Despite theglamorous veneer of his public persona, Vezzoli is actually quite the scholar.
So he addressed the lack of imagery in thelacrimosadepartment his own way.
Francesco Vezzoli, installation view, Musei delle Lacrime, 2024, Museo Correr, Venice, Italy.
Photo: Alessandro Ciampi
A huge effort and honor.
Its not like other museums where you’re free to modify the layout according to your project.
How did you adapt your artworks in this extraordinary yet rather challenging setting?
Francesco Vezzoli, installation view, Musei delle Lacrime, 2024, Museo Correr, Venice, Italy.
In my 30-year career, Ive never imagined to be given the opportunity to do such an exhibition.
Where does this obsession with tears come from?
The question about tears is always the most difficult to answer.
Francesco Vezzoli,Portrait of Paulina Porizkova as a Renaissance Madonna with Holy Child crying Salvador Dalì’s jewels (AfterLorenzo Lotto), 2011
Ive toured every possible museum, but no tears in sight.
It came natural to me.
Women embroider, men paint.
Francesco Vezzoli,Le Gant d’amour (After de Chirico and Jean Genet), 2010
I intended this exhibition as experiential.
I believe that people visiting it do not ask themselves: do I like it or not?
So we have to give them something unique, and worthy, valuable.
Francesco Vezzoli,Omaggio a Salvo (Studio Per “Self-Portrait As a Self-Portrait”), 2013-2016
Perhaps its the image of the embroidering Madonna, that I finally found after many years of research.
Isnt that fantasy of the gender-fluid gigolo appealing to all genders, and ingrained in our collective memory?
Supermodels are a cultural patrimony, whether you like it or not.
Francesco VezzoliSelfie Sebastian (Self-portrait as Saint Sebastian by Andrea Mantegna), 2009-2014
Fashion is the dominant system shaping our collective imagination, narration, and memory.
The patrimony of fashion should find a place in the history of art.
Its a profoundly narcissistic language.
But each form of capitalism has its own stars.
