Vedi tu has been in the Turin weekend. We've seen, at least a part of the white night, Artissima and his side events. This is a short story, then we'll take some of the sums we've met. We start from the fact that 20 years ago the city decided not to propose Christmas lights again, but to invest in artist lights. We know how many resistance by citizens to decide between an angel in the sky who greets the people and a Zorio installation. In the end, it seems that the citizens get's a reason for this. Goes in the evening with tourists (more or less 100) who did photos at Merz with his installation at the Mole, made us happy. If you dine there, and you are not vegetarians, we can recommend Acino in S. Domenico (for vegetarians and vegans La Capannina in via Donato). If you also want to have a good Americano with ginger and see the bathroom mirror that makes you afraid, go to the Demon House, in front of the Acino.
The others :Dancing arounds, we came to the biggest Italian creative energie's exhibition. That is, independent spaces in reclaimed places ad hoc. Spaces who dont have right to word, they are retrieved and patience. In this case, for the second year, a former hospital. Each room, each operating room, each corridor was occupied by dozens of independent galleries (hundreds of artists).
Just like the salon of the rejected that was oranized by Courbet
Also here there was the "other food", which is a great meal with various gourmet chefs. But on Saturday 4th it was open until 1 am , so we went there. Apart from a general feeling of being in a students thing, a fun and cheerful youthful day of art,we thought we had to find a review of galleries. Not public spaces, free expression sites, but people who, while not in Artissima, are faced with the problem of living through the sale of works, at least to enter in the market. Some interesting things, very ego scattered and then, in the end, we were faced in the 1960s while too girls were painting their naked body. Certainly there were spaces, themes, interesting works that left us well hope, but in general we expected, from the so-called independents, something more or different. On the other hand, the party was a little disappointing.
Artissima: The largest art fair in Italy, instead, leaves no room for doubt. An enormity, which we didn't remember so great, of galleries and significant artists. In this sense, thanks to the work of the previous curator (Cosulich Canarutto) and the present (Bonacossa), the labyrinth becomes more complicated and settles somewhere on the border between an exhibition (exhibitions) and a fair. It is in a range variable from about ten to some hundred of thousand euros, but in this interval there is everything. If one can buy a Hirst, he hardly does it in a fair. The most famous galleries, many Italians, the best-selling artists. Turn around the various colorful paths and you'll find Christo and Fabre and Zhijie. We can then discuss the prizes and whom they are assigned, but all in all we can also be grateful for some sort of Stendhal syndrome that catches you, sometimes, along the way.
What did we notice?
First and foremost, a large number of women who, for us as a collective, are certainly important. Women's artists, galleries around the world run by women, a curatorial and organizational group of women. Even in the historical section. We've seen side by side a series of Gina Pane photos packed, probably because they were sold.
The drawing section: Is it worthwhile to set up a new section dedicated to this art form? We are in doubt. Having a dedicated space has encouraged the galleries to propose this type of work, enhancing its presence and increasing its importance. Some galleries have brought works that probably would otherwise have left home. But what are the works that could not be anywhere else? And, on the other hand, drawings and photos, which cost less, at a fair we would have seen them anyway. Also at "The others" the independent spaces must offered photos and drawings if they wanted to sell something.
Some continuity in languages. Let's remove some surplus things, which we do not explain at a fair, but in most cases we are faced with a shared language, in the Market. It is not that we don't see the differences between the artists or the galleries. Between an Iraqi artist and a Finnish, a US gallery and an Ukrainian there are obvious discontinuities. Yet, there is something, a background, difficult to explain in a few words, that we find evenly in all the proposals. Confirming us, a little, in the intuition that current art is not configurated as a temporal fact, artists who work right now, but as a single large movement that the globalization makes world-wide. Even in futurism, in fact, there were differences between the artists, even if they were recognized in a project. Contemporaryism as a movement without a manifesto, based more on the connections and uniformities that the Market allows. If one is lost in the path, marked by colored lines, it is difficult to find the right way. Between the purple and the yellow on the ground, between dialogues and the future, there is a relative expressive difference.
There remain the doubt what the difference between a curator of an exhibition and a fair like this one. For the first there isn't a Market problem (at least in the immediatly, then certain is around the corner) in the other you have to be in the Market. The first is often funded, the second need a fundrasing. Is it so strange to prefer Artissima?
Etichette: art, artfair, artissima, contemporary, theothersartfair, torino