT PURE BEAUTY, PURE SUCCESS AND WORTH TO BE DEFENDED /// PECCI MUSEUM, CRISTIANA PERRELLA, EDOWARDO DONATINI, ROSANNA tocco, I WILL GO a long long way to fight for your resignatoin or fireing because, you have treated an artist like trash, censored an arttist, ( or tried to ) you have beaten an artist, or at least blamed fhe artist for beating , and you have therefore DISQUALIFIED YOURSELF to be in leading positons..

i DEFEND THE MSUEUM S INTEGRITY OF THE PECCI, AND THE INTEGRITY OF HTE TOWN WIHT ITS RIGHT TO TRNASPARANCY AND ITS RESPONSIBLITITY TO WARSD THE PULBIC IN RGARD TO THE USE OF PUBLIC MONEY... AND I DEFEND THE RIGHT OF JOURNALISTS AND THE RIGHT to free speech.

AND IT IS MY RIGHT TO DEMAND AND GO A LONG WAY .. THE RESIGNATION OF CRISTIANA PERRELLA AS A DISQUALIFIED DIRECTOR OF AN INSTITUTION THAT STAND OFR FREE SPEECH, FOR THE ARTS, AND THE THE FREEDOM OF HTE ARTS, AND SHOULD DEFEND ARITST AGINST THESE NEO. FASCIST TNENDEIES THAT INCLUDE CENSORSHIP OPPRESSION AND EVEN BEATINGS...

HENCE ALL THREEE SHOULD BE GONE. AND I WILL MAKE THAT MY CURRENT AND NEXT ART WORK ..

DEAR PECCI FOUDNATOIN ALSO PLEASE REMOVE THIS VIOLENT IRRESPONSIBLE INSTUTIONT DISCREDITING BOARD MEMBER EDOWARDO DONATINI. PLEAES, PECCI, DO NOT SIDE WITH HOOLIGANS AND RAMBO RAGE BALLS.

comune prato . also poease, REMOVE ZOUR DIRECOTR OF COMMUNICATOIN or what she is .. see above/// FROM HER FUCNTOIN BECAUSE SHE IS A DISGRACE TO YOUR PUBLICLY ELECTED local governemnt nad cannot BEAT OR HUMILIATE IN PULBIC AN ARSTIS BECAUSE HSE DOESN T LIKE HIS WORK

again. ALL MEMBERS HAVE A RIGHT TO HATE MY WORK.. FINE.. but they have not right to INTEFERE WITH IT, TO CENSOR ME, TO THREATEN ME, TO BEAT ME

ad 4 + 5 : thank you to show even more how unquallified you are for theatening me wiht a lawsuit ( or did you insiuation mean, the mafia. as 'other more appropriate means ?) ... since you nobody can sue somebody for something "possibly done" ... also again, thanks for always s peaking for everybody else, ... in this case. the performers ( the loudest one diddn complain about me having abused them but for me having done something 10 years later they did already ./// by the way, I asked every performer to send me a mail about anzytiing they didn t like.. . .and so far no anwer.s.. also until the performance. nobody complailned to me or to anybooy about anything. and therefore performers jus tlike discussed and like rehearsed and according to well communicated and well published concept. hence it was a SUCCESSFUL EVENt untel THEY COULDN T TAKE ANYMORE THE POLICE INSPECTIONS AND THE POLICE ACTIons that lasted only seconds....

but of course, as one bloggeer said. it was the BOARD MEMBER WHO INCITE RAGE AND ANGER AGAINST ME.. edoward donatiini and daer cristiana pereela you bought itnto that..AND THEN

I NEVER DISSASSOCIATED MYSELF FORM MY WORK. htanks perrella for speaking for me. also .. I DID THOUGHT SURPIRSE ABOUT SEEING THE RESULT

also i m suprised about htea ll the angry and finally violent effects of it ... AND I HAVE TO SAY, cristiana perrella your trashing of me your rediculing me
and your distancing from me has attriubte to the climate your pecci boardmember has then undrestood as a go go to assault me physically right after this interview

Petrella, sorry that you never did do your homework and read my web sites and followed the work until you inflated yourself
as the big controller in cheif, the pig censor in chief , the obstacle to this project and eve know do not realease the vidoes, the work and more
so .. had you actually read my concept had you actualy taken the time in your 1 week visit to new york (( and new yorkers will learn about this ) when i invitedyou every day to show you the concet and to prsent you with hit.. inot speaking of the many emilas also forawards to you concernign the concept.... .

how great... THANK YOU MUSEUM DIRECTOR.. THIS IS WHY I WILL PRESSURE EVERYBODY TO FIRE YOU .

BC YOU DISCQUALIFY YOURSEL HERE FROM YOUR JOB AND ARE DISGRACE TO YOUR MUSUEM, THAT IS A MUSEUM OF CONTEMPORARY ART BASED ON FREED ARTISTIC PRAICE..... find a job elsewhere whre you can booss around employees. .THIS IS A FUNDAMENTAL INSULT TO THE VERY CONCEPT OF FINE ART AS ESTABLISHED SINCE THE FASCIST TIMES...

YES. cristiana perrella, diretor of the pecci museum .. .you expect superior things from artist.. I EXPECT A A DIRECTOR FOR THE CONTEMPORARY ART MSUEUM CENTRO PECCI THAT IS respecing the artst and not supressing the artst... i do not expect anybody to be superior.. i am not in the business of being superior. I m in bhe business of saying what i see, what i expeirence and making art that i wanna make and define myself as art

cristiana perrella, roassana tocco, edowardo donatini.. TO HAVE YOU REMOVED FROM YOUR VIP POSTS IS NOW MY ART WORK .. AND I FIGHT FOR I T.

the loudest performer who does not accuse me of using her ( the opera singer main land chinese does so because she claims i lied about having her let known about projectoins of google material.. in the back. but images above of rehearsals and hte very fact that throught the perfromance she knew how to act and to interact proves her wrong.. - i did indeed as menitoned 10 times above not see the video before editing .. since i was not kept form doing the prep worker video before 9pm and saw it also only projected during performance.. but they saw the google images on line bc they had the stllls of theese matirals a LABELS PRINTED On their own clothing. hence they knew what i was doing .. i explaiend it 10 times a hour,we practicd for days and they saw me fightihn or the edotor, fighting for the computer. and insisting on not going on stage wihtout a PREPARATORY VIDOE THAT INCLUDES THE VOICES OF CHIENSE FACTORY WORKERS..

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