1.If you weren’t a curator, what else would you be?
A literature writer , a politician , or a diplomat and in my dreams a rock star .
2. Can you tell us more about your work and what are the main ideas you would like to express?
The most projects that I have curated were in museums , or no profit – spaces and they were group show ; I’m interested to the interesting and important topics : Art and Science , climate change , political statements , relationship with the historical art and Art / Architecture .
For example the main objective of the ISWA European Project was to identify and disseminate best practices within Europe in the context of science teaching that places into meaningful learning contexts linked to the contemporary art with these topics :- Bio tech art- Nanotechnologies- Physics (pure Physics and astrology) , – Climate changes- Geology- Fine Art of cell renewal- the culture of science- medicine- scientific collections , biodiversity and conservation.
The team focused their work on both formal and informal teaching settings, and collated information on effective techniques and experiences for demonstrating the relevance of science and innovation in daily life .
One first approach before curated a project is dedicated to the research , so read up and build the basis for an interesting exhibition .
3. How do you start the process of curating?
A project to commission from a museum , an University , or a Festival ; an international call ; to be a part of a team that wants realise it or all these part united !
Also an idea of the moment. Which moment are we living in the contemporary art? We are a sonar, a period alone.
4. Do you consider the viewer, when curating an exhibition?
Yes , sure . It’ so important for me to be impartial and try to be ‘ a stranger to myself ‘ to have an assessment that is objective .
5. Name 3 artists/curators that have inspired your work.
Harald Szeemann – Lucrezia De Domizio Durini – Joseph Beuys
6. What defines something as a work of art?
What remains in time !
7. Anytime, any place – which artist or curator’s body would you most like to inhabit?
Brilliant question … Yoko Ono or Spencer Tunick !
8. What was the most intelligent thing that someone said or wrote about your work?
A California magazine writes about Cities ( group show ) at TAM , in the South Bay of LA , was a perfect combination of an idea and artists choices of a curator that know the contemporary art scene of best American and European young artists .
Or a beautiful article of ‘ Big Ben ‘ about ‘ After the Crash ‘ exhibition :
‘Art and science …, investigated through communicating vessels, the atmosphere and empty metaphysics of the Botanical Garden of Rome, the site-specific installation by Steven Siegel (“What I find him very good >>) the Dutch artist Wout Berger with a really big photo (” I would have looked endlessly, I wanted see his head inside and sleep in this landscape, “and much more for an exhibition of breath born within the European project ISWA. spoken (see), and there are questions around a run in this cha future direction, including nano – technologies, cell renewal, microclimate … to translate advanced research in visions, international artists such as : Justine Cooper, Trevor Paglen, Damir Ocko and Ravi Agarval …’
9. Which artists/curators would you most like to rip off, sorry, I mean appropriate as a critique of originality and authorship?
For now I have not had these problems but sometime the great themes of analysis are around in many minds and many research and only one or more should realise them !
10. Do you care what your art/exhibition costs? State your reasons!
I’m an accountant , I try to found the best solutions also when the budget is really small …
All must be perfect but I always control the outgoings also using technical sponsors (eg: SIM2 , Orsogna Wine or IGuzzini) .
11. What’s next for you?
In October I will curate a new Maldives Pavilion extended program event at the 55 th Venice Biennale , with a site – specific video installation , of the Australian artists Josephine Starrs and Leon Cmielewski in the Gervasuti Foundation in Venice .
Starrs & Cmielewski will work with satellite images of the Maldives islands to create poetic moving images to be projected from floor to ceiling in the gallery space. The final installation will consist of video projection, large wall prints/maps and a sound scape. The immersive sound scape will be designed to create the feeling of being underwater, alternating between fluid/comforting and suffocating/stressful sensations. The wall prints will explore the possible displacement of people from the Maldives in the likely scenario of sea levels rising to the point where the islands become uninhabitable. There is a resonance between the Maldives and Venice, which has also been threatened by inundation. But the Maldives is not a ‘European cultural treasure’, there is little agreement on saving this nation, so the population of the Maldives will inevitably have to disperse and relocate.
The artists intend to take the layout of Maldivian streets and overlay them onto street maps in the industrialized world to find exact correspondences – a symbolic way to allocate a new address to dislocated people who have lost their homes due to the industrial activity of developed countries. The audience will be faced with the question, ‘Would you make room for these displaced people in your own street or neighbourhood?’
I am also preparing other new projects and one in particular in Roma in the fall.
Edited by Bev Luckings for FADitaly