Matteo de Vittor, Iolanda Ratti, and Fiammetta Griccioli interviewed by Barbara Clausen, December 2, 2020
Matteo de Vittor is Technical Director at Pirelli HangarBicocca, Iolanda Ratti was a consultant in conservation from 2013 to 2017 at Pirelli HangarBicocca, and Fiammetta Griccioli is Assistant Curator at Pirelli HangarBicocca. This interview focuses on their involvement with the exhibition Joan Jonas: Light Time Tales, which was on view in 2014 and 2015.
- “Matteo de Vittor, Iolanda Ratti, and Fiammetta Griccioli interviewed by Barbara Clausen, December 2, 2020 (Interview Transcript).” Joan Jonas Knowledge Base, Artist Archives Initiative, 2021.
The interview begins with Ratti, de Vittor, and Griccioli each introducing themselves and speaking about their area of expertise. Next, the three of them discuss the starting point for collaboration among curatorial, conservation, and technical teams in the leadup to an exhibition such as Light Time Tales, noting that the three departments were in conversation from the very conception of the show. Griccioli describes the process of bringing everyone together from a curatorial perspective. de Vittor then leads a dialogue about the different steps required for planning an exhibition with so many different types of work, underlining the importance of negotiation and communication as a team. He touches on what it was like to work with conservators from other institutions for the loaned pieces. This leads into a discussion about the challenges surrounding climate control, where and how to install works in the space (since the Pirelli HangarBicocca is a large and specific kind of place), and where to place security guards. Ratti walks us through these issues and explains that having Jonas on site was helpful when these challenges arose since the artist was very hands-on.
Moving on to the installation of the exhibition, de Vittor speaks about the preparation process after the works came into the institution, explaining that at HangarBicocca they aim to minimize the appearance of any installation apparatus in order to focus viewers’ attention on the work. de Vittor also speaks about working through some of the technical aspects with Jonas and how the two of them developed a 3D model using the program SketchUp. Ratti joins this conversation to further discuss what it was like to work with Jonas. Continuing with the technical aspects of the show, de Vittor talks about the modulation of the sound and lighting and mentions several practical details such as the type of speakers and lights used. The interview ends with the three discussing how this exhibition influenced how they think and feel about future exhibitions. They offer advice for colleagues who want to exhibit Jonas’s work in the future.