19.10.2022
#art
Vincenzo De Bellis
Paris + is born, the super fair where contemporary art will forever mix with fashion and design
“In Paris, 90% of contemporary creative institutions are led by people who have only been nominated for two years. There is a great generational change here and we are happy to be part of this new wave“
He is one of the most respected curators in the world. Merit of a career in continuous growth, without braking and jolts. He is the Italian Vincenzo De Bellis, 45 years old. In July he was appointed director of fairs and exhibition platforms worldwide of Art Basel, the most important contemporary and modern art fair in the world. A very prestigious role that makes his CV even brighter. Director of Peep-Hole (non-profit center in the historic Battaglia foundry in Milan), artistic director of Miart fair, Associate Director of Program of Visual Arts at the Walker Art Center in Minneapolis: not bad for someone who started very young, working as a guardian at the Foundation Prada. 45 years old, born in Castellana Grotte, in the province of Bari, De Bellis will debut in Paris from 20 to 23 October on the occasion of Paris +, the Parisian chapter of Art Basel, set up at the Grand Palais Éphémère. An absolute first for both him and the French capital, which this year becomes part of the wonderful world of Art Basel (which already includes Hong Kong, Miami and of course Basel). We met Vincenzo before the expected opening.
Art Basel is in Paris for the first time: what should we expect from this fair?
There is an atmosphere of great expectation. I arrived at Art Basel in August and everyone is in a state of excitement. What we can expect is the usual extraordinary quality standard that Art Basel has maintained for half a century. All this topped with a typically French taste thanks to the presence of many transalpine galleries. But Paris + will not be just a fair, it will also be the key that will allow the opening of institutional spaces and collaborations that involve the entire city. The team directed by Clément Delépine did an extraordinary job and involved many Parisian artistic realities. There is one thing that perhaps few have noticed: 90% of the contemporary art institutions here are led by people who have only been appointed for two years. There is a great generational change and we are happy to be part of this new wave.
What will Paris have more than Basel, Hong Kong and Miami?
It will have Paris. The French city is already a great capital of art. Historically it was between the 19th and the early 20th century and it is today. But it is also a cultural, political and economic hub. In the city different worlds coexist such as design and fashion. Their fusion with art will become the trademark of this fair in the coming years.
You have been recently appointed director of Art Basel’s fairs and exhibition platforms: what exactly will you do?
Mine is a double charge. I will direct the directors of Art Basel’s fairs in Basel, Miami, Paris and Hong Kong. Marc Spiegler, Global Director, will then be the final point of reference. But not only: my role allows me to develop the global brand of Art Basel. The definition of Exhibition Platforms concerns the new projects that the fair will carry out in the coming years, not only related to the four fairs. I will lead the team and bring my experience as a curator.
Is there a trend, a country, a current or an artist for you to focus on for the future?
I am the director of the fair, I cannot answer this question. It is a bit like asking a father to choose one of his children. But I can tell you this: when there is a trend it means that everything has already become mainstream. The skill in these cases is being able to identify who will remain once the fashion is over.
And how is it identified?
It is the real mystery. It all depends on the quality of the work, but also on other factors related to the artist’s personality and her way of life. It is very difficult. For this reason, if I were a collector, I would never buy a work only for investment but also for visceral instinct.
You arrive at Art Basel after being curator at the Walker Art Center: a balance?
It was an extraordinary experience. I have curated many exhibitions. From Jimmie Durham: At the center of the World (2017) until American Art 1961-2001: the Walker Art Center Collections from Andy Warhol to Kara Walker (2021). The latest exhibition is Jannis Kounellis in Six Acts, inaugurated on October 14th. But even in Minneapolis I wasn’t just a curator. I brought over 150 works to the collection, including donations and acquisitions. I dealt with fundraising, managed the curatorial team, created the five-year strategic plan. It has been a very important six years.
You were there when George Floyd was killed: what was it like living in Minneapolis in those days?
It was very difficult. My family and I started seeing the city differently. Something changed after that tragedy: Minneapolis was no longer that idyllic place we had lived in. The Floyd murder was like being slapped in the face.
Do you think art must be civil or uncivil?
Art must always be civil, but rebellious
Three artists who will remain forever?
There are many more. But I choose three names under 40: Jennifer Packer, Justin Caguiat and Julien Nguyen
If people don’t understand contemporary art, who is to blame?
Nobody’s. Contemporary art must not be understood, but it must be cultivated and accepted. Of course, we insiders must find ways to make it more digestible. But if art were clear to everyone it would not be the detonator it is. Because his job is to accompany us, sometimes by the hand, sometimes by kicking our asses, in unexpected places to look at the world through infinite and unprecedented shades.
You started as a guardian of the Prada Foundation, an experience he called “a turning point”. Why was it a key moment?
Because there I saw (not known, only seen) Germano Celant and I understood that I wanted to do his job.
Why are artists unable to establish themselves outside of Italy? What’s missing?
Several things are missing. First of all, we Italians must realize that we have been the center of the universe but that we no longer are. We are like the nobles of the novel Il Gattopardo: we think that our great story is enough to always be in the foreground. But is not so. Our history offers us a lot because it makes us sophisticated and more prepared, but it is no longer enough. Be influential today means being contemporary and addressing the urgent issues that affect humanity. It is no coincidence that the last great season of Italian art was in the 60s when our country, a bit like France, was at the center of history. But the problems are not over. The Italian art system does not offer adequate supports, there is an endemic lack of generational change in the institutions. Contemporary art is generational by nature and this leads to a total absence of novelty. Another problem also involves the academies that should refresh themselves and allow professional artists to teach more and more: because art, like many other things, is learned not from professors but from those who live directly in the field.
Would you like to be your assistant?
A few years ago I would have said yes (and I’m sure anyone who did will laugh a lot when reading this answer). Today, however, I say no, even if basically I think I have improved a lot: I have become more disciplined and organized than yesterday.
What if you hadn’t been a curator?
My parents, since I’m a pain in the ass, always say that I should have been a lawyer or a trade unionist. My hidden dream, however, was to become a film director. Things turned out differently but I can’t complain. But if I had to radically change my profession, I would like to do something related to the sea. Who knows, maybe one day …
Interview : Germano D’Acquisto
Portraits of Vincenzo De Bellis : Jean Picon
