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To mark the thirtieth anniversary of the MOCA in Los Angeles,Francesco Vezzoli directed Lady Gaga in a smoke-filled performance of her ballad Speechless featuring a butterfly-adorned, pink piano and most of the Bolshoi Ballet. When i-D invited him to produce a cover for The Pain and Pleasure Issue in April 2009, he stitched an original tapestry of Miuccia Prada – his perhaps most legendary to date. So it’s no wonder that this year, when Francesco Vezzoli was faced with the challenge of putting on a retrospective of his work, spanning over two decades, it’s no small undertaking.
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Opening at the MAXXI on 29th May, Galleria Vezzoli – the first of three exhibitions – will feature ninety works by the fabled artist, before The Church of Vezzoli, the second instalment of the retrospective lands at New York’s MoMA PS1 in the autumn. It’s followed by the final chapter, Cinema Vezzoli, at the MOCA in Los Angeles towards the end of 2013, retracing through the three cities Vezzoli’s personal journey in a career that saw a young Italian artist develop into a globally recognised art sensation.
On the cusp of the global takeover that will be Vezzoli’s retrospectives, Nicholas Cullinan, the Curator of Modern and Contemporary Art at MoMA, spoke to the artist about his impressive catalogue of work, the three exhibitions, and the media’s power in modern society, which continues to inspire and motivate his art.
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