Simone Menegoi talks about Arte Fiera 2020

The 44th edition of Arte Fiera will take place from 24 to 26 January 2020, directed for the second year by Simone Menegoi. The opening (by invitation) is set for Thursday 23 January, from 12.00 to 21.00. The event will be held in pavilions 18 and 15, therefore access will no longer be from Piazza Costituzione, but from the North entrance.

You are in the second year of office for the artistic direction of Arte Fiera: what positive results do you expect from this edition?
First of all, I hope that the great effort we are making to encourage the presence of Italian and foreign collectors at Arte Fiera – hundreