When exactly did you buy your first contemporary artwork? Was this entwined with a conscious decision to be a “collector”?

I bought my first artwork in 1979. Indeed, to be more precise about the number, they were 10 artworks, a series of jellies by Mario Schifano. I met the artist by accident. He invited me to visit his studio, and I immediately fell in love with his works. At the time, I was already passionate about contemporary art but meeting with Mario Schifano was very significant for me. After this meeting, I started my collection.

Does your collection, Casa Musumeci Greco, follow a specific theme or particular artists?

My collection follows my heart. I have always shared my choices with my husband Giuliano. Although many times it was the opposite, it was he who asked me if I was interested in something. This was the case with artworks by Gendel Geers, Luigi Ontani, and Graham Hudson.

You open your private palazzo apartment for appointment visits, how has the way that you inhabit your own living space changed since doing this?

For me, it was a very spontaneous decision to open my house about 25 years ago. I wanted to share my choices with friends, to bring them closer to contemporary art, in a different way than in museums, where there is often a distance created between the viewer and the artwork. My way of living in my house has not changed very much. I have always thought that the house had to be tailor-made by the owner. For this reason I live in my home constantly surrounded by the artworks, objects, and people that I love.

What has been the most challenging work of art in your collection, either for yourself or the public?

A good question that is difficult to answer. I believe that the strongest and most symbolic artwork in my collection is The Chorus by Marina Abramovic. Other challenging works are the artwork by Graham Hudson, that I previously mentioned, for its size (it’s very big!) or a very heavy vehicle by Gianni Piacentino, actually installed above my bed. Also, Maurizio Mochetti's airplane and Luigi Ontani's Nuvolari are very significant for me.

In general do you visit online viewing rooms or is your decision to buy a piece of art, strongly intertwined with the physical?

For me it’s absolutely essential to visit the artist's studio and see the artworks in real life. Web modality is not for me. So, for this reason I usually schedule an appointment with the artist or the gallerist to see the works. To feel the emotion of a work is fundamental.

What would you like to see as a shift in a post-Covid Art World?

I think that this moment in time acts as a message to better understand the meaning of life. From this point of view, I wish for artistic projects full of meaning or “sense.” We cannot go on without considering this crucial historical moment. We cannot forget that art is also a dream and aesthetic manifestation.

What is a beautiful moment from Casa Musumeci Greco, or your life as a collector that you would like to share with us?

Only one? It's very difficult for me to choose only one. There have been so many beautiful moments over the years. I remember with great affection a meeting with Araki. I had organized a dinner at my house after one of his performances at Calcografia Nazionale. During the dinner, he spontaneously and generously started photographing all the guests with a Polaroid camera. It was so fun, and yet such a sincere moment.

Which publicly accessible private collections would you recommend visiting?

Over the years, I have visited many collections, as you can imagine. If I had to suggest one, I really would recommend Berlingieri Collection in Basilicata.