GERMANO CELANT: SHARING A DREAM. FROM THE 'WARM' INTERACTION WITH ARTISTS TO THE 'COLD' TASK OF EXHIBITING ARTWORK, CELANT'S METHOD IS A BLEND OF APPROACHES

摘要

Domus: The irony of destiny: your first sizeable essay (published in 1968) was a monograph on an artist who was more of an architect, and even more of a designer - Marcello Nizzoli. Was this a sign of what your work would become?rnGermano Celant: Myworkis marked by a historical frame of reference. It is an approach that I learned at university from Eugenio Battisti. He believed that analytical consideration could be practiced on any artistic subject whatsoever - from watches to witches, from robots to Brunelleschi. Since then, I have studied my subjects from a 360-degree angle, whether art, design, architecture or any combination thereof. My non-preferential attitude began when I worked for a few years as the editorial secretary of Marcatremagazine (founded in 1963, first based in Genoa, then Milan). Morcalreunited the different realms of architecture, art, design, music and literature. Editors-in-chief were Paolo Portoghesi, Eugenio Battisti, Diego Carpitella, Maurizio Calvesi, Um-berto Eco, Vittorio Gelmetti and Edoar-do Sanguined. That was when my interest in the cross-pollination between the arts began.