A universe of art, in the space of a folder. With
a fixed directory
in the pages of the Espresso, for many years Germano Celant has summarized, with his lightning-fast glances, the novelties and contradictions, the passages, the tears, the most significant interpreters of contemporary art.
Curator, critic, theorist and aggregator of talents, aware of the importance of communication, he invented slogans, definitions. And even when they were close to him, as he has repeatedly said about that of “Arte Povera”, he maintained and reiterated the awareness of how labels are the best way to bring attention to complexity. Starting from that of Alighiero Boetti, Jannis Kounellis, Giulio Paolini, Pino Pascali, Luciano Fabri, Emilio Prini, in fact: entered into communication and imagery thanks to that effective and fortunate expression of “poor art”, even before being studied as an artistic movement, gathered in museums, cataloged (“Arte povera. Storia-Storie”, Electa) and scanned all over the world.
For this reason his texts were easy to hold: images made of words, which imposed themselves, exactly like the photos he promptly suggested to effectively illustrate the topics. Caustic and sharp, he did not disdain the intellectual challenges and the defense of his positions, as when he took to the field, even in our newspaper, against other visions on an exhibition, an artist, a trend.
Really along the list of exhibitions curated by him, in all the most prestigious spaces in the world: from the Center Pompidou in Paris to Palazzo Grassi in Venice, from London to the Guggenheim Museum in New York, where he was senior curator: it was there that in 1994 set up the famous exhibition “Italian Metamorphosis 1943-1968”, with the aim of bringing Italian art into dialogue with American culture.
In 1997 he was director of the Venice Art Biennale. He directed the Prada Foundation in Milan; among the most recently curated exhibitions the one dedicated to the career of the photographer Paolo Pellegrin at Maxxi in Rome.
Celant pointed out to our readers, before many others, the most surprising names of art destined to last. As in these sections that we propose, among the many that anyone can read online: u
na dedicated to Marina Abramovic
on a performance, “The Artist is present”, which has gone viral on social networks in recent times, which he reviewed in 2010;
a strong criticism of the avalanche of money
which, overwhelming the art world, transforms it into an ordinary market, released in 2006; is ”
Those platitudes in solidarity with the Biennale
“, 2017: countercurrent judgment on some proposals of the review.