The strategic use of ‘piggy-backing’ within journals or magazines has a rich historical context. This is known as the ‘feuilleton’ and it comes from French newspapers, popularised first by the symbolists and re-activated by so-called conceptual artists in the 1960s and 1970s. Marcel Broodthaers’s sly political and subversive feuilleton commentaries are a case in point.
Seth Siegelaub set a precedent for the exhibition’s existence as document only, in his 1970 magazine Studio International. The initial approach Siegelaub wanted to was to us the magazine as a vehicle to ‘piggy-back ’ via the insertion of a separate pamphlet. Typically, the Feuilleton proclaims political, social messages with a clear ideological position in unexpected places.
The Feuilleton is a project curated by Jo Melvin beginning in the Edicola Spoleto to creates a platform for new radical interpretations of the palimpsest.
The MACRO – Museum for Contemporary Art of Rome spaces provide an extended platform for performance, sound, artists books, posters and other interventions made for the EDICOLA.
MACRO contributors are Art & Language, Federico Antonini, Kate Atkin, Sophie Bouvier Ausländer, Riccardo Baruzzi, Gene Beery, Elisabetta Benassi, Andrew Bick, Johanna Bolton, Gavin Bryars, Stefano Calligaro, Elisa Cappelli, John Carson, Anne-James Chaton, James Cave, Adelaide Cioni, Alessandro Cicoria, Giulia Crispiani, A K Dolven, Allison Grimaldi Donahue, Alec Finlay, Barry Flanagan, Jeff Gibbons, Fabio Giorgi Alberti, John Giorno, Joschi Herczeg, Lucy Heyward, Michele Horrigan, Jeffrey Isaac, John Hussain Flindt, Michael Iveson, Olga Jevrić, Christine Kozlov, Conor Kelly, John Latham, Sol LeWitt, Claudia Losi, Eleonora Luccarini, Juan Pablo Macias, Giuseppe De Mattia, Gabriele Di Matteo, Charlotte Moth, Jeremy Miller, Olu David Ogunnaike, Giorgio Orbi, David Rickard, Tim O’Riley, Mattia Pajè, Janet Passehl, Anne Tallentire, Dragoljub Raša Todosijevic, Claudia de la Torre, David Tremlett, Franco Troiani.