Carolyn Christov-Bakargiev, the visionary behind the Castello di Rivoli Museum of Contemporary Art, is stepping down from her esteemed role this month, leaving an indelible mark on the institution where she served since 2016. Francesco Manacorda is set to assume her role, but Christov-Bakargiev’s legacy extends far beyond her leadership at Castello di Rivoli.
Renowned as a major curator in Europe, she is most notably recognized for her groundbreaking 2012 edition of Documenta 13. Breaking away from the conventional art hubs, she orchestrated events in unconventional locales like Kabul, Alexandria-Cairo, and Banff. Reflecting on her career, she remarked that Documenta was “the most significant thing” she accomplished. However, her contributions are vast, encompassing roles at institutions like MoMA P.S. 1 in New York and the 2008 Biennale of Sydney.
Throughout her career, Christov-Bakargiev has maintained a dynamic perspective on the evolving nature of art. Embracing the digital age, her museum was among the first to exhibit works by NFT phenomenon Beeple. She elaborated, “Nobody knows what art is, and neither do I… I look at society, economy, technology, and more to identify relevant artists.”
While she’s preparing to embrace retirement, Christov-Bakargiev isn’t slowing down. She revealed plans for a major Arte Povera exhibition at Bourse de Commerce in Paris next fall. Speaking about the movement, she emphasized its fluid nature, influenced by the environment and the public’s interaction. Responding to questions about the limited representation of women in the Arte Povera movement, she acknowledged the prevailing biases of the era but also highlighted influential female figures like Marisa Merz.
Addressing the challenges contemporary museum directors face, Christov-Bakargiev highlighted funding constraints and the pressure for increased visitor numbers in the digital age. She championed the idea of “slow culture,” emphasizing deep, meaningful experiences over mere footfall numbers. “Museums should offer experiences that transcend binary judgments,” she stated.
Concerned about the state of public museums, she pointed to the devastating fire at Rio de Janeiro’s national museum as a grim symbol of the challenges they face. However, she remains optimistic, suggesting leveraging the digital wealth of the tech era to support physical restoration of museums globally.
In parting advice for aspiring museum directors and curators, Christov-Bakargiev stressed the importance of prioritizing artists. “Their words, ideas, and visions are paramount,” she affirmed, urging professionals to foster trust and openness in their relationships with creators across all cultural domains.
As Carolyn Christov-Bakargiev steps back from her institutional roles, her insights continue to shape discussions on the future of museums, emphasizing the importance of adaptability, inclusivity, and a deep commitment to the artistic vision.
