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Photo-Lorella-Giudici-copia-750×500
Lorella Giudici from Milan

Your new daily ritual ...
I don't mind waking up in the morning (and my alarm clock, even now, always plays at dawn) and knowing that you don't have to rush to catch a bus, a train, a plane or not having to get in the car to go on a date, at a convention, to a meeting and risk falling prey to traffic or chronic delay of means of transport. The only transfers I missed were the ones, two or three times a week, they took me to my students' classroom to spend unforgettable moments of enrichment with them.
I started working on some projects that I had previously put aside and that will soon see the light.

How your way of working has changed?
It is not uncommon for those who write and study to spend long periods of "confinement", whole days (sometimes even at night) in front of the computer in an attempt to ring thoughts, images and reflections in essays that can tell something new, that can frame the work of an artist in different perspectives. When you are finishing a book or when you are in the midst of planning an exhibition you need to isolate yourself, to put together the pieces of a complex and engaging puzzle. What makes this moment different is not having direct contact with the work of art, give lessons, meetings and conferences via the web, with savings on travel times, but with a terrible drying up of human contacts.

To date, what have been the immediate consequences of the spread of Covid-19 on your work for you and what do you think the long-term consequences may be?
Among the most obvious consequences is the cancellation or postponement of exhibitions and projects. But what worries me most is the general indifference towards culture and artists in particular. Find that, in a country that could live on art, the profession of the artist has no place and that no financial maneuver has a chapter in support of the category confirms to me that we still have a long way to go.

Lorella Giudici: I am a professor of contemporary art history at the Brera Academy of Fine Arts in Milan and at the Albertina Academy in Turin. I take care of exhibitions and deal with contemporary art and art between the nineteenth and twentieth centuries, he curates exhibitions and deals with art between the nineteenth and twentieth centuries. I am on the scientific committee of the Remo Bianco Foundation and the Sangregorio Foundation. I was director of the Landscape Museum of Verbania. Among the many publications and curators I could mention: Edgar Degas. Letters and testimonies, Milan 2002; Medardo Rosso. Writings on sculpture, Milan 2003; Giorgio Morandi. Easier, Milan 2004; Gauguin. Noa Noa and letter from Thaiti (1891-1893), Milan 2007; Letters of the Macchiaioli, Milan 2008; Rossetti Studio Gallery, My story. Thoughts and testimonies, Milan 2009. Among the many exhibitions curated, I could mention a couple of the most recent: Giuseppe Ajmone. The friends of Corrente and the Manifesto of Realism, Current Foundation, Milan 2018; Remo White. The imprints of memory, Museum of 900, Milan 2019. In the last few months I have worked on two important essays: one for the magazine "Metafisica" on the De Chirico-Lo Duca relationship and the other for the Ragghianti Foundation on Raffaello Giolli.