Collector, fashion house designer and head of the Fondazione Prada complex in Milan
The communist-mime-artist-turned-fashion-grand-dame – now worth $3.3 billion – believes artworlders could learn from their counterparts in design: ‘How to be more appealing’, for example. ‘Culture should be attractive, otherwise no one listens,’ she told Vogue this year. The Fondazione Prada, which has occupied a former distillery in Milan since 2015, was this year completed by a newly opened ‘torre’ designed by OMA, and the giant spinning mushrooms by Carsten Höller that welcomed visitors three years ago were certainly eye-catching as well. Yet Prada’s institution, under the curatorship of Germano Celant, is far from just fizz-bang-wallop art: Post Zang Tumb Tuuum, a vast and critically lauded survey of Italian art from the Futurist to the Fascist era, showcased its intellectual credentials. Tapping Dieter Roelstraete to curate a show at Prada’s Venice space on questions of exile, escape and retreat, drawing on Theodor W. Adorno, Martin Heidegger and Ludwig Wittgenstein as reference points, doesn’t hurt either.