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Yesterday I visited the collective exhibition curated by Jeff Koons at the New Museum in New York, selecting from Dakis Joannau’s collection (he is a supporter of the New Museum and a great collectionist of Koons). The fact that I think this is an interesting operation should make it clear that criticisms to the “incestuous” dynamics of a system named Italy are not aimed at “ways” but at the ineffective results. Better to say, these results are disappointing and illusory for everyone.

While someone is wondering which role I’m playing, reality already is more lucid (it’s been like that for a very long time already), and here is an artist curating an exhibition rather than a gallerist directing a museum (see Koons and Jeffrey Deitch). In any case, if some operators take risks and confound the roles, the final proposition will not necessarily be so interesting.

The exhibition is a kind of warehouse, a summary of the Greek collection. It is said that this operation will increase the value of some works. If you see the exhibition in a lucid way, the superposition and the embarrassing repetition of some codes seem to decrease the value of any single work. In any case, I believe this large market reflects the phase of fatigue we’re living, and especially the phase that has just passed, which was too euphoric and overestimated. I think this exhibition is admitting something did not work. In my opinion, it does not seem to be an exhibition that “shows its muscles”, but an unsuccessful fitness plan (perhaps in a conscious way). I don’t know whether Koons wanted to convey this bitter irony. Seeing the set up, I think so.