A Quote by Alessandro Michele

Westminster is a piece of this city's energy, something the contemporary world has forgotten. — © Alessandro Michele
Westminster is a piece of this city's energy, something the contemporary world has forgotten.
I go to contemporary galleries all around the world when I can. There's always something historical and something contemporary; those are my rock references.
As you withdraw energy from the city, you are also giving energy back. People are noticing you. You're doing something, you're there, the species around you absorb your presence into it, and you become part of this animate entity called the city.
One time, I threw a candy wrapper on the street. I was with a friend who said to me, You just littered on the street! Don't you care about the environment? And I thought about it, and I said, You know what? This isn't the environment. This is New York City. New York City is not the environment. New York City is a giant piece of litter. Next to Mexico City, it's the shittiest piece of litter in the world. Just a pussy, runny, smokin', stinkin' piece of litter.
The world of contemporary art has, in a way, exponentially expanded in the last couple of decades, and almost every major city in Europe and Asia and North America has fallen over themselves to have their own contemporary art museum.
Delhi is a very maligned city, and deservedly so. Yet there's something about it. It's a secret city, it doesn't hang out its wares. It's like a very deep river. Floating right up on top are the institutions of contemporary power: government, politics, media, and then there's the bureaucracy, the diplomatic missions. But it's also the city of intellectual debate, of protest, it's the city where people from all over the country converge to express their anger. And then, underneath all that, there's this crumbling, ancient city, a confluence of so much history.
What has been forgotten is never something purely individual. Everything forgotten mingles with what has been forgotten of the prehistoric world, forms countless, uncertain, changing compounds, yielding a constant flow of new, strange products.
All great music is contemporary. If it's still alive and kicking, then it's contemporary. If it fades away, it was a period piece. It had its moment, and that was it.
What is extraordinary about contemporary art is the energy - it has our energy. New energy. Pieces hundreds of years old are beautiful from an aesthetic point of view, but without our modern energy.
Each piece that I put in the street is unique. I never make the same piece twice. For Hong Kong, like for every city where I have worked, I try to adapt my work to the culture and the 'colors' of the city.
As a general habit and general tendency, I prefer not to bog a piece down with a great number of transitory, contemporary references, because in the end, I'm concerned, not in an abstract way, but an actual way, with creating a world which has a universality to it - even though what goes on is made up of texture and detail, contemporary detail.
Brooklyn just got that energy to me that's so hip-hop and so New York City. You know, New York City is the grittiest city in the world.
We've chosen to stay part of the Westminster system, but we don't want to be a forgotten, sidelined part of it.
What I've started to realize is that social media is not just technology - it's become its own entity, full of energy waves. These energy waves could be a Tweet about something you are furious about, like the Keystone Pipeline, or a piece of legislation. Instantly, energy surrounds and adds traction, influence, making it come alive
Chicago's downtown seems to me to constitute, all in all, the best-looking twentieth-century city, the city where contemporary technique has best been matched by artistry, intelligence, and comparatively moderated greed. No doubt about it, if style were the one gauge, Chicago would be among the greatest of all the cities of the world.
Moscow has an energy. Which is important. The city and the people all have an energy. It's quite different from what everybody knows in Los Angeles, but it has an energy. People have an energy.
'City Of Black And White' was me trying to do something more mature, more adult contemporary.
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