Rivoli Museum (when Bakargiev was active there as chief curator and director) and the scandal “Museo Senza Centro”
Reading the site-database "Italian Area" (index of artists chosen by a committee composed by critics Bertola, Farronato, Scardi, Angela Vettese) we find the following text:
"Artists are selected from those promoted by leading Italian and international institutions, as well as among those who have contributed to the current art scene"
Which "important Italian institutions"? Italian Area doesn't tell us: the site refers to a inexistent web page (from a long time - certainly many years).
Under the tag "museum with no center" there is a chessboard with acronyms and photographs of Italian art institutions. The text on top of the image: "The artists of Italian Area are supported by some active Italian institutions". This time the image is very clear. The list brings together under the banner of “Italian Area” many art-spaces across the country.
Please note: the "museum with no center" web page doesn't tell us "artists are selected" - by Italian Area - "among those supported by the ..." but that "artists in Italian Area are supported by some active Italian institutions".
You don't need to be a specialist of contemporary art to understand that between the two "supported" there is another passage: the committee of four critics that decides who raise throughout the circuit. Who promotes the entire list is the same subject who chooses at the first step.
The "major institutions" promote Italian artists or "Italian Area"?
"Italian Area" chooses Italian artists "supported by" or, in substance, "major institutions" promote Italian Area (including critics and artists)?
The four critics of the committee "promote" or they are part of a unique chessboard-group which "promotes"?
Why a website of similar influence has so many incongruities?
Why private foundations appears in the same list of public institutions with a completely different mission?
In what way the "major institutions" support artists?
What's the difference between “supporting” one artist and “to exhibit” some of his works?
The artists not present in the Italian Area, being excluded from this scheme ambiguous (in which it's unclear whether the "major institutions" are actually part of Italian Area - Museum without center) find more difficulties in term of career in Italian art institutions?
To date, we don't find in the database a clear explanation with inclusion dates of new artists. Without a precise chronology is very difficult, for the reader of the site, understand the changes of the database, how it has interacted with new trends and the evolution of taste.
Web pages "not found", baffling texts, public institutions confused with private foundations, photos in stamp-format: errors and ambiguities in the few pages of the web site "Italian Area". I should mention that the committee of the database can rely on the advice of the specialists in this field. The incredible inconsistencies of the site "Italian Area", therefore, is the result of a deliberate strategy. The plank "museum without a center" is nothing more than a peacock's tail open on purpose to impress the naive, the ill-informed, to intimidate, while denying the centrality of the figure of the artist.
The chessboard: Castello of Rivoli (Carolyn Christov-Bakargiev) , Castel Sant 'Elmo, Luigi Pecci Centre Lawn, Gam Turin, Galleria Civica Trento Contemporary Art, Galleria Civica Modena, Gnam Rome, Macro, Rome, Trento Rovereto Mart, MAXXI Rome, Museion, Bolzano, Pac Milan, Space Subzero Exhibition Palace Rome, Palazzo delle Papesse Siena, Fondazione Bevilacqua la Masa Venice, Fondazione Adriano Olivetti Rome, Fondazione Antonio Ratti in Como, Fondazione Querini Stampalia Venice, Fondazione Sandretto Re Rebaudengo Turin, Teseco Foundation Lawn, Trevi Flash Art Museum , Future Rome, Careof Milan, Via Farini
Looking around the forums, I realize that few people know anything about C-C-Bakargiev, Castello di Rivoli Museum, the daily newspaper "Il Sole 24 Ore", "Italian Area", "Museo Senza Centro" affaire, etc...
After graduation, Christov-Bakargiev moved to Rome and began to write as an art critic for daily newspaper "Il Sole 24 Ore". It's important to learn how to read between the lines so that you can avoid being tricked by manipulated contemporary-art articles published in "Il Sole 24 Ore".