Photo by Bas Princen

The new Fondazione Prada Milano is opening this week. For Miucca Prada and Patrizio Bertelli, it represents the culmination of somewhere between seven and 22 years of preparation, in conjunction with the architects OMA/Rem Koolhaas. For me, it represents the culmination of just over a year or so, and with it, the public announcement of the Fondazione Prada Thought Council, of which I — along with Cedric Libert and Nicholas Cullinan — are credited as Founding Members. Yes, the name evokes George Orwell and Superman comics. It’s worth reminding ourselves how impoverished terms are if you want to avoid ‘Advisory Board,’ ‘Curatorial Consultants,’ or worse still, ‘Think Tank.’

MILAN, ITALY - MAY 02:  Patrizio Bertelli and Dario Franceschini attend Fondazione Prada Press Conference on May 2, 2015 in Milan, Italy.  (Photo by Vittorio Zunino Celotto/Getty Images  for Fondazione Prada)

Nicholas Cullinan, myself and Cedric Libert in ‘Serial Classic,’ shown in the Museo, Fondazione Prada Milano

Cedric and I will continue for another year, while Nick assumes his new role as Director of the National Portrait Gallery, London. The Thought Council will now be joined by the curators Elvira Dyagani Ose and Dieter Roelstraete.

TC Opening May 2015

Cedric Libert, Nicholas Cullinan, Miucca Prada, Dieter Roelstraete, Elvira Dyagani Ose, myself (4 May 2015). Photo by Goshka Macuga

So, what is the Thought Council’s remit? Every answer remains speculative except, in Miucca Prada’s words, ‘You are here to think!’

What I’ve gleaned during my time there is that the Fondazione has been it’s own thing for over two decades, which is also not-being many things: it’s not a museum (though it organises museum quality exhibitions), it’s not a Kunsthalle (though it organises ambitious temporary exhibitions), it’s not Artangel (though it stages some spectacular happenings in weird places), and it’s not a display of a permanent private collection (most of it has never been seen).

Now, with the enlarged permanent venue, it can experiment with all these gestalts and never have to choose to permanently be any of them. ‘It is a learning process for us,’ says Miucca Prada.

View towards entrance

From ‘An Introduction,’ curated by Germano Celant, makes a personal selection from the Collezione, set in a quasi-domestic setting

‘In Part’ curated by Nicholas Cullinan, takes works from the Collezione that feature bodies in fragments

‘Serial Classic’ renarrates the role of reproductions and copies in Greek and Roman antiquity

Accademia space for young children, conceived by  Giannetta Ottilia Latis and students from École nationale supérieure d’architecture de Versailles, led by Cédric Libert and Elias Guenoun.

Accademia space for young children, conceived by Giannetta Ottilia Latis and students from École nationale supérieure d’architecture de Versailles, led by Cédric Libert and Elias Guenoun.

As if to mirror this moment of reinvention — and also continuity — the institutional structure of the Fondazione has been rewired. There is no director. Instead, there are a constellation of opinions and minds. Some are pre-existing (Germano Celant, the Fondazione Curatorial Team, OMA, 2×4, regular collaborators). They represent the continuity.

The Thought Council is a new point in the constellation. We are there to bring new perspectives and, to use an old fashioned word, provide counsel. We also generate concrete projects (the first is Trittico, a display initiative using three works from the Collection at a time). But our voice is really one among many (which currently include Roman Polanski, Robert Gober, Thomas Demand and Wes Anderson), and one among many unknown voices that will appear in time to come.

Something thing we — and in particular I — worked on was formulating the Cultural Statement. This version, which I imagine will continue to evolve, alludes to the impulses of the many involved. It also stresses the certainty of doubt, something I appreciate. For those of you interested, here it is:

For the last two decades, the Fondazione Prada’s activities have analyzed intentions and relevance through an evolution of projects. These have included ‘Utopian’ monographic artist commissions, contemporary philosophy conferences, research exhibitions and initiatives related to the field of cinema. With the opening of a permanent cultural complex in Milano, the Fondazione offers new opportunities to enlarge and enrich our processes of learning.

‘What is a cultural institution for?’ This is the central question of today. We embrace the idea that culture is deeply useful and necessary as well as attractive and engaging. Culture should help us with our everyday lives, and understand how we, and the world, are changing. This assumption will be key for the Fondazione’s future activities.

Our main interest are ideas, and the ways in which mankind has transformed ideas into specific disciplines and cultural products: literature, cinema, music, philosophy, art and science. With the new venue, the Fondazione’s range of knowledge will be expanded. Each field will be afforded its autonomy but have the same overall aim. They will co-exist with one another, leading to unpredictable resonances and cultural intersections.

An attitude of openness and invitation characterizes the political mood of the new Milano premises. We will assert the possibility of participation at all levels for all generations. We will try to find new ways for sharing ideas. Attempts to redefine residency and education programs will go alongside with rethinking the notion of the Library, which might stay open all night, together with the Bar Luce below it. Another possible question is how a contemporary art institution can engage with the Cinema without becoming a film festival.

Art is the Fondazione’s main and given instrument of working and learning. A territory of freethinking in which established, indelible figures ¾ as well as emerging approaches ¾ are welcomed. The Prada Collection, comprising mostly of works from the 20th and 21st centuries, is another one of our given instruments. Our collection is conceived as a resource of perspectives and of potential energy. We will invite different kinds of people to provide new interpretations of undetected ideas from the collection: curators, artists, architects but also scientists and students, thinkers and writers.

This emphasis on range and repertoire of knowledge is reflected in the spatial composition of the Fondazione Prada in Milan. Formerly a distillery dating back to the 1910s, the transformation leads to an architectural configuration that combines preexisting buildings with three new structures. The combined result is a campus of post-industrial and new spaces, alternately intimate and expansive, while the courtyards provide a common public ground, open to the city. This rich spatial array will encourage quick and improvised reactions to cultural stimuli.

Finally, the Fondazione’s new institutional structure embodies the overall aim towards reinvention. It has become an open structure, where ideas are freely exchanged between the Presidents, the Artistic and Scientific Superintendent, the Fondazione Prada’s curatorial departments and the Thought Council, a group of individuals invited to engage with the future program for different durations of time. These and other contributions and voices bring to the process their own unique views on the present moment.

STRUCTURE

Presidents

Miuccia Prada and Patrizio Bertelli

Artistic and Scientific Superintendent

Germano Celant

Curatorial Departments

Head of Programs: Astrid Welter

Head of Research and Publications: Mario Mainetti

Head of Exhibition Design and Production: Alessia Salerno

Thought Council

Founding Members: Shumon Basar, Nicholas Cullinan, Cédric Libert

Forthcoming Members: Elvira Dyangani Ose, Dieter Roelstraete

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