You are known to be a director bordering between video art and contemporary film; do you think crossover can add value to the quality of research in the visual and cultural field?
Crossover is never an added value. It is the added value. The arts are experiencing a moment when everything has already been said, already been told in terms of substance and real research must concern the form so that substance and contents are re-proposed from a new angle, with a new understanding, renewed vigor and in the final analysis, with aesthetic strength. This formal search is based on crossover. Not only in video art, but also video clips and experiments in photography and on computers can open new doors, provided the harmful hypothesis is discarded of an empty exercise or of a simple overlapping of the arts that results in impoverishing and hindering the search process.
How can film and art become “allies” to support the contemporary Italian cultural stylistic elements?
I find it difficult to find stylistic and cultural elements that are strictly Italian. This is a positive aspect. When forms of communication become so fast, transversal and penetrating, it becomes impossible not to be influenced by something that is , to use an ugly and highly abused term, “global”.
Quite simply, film and art become allies when they become a hendiadys. When they successfully merge an intangible yet concrete concept, that I call “power”. It is this sensation of the artwork’s power, whether film or contemporary art, that is reached when the union of form and content becomes symbiotic and essential. But no one must pretend to ignore the rules of the play of languages. I find this type of mystification that occurs today unbearable. In times when the creation of a complex work is technically possible for everyone, this threshold of rigid control on mystification of the rules must be inflexible.
Do you feel that events such as the Terna Award can play an important role in supporting and promoting artistic culture in Italy?
Undoubtedly. We must not be hypocrites in these circumstances. The term award, the actual vision of the prize, the possibility of becoming number one and no longer undistinguished artists among other undistinguished artists, stimulates creativity and research, and inspires greater seriousness in being devoted to one’s work. Awards spark storms in people’s minds. And these brain storms move emotions beyond their usual limits. Emotions, ultimately, are what keep us alive.
The contribution of large companies like Terna, which are involved in supporting culture, is important in offering a possibility for more deserving young artists to emerge. This is the opinion of the writer and essayist, protagonist and representative of one of the most interesting literary periods of the second half of the 1900’s.
How do you feel the figure of the artist has changed compared to that of the writer in these past years?
Artists and writers are now both tied either to a gallery owner or to an editor. 18 year olds come to me asking how they can publish their works, their novels and poems: they don’t understand that I am the one to draw courage from them with their hopes rather than them from me. I don’t know who is more fascinating between a young writer or a young painter, I find all young people who have the courage to dream very exciting.
You have always analyzed the issue of the generation exchange; what kind of relationship do you feel exists between young artists and “veterans”?
I believe in young people, when I say that I trust only those under 30, I’m not joking. We, the older generation, have the possibility of helping young people to keep on dreaming and to make them understand that they must work hard. I have lived of dreams and passions, but I never stopped working. Now I see young writers who are awarded prizes that are considered very prestigious for their first work. I hope this gives them courage, but I wouldn’t want them to think it is too easy.
The world of literature is filled with prizes and competitions. What role do you feel they can have in our society?
It is important that the organizers of the competition do not only stop with the award, but also try to guide the most deserving individuals. I am happy that a large company like Terna s committed to this effort. Today, our life is driven by large enterprises. They are responsible for our lives and therefore their involvement in culture is very important. I liked the idea of the Terna Award because it is about energy. And because it is aimed at young people.
Expert architects are needed for developing large urban projects. It is also important, however, to give room to young ones. According to Architect Massimiliano Fuksas, who for years has been devoting special attention to studying urban problems, particularly regarding the outskirts, the world of art represents the world of the future.
How do you feel the institutions and politics could combine the Italian outstanding models into the international system?
I am convinced that it will not be the political class to carry out this task, but a new class formed by creative minds, by persons that for years have been studying urban and environmental issues. Creativity will save the world.
In architecture there is a growing trend to call well known architects for implementing large-scale projects. How is it possible to make room also for young people within this context?
What happens in medicine also happens in architecture: if a person is sick and must undergo surgery he goes to an experienced surgeon. At the same time, expert architects are called to work on large projects. Architects are like surgeons. If they make a mistake, they can seriously harm the city. It is important, however, to also make way for young people: the collaborators working in my office are all young. The world of art is a world of the future.
What role can architecture play today in the development of large metropolises?
Architecture must play the role of urging reflections on how to create and build meeting places where people can gather and congregate.
Which characteristics must a gathering place have?
It must be a structure where one feels comfortable. A place where people are not afraid and feel anxious, where people feel at ease. A covered place, having light and air. The Fiera di Milano is the structure in Italy that mostly includes all of these characteristics.
What do you think the relationship is between training (the academic world, research, etc.) and the actual market, in the art world?
The art world is a complex and very complicated system: each element is part of a whole.
The artist’s vocation is therefore very important together with his training and his experience. The relationship with his gallery owner and art critic is also very important.
Artistic creation cannot exist without an intense relationship between the artist, research and academic training.
Do you think it is necessary for the artist to have a school training or should the artist be a figure that is not bound by academic constraints?
Artists must absolutely be very tied to an academic training. Besides having a natural vocation, training is also necessary. Everyone has gone through it, just think of the great musicians, architects, important poets and artists.
With the contemporary art competition, Terna is trying to matching entrepreneurial methods with cultural ones. Do you think it is an attainable objective?
Of course. All great artists were also great entrepreneurs for themselves: think of Dalì, Picasso and Michelangelo. There is nothing wrong in trying to join entrepreneurship and culture.
What are this method’s strong points and weak points?
The strong point consists in joining economic availability with artistic creativity.
The weak point is that in this way, there is the risk that the economic aspect prevails over artistic creativity.
Where do you think contemporary art is headed?
To underline and masterfully summarize our times through the communication of Visual Arts.
What role do collectors’ associations play in Italy?
They have the role played by salt on food: enhance taste and flavor. Personally, I believe in a museum connection and link with the Institutions, Galleries, Fairs, Artists and Auction Houses. They can also work as “Trade Unions” in defence of collectors, particularly when they lend their artworks for exhibits and other museum and non-museum related activities.
CWall space ends, but a place for a new artwork can always be found. What urges a collector to continue collecting?
Curiosity, the desire to own something he is passionate about, contact with artists.
What emotions do you feel in front of an artwork just bought?
The vibration transmitted by the artwork, the intrinsic understanding of its soul, the frenzy to find an appropriate place for it in one’s home in symbiosis with the other artworks, creating in this way the right balance.
Is it true that today one can become a collector with little money?
The basis is to make choices influenced by taste, by a cultural and educational background that comes from a distant past, that is collected and transmitted so as to identify in advance the valid artists that have a future ahead of them.
In what way and through which supports?
A good Art Advisor can be an important help, provided a strong exchange based on sharing is created with the professionals that leads to an intelligent and loyal dialogue. The hardest barrier to overcome lies in the vast artistic offer that can cause an actual visual and cultural “indigestion”. This often leads to a sense of rejection and tiredness, just when the highest level of clearness would be needed.