Occupied! Spin Time Labs, Scomodo, ACTION, and a Big Building in the City Center

The building's entrance on via di Santa Croce in Gerusalemme.  Note information boards on both sides.  The banner
reads: "The right to housing is sacrosanct." 

It's an undistinguished building, to say the least. Despite its enormous footprint--occupying the end of a city block on the Esquilino, bounded by via Carlo Emmanuele, via Statilia, and via di Santa Croce in Gerusalemme (the latter a major thoroughfare running southeast off Piazza Vittorio Emanuele)--it is forgettable, pedestrian architecture of the sort that was all too common in the 1960s and 1970s.

"Read Scomodo" (a basement pillar)

In this case, what matters is what's inside, and fortunately, the building's contents were at least partially suggested by information boards on the via Santa Croce side.  One board revealed that there were all kinds of things going on inside: the ground floor housed a social service center, an afternoon school, and a "mini-basket" facility, where children could learn to play basketball; next floor up, an enoteca (wine shop), a wood-working facility, and something called the "spin beer lab." There's a theater on the 2nd floor and, on the 3rd, a religious center and a place to take lessons in the martial arts. From a personal friend, we also knew that the building housed the offices of "Scomodo" (meaning, roughly, "uncomfortable"), an excellent left-leaning, muck-raking magazine produced and distributed by young Romans, and now mainly online.

Two of the information boards.

Another board provided some background.  The building was once occupied by INPDAP (a government agency responsible for providing assistance to public employees), then for some years abandoned, before being "occupied"--that is, taken over, illegally and informally--in October 2013 by a group known as "ACTION," for housing purposes.  The group began to reclaim some of the floors, went on a hunger strike--for what purpose remains unclear--and obviously (from the right information board), launched a variety of cooperative institutions and services that together constitute an effort to create an alternative community.  There's even an osteria.

Today "ACTION" remains involved. However, as still another board explains, most everything is done under the auspices of the group "Spin Time Labs." The building is now home to 150 families (about 450 people), including immigrants, many of them once homeless or otherwise in need of a place to stay.  And all this has happened in a building the occupants--whether the 150 families or Spin Time Labs--don't own.

Occupied buildings are common in Rome, and oddly (from an American perspective) tolerated--until they're not, which can be a long time. (We wrote in 2011 about the occupation of a theater.) Covering the occupations, the newspaper Il Messaggero noted that a building that once housed the Treasury Ministry was occupied for many years by the right-wing organization, CasaPound. Il Messaggero seemed especially irritated that those occupying the buildings did not pay the appropriate fees.

Our first encounter with the structure was in mid-April, 2019.  By mid-May, the building, and Spin Time Labs, were at the center of a major controversy.  Neighbors of the building were upset--indeed, enraged--that the occupied structure was hosting loud, well-attended late-night (or all-night) parties, featuring a disco, drugs, and heavy drinking. It was impossible to sleep, they said, and in the morning the area was a mess: mounds of trash and hundreds of empty beer bottles.

Late-night, nearly-morning revelers.

One of the most offensive of the parties, "Notte Scomoda," put on in December, 2018 by Scomodo magazine in their basement quarters, was visited by a number of motorcycles (there's a vehicle ramp leading downward, off via Carlo Emanuele), whose riders surely enjoyed revving their engines in that echo-y subterranean space.

The ramp off via Carlo Emanuele

The legendary motorcycle party.  Neighbors not in favor. 

This could be the space used by the motorcycle rally.

Aside from the noise problem, the parties raised once again the issue of whether building occupations were and should be tolerated by the authorities. It was noted that Forte Prenestina had been occupied since 1986, and that another troublesome "entertainment" occupation, at "Strike spa" in Portonaccio (both farther from the city center), had been ongoing since 2002. (See our post here, about Rome's issues with immigration and housing, and here, about Rome "capital of evictions.")

Even the Vatican came in for censure. When Spin Time Labs failed to pay the building's electric bill, the electricity was cut off, then restored through the intercession of one Cardinal Krajewski (who has some sort of official church role in that area of Rome), who apparently did so on the grounds that there were 450 poor people depending on it. In addition, Il Messaggero claimed that Spin Time Labs was exploiting the idea of helping those in need of housing in order to hold enormous social events and makes lots of money: thousands attending every weekend, each paying about $10 to enter, dance, and carouse. 

