The chief characteristic of your art research.
Your favourite occupation.
Your idea of happiness.
Pane, amore e fantasia.
Your main fault.
Stubbornness, typical of southern men.
What you hate the most.
I’ve never hated anyone or anything so far.
What you appreciate the most in a curator.
Your idea of a good exhibition.
A good exhibition has to be necessary.
Your idea of a wrong exhibition.
A wrong exhibition is often useless.
If not an artist, who would you be?
A saint or an engineer.
Your favourite artists.
Nearly all. But if I were to point the artists I’ve taken up the most in my work:
Paolo Uccello, Piero della Francesca, Leonardo, Tiziano, Rembrandt, Delacroix, Cezanne, Picasso, Matisse, Kandinskij, Klee, Mondrian, Duchamp, Albers, Balthus, Rothko, Frank Stella, Sol Lewitt, Beuys, Kosuth, Haacke, Olivieri, Calderara, Berlingeri, Peter Halley, Sean Scully, Mark Lombardi…
Your favourite working space and time.
In my studio, at five am and five pm.
Your favourite museum.
Your favourite art critics.
Critics? I thought they’d be extinguished. Anyway, I think many people would benefit from a careful, less dogmatic rereading of Greenberg.
Your favourite art books.
The Story of Art by Gombrich, The Political Economy of Art by Ruskin,
The ideology of the traitor by Achille Bonito Oliva, The Philosophical Disenfranchisement of Art by Arthur Danto, What painting is by James Elkins.
Your favourite musicians.
I haven’t listened to music since 2003. Before that, I used to like Bach, Mozart, Chopin, Debussy, Berio, Tenco, Plaid, Bjork, and nearly any drum and bass music.
Your heroes in real life.
Young Italian artists.
Your favourite title of an art work.
It’s short but followed by a subtitle.
Your idea of the future.
We’ll make it, we just have to work it out.
Your drawing for MOULD.
It’s a white diagram you can use to monitor anything you want during one day (star of the day); you can report trends and choose which are positive and negative colours. You can print one out every day, for the rest of your life.