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GERMANO CELANT

Germano Celant, 1984. Photo: Robert Mapplethorpe. © Robert Mapplethorpe Foundation. Used by permission.

PARIS, JUNE 1981. Germano Celant and I are drinking at a bar after the opening of his exhibition “Identité italienne. L’art en Italie depuis 1959” (Italian Identity. Art in Italy Since 1959) at the Centre Pompidou. He points to a young woman on a banquette, engaged in intense conversation. “That’s Ingrid Sischy, the new editor of Artforum,” he said. “I’ll introduce you.” That introduction transformed my life.

Germano and Ingrid changed the magazine forever. They were perfect partners, truly phenomenal, each bringing out the best in the other. She: street-smart, a voracious consumer of the present moment, her inquisitive gaze always on the future. (“What’s next?” was her opening line at our work dinners.) He: firmly entrenched in the history of art but a great weaver of contemporary narratives, tied together by his relationships with international artists. He looked at everything,

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