If we read the information boards correctly, those involved in the occupation have long been interested in the re-use of materials, and with good reason. When INPDAP moved out, they left behind enormous amounts of stuff.  We know this because when we visited the building--by invitation of our Scomodo friend--we were witness to the ongoing cleanup required to clear space for Scomodo's offices and social events.

A basement area that needs to be cleaned up, contents sorted.  Dianne is holding up a sign from one of the parties.  Note that beer is more expensive than wine--the norm in Italy. 

A very old film projector.

Some rooms--including one (above) that resembles the newspaper photo featuring the motorcycles--have been emptied and cleaned.

Graffiti on the basement walls would suggest that housing remains a high priority for those occupying the building.

"Too many people without houses.  Too many houses without people." 

Italy has some 50,000 people without housing,

We've never been on the building's upper floors, never seen the osteria or the enoteca or the areas where families live.  Maybe next year.

Bill

Occupy the Theater: Teatro Valle Occupato in Rome

the banner reads "How sad it is to be prudent - from
the theater workers" - the quote is from Argentinian
playright Rafael Spregelburd, and has become
a motto of the movement

Occupied space is a relatively current protest phenomenon starting on Wall Street this Fall. But for Romans, occupied space has been for decades a way of combining political statement with cultural events. The latest and most potent occupied space in Rome is Teatro Valle Occupato – the “occupied” 300+ year-old theater, Teatro Valle, just down the block from the large church, San Andrea della Valle, in the middle of what was ancient Rome.

Theater people – actors, musicians, technicians and their supporters – began occupying Teatro Valle in June when the government slashed support to cultural institutions and put the historic theater up for sale. Since then, tens if not hundreds of leading figures in the arts have spoken and performed there (e.g. Nanni Morretti – the Palme d’Or winning Italian director, and Stefano Bollani, one of the country’s top jazz pianists, playright Dario Fo, Italy's all-time top-selling novelist Andrea Camilleri). Self-management has resulted in daily programming of high quality, seminars, lectures, even guided tours.

Mamet was first performed in Rome here

We asked our Roman friends how the occupation can continue. Why doesn’t the government simply shut off the water and lights? Aren’t there safety issues? The answer seems to be that some levels of government (and the safety inspectors who apparently do come and inspect) are complicit. And thousands of people have been to the theater for something at sometime.  In other words, it's beloved.  The government is faced with an unpopular showdown if it tries to close “il Valle” (“the Valley”), as it’s often referred to. Hm, sounds a bit familiar just now.

Jazz musicians at il Valle

For anyone in Rome or going to Rome, perhaps even the first time, we recommend a stop at Teatro Valle, which seems to be open 24/7, and definitely a performance if your timing is right.  And look for the book launch of the Italian translation of David Foster Wallace's posthumous (and incomplete) The Pale King soon at il Valle.

For more information, Teatro Valle’s website has some information in English (click on the British flag), including an October article in London’s The Guardian. There’s a lot more information in Italian that you can access using an online translator.

Until recently, to us in the U.S., the notion of an occupied space has been, well, foreign. When we’ve tried to explain to our American friends that many cultural events in Rome take place in occupied spaces, they just don’t understand it. But there they are. Many last a few months, some for decades. In the latter camp are Forte Prenestino and Angelo Mai (both featured in Rome the Second Time). And some evolve – through much work on the part of their supporters – into government-recognized and often supported spaces, such as Casa Internazionale delle Donne, International Women’s House (also in RST). 

Some see Teatro Valle Occupato as distinct from these other occupied spaces.  The ones we mentioned started as social centers, they say.  The Valley started as a distinct protest.  We're not sure that distinction is so clear.  The Casa Internazionale delle Donne had protest beginnings as well.  In any event, are there models here for us in the normally more-law-abiding US, whose cultural budgets seem to be getting similarly gored?

Dianne

Graffiti: A Rome Primer

Although New York and Los Angeles are the most famous graffiti sites in the world, Rome is an active center of this controversial art form. Like Los Angeles, Rome is a city of stucco walls, perfect surfaces for graffiti artists, and they've taken advantage of these canvasses--and other surfaces, too, covering the city with drawings and paintings. Although much of it still strikes us as the work of talentless adolescents with too much time on their hands, we vowed to learn more. We were blown away by Steve Grody's book, Graffiti L.A. (Abrams), which taught us the basic terminology (tags, signatures, crews, fill, simples, throw-ups, shout-outs); convinced us that many graffiti practitioners are serious artists; gave us a sense of the culture and politics of graffiti; and even raised the disturbing possibility that all the junk that Rome's tourists complain about may be a "necessary" preliminary to the production of the good stuff, the "real" art. The blogsite www.reallyrome.com/blog has some nice 2007 examples of Trastevere graffiti. The one at lower right features two tags, one by Lucas, the other, in the center and less obvious, by Croels. Tagging is a controversial aspect of graffiti writing, because it seems so much like scribbling. The upside is that by writing his name 5 times on this wall, Lucas is developing his talent.

Jessica's Rome Photo Blog also has some good graffiti pix - put "graffiti" into the search engine on her blog.

In Rome, we met with the city's queen of graffiti, Maria Teresa Natale. While not herself an artist, Maria Teresa knows more about Rome's graffiti scene than any one else, with the possible exception of Gabriella Tarquini, with whom she manages the website lascia il segno (leave the sign), essentially an online, annotated graffiti library, focusing on Rome, Milan, and Berlin, and housing more than 11,000 images. There's another link to the website on the right of this site. (And, don't bother with "English"; all the good stuff is pictured in the Italian parts of the site.)

Over coffee in Monteverde Vecchio, Maria Teresa told us about the Rome graffiti scene. Rome, she explained, is the only city in the world where both regular trains--she mentioned the ones that run from the Ostiense station to Lido d'Ostia (to the beach) and the metro cars--are "decorated," as she put it. In Milan, she said, graffiti writers were more likely to be designers who functioned like regular artists, presenting their work in gallery exhibitions. Rome hasn't reached that stage, although its better educated artists, some of them engineers or architects, are often working with posters or stickers, while the poorer and less educated are more likely to be doing the spray can thing, making letters or figures ("puppets," in the English translation from the Italian).

Among Rome's notable graffiti artists are sprayers Thoms, Bol, Soeww, and Genuine Crew; the letterer Kemh; and street artists Lex, Hogre, JB Rock, Diamont, and Sten (not to be confused with Stan), whose puppets are legendary. One of Sten's atypical yet iconic puppet figures for the Teatro Vascello, in Monteverde Vecchio, is at left. The works of these artists, and that of others, is likely to be found in train stations (Maria Teresa mentioned Nuovo Salario and Appiano) and Centri Sociali (social centers), notably Forte Prenestino (see Rome the Second Time for a description and directions).

Most graffiti writing in Rome is against the law. The liberal, reform-minded former mayor Walter Veltroni initiated a "conversation" with graffiti artists, likely in an effort both to recognize the artistic merit of the form and to bring it under some control. He offered the artists about a dozen "legal" walls, each about 100 meters long, outside the city center, and other walls--some in train stations--for which artists could sign up to paint and control that particular space for a three month period. In retrospect, those were the good old days. The 3-month wall program has been suspended, and heavy fines are levied on anyone caught painting train cars.

Maria Teresa told us that most of the best graffiti is located far outside the Centro, where artists are less likely to interrupted by the police. Still, we've found several worthy, close-in sites. For political graffiti, we recommend the left-leaning community of Garbatella, easily reachable on Metro B. See the subtle example at left, one of several on the building.

On the other end of the political spectrum is the graffiti sponsored by businesses that would rather have a nice drawing on their saracinesca (metal shutter) than messy tags.

Another good site, described in Itinerary 10 in Rome the Second Time (p. 150), is Forte Braschi, located in Parco del Pineto, where the art work lines the outside perimeter of the military installation.

The third close-in site is an underpass on via Appia Antica, less than 100 meters outside the city wall. The art that opens this post, at top left, is from there.

Bill