Francesco Bonami is also the artistic director of The Fondazione Sandretto ReRebaudengo per l’Arte in Turin, Fondazione Pitti Discovery in Florence, ENEL CONTEMPORANEA and of the contemporary art program of the city of Milan. He was the co-curator of the 2010 Whitney Biennial, the director of the 50th Biennale di Venezia of Visual Arts in 2003 and Biennial at SITE Santa Fe (1997). He is a regular contributor to Artforum , Parkett, the Italian daily La Stampa, La Gazzetta dello Sport, Donna Moderna, Rolling Stone, Uomo Vogue and Vanity Fair Italia.
Q1. When you were starting out did you see your future in the art world as being a curator?
I saw no future, just living day by day which is basically what i am still doing.
Q2. In your opening remarks to the 2010 Whitney Biennial you confessed you had approached the selection process in an open-minded way. As a curator are you therefore an evolutionist or a revolutionist?
Involutionist or convolutionist.
"Strange Attractors" by Aki Sasamoto.Whitney Biennial 2010.
Q3. The art world has been the subject of a couple of reality television shows; "ArtStar" and 'Bravo's "Work Of Art". Did you watch either show, if so what did you think of them and does reality television have a place in contemporary art?
No place . But I am wrong most of the times. I haven't seen those shows.
Human Game by Francesco Bonami, Stefano Tonchi and edited by Maria Luisa Frisa.
Q4. Do you think that today's emerging artists are into it more for a career or for the art?
For a career most of the time, nothing wrong with that.
Q5. Please give a really crazy anecdote/story about one of the artists you have worked with.
Once, when I was curating the first Torino Triennial with the now Director of Documenta Carolyn Christoph Bargajev, we invited a Russian artist-but then we found out we had invited the father of the artist who was an artist himself. Eventually we had to invite both of them and it was nice since they didn't see each other for a long time .
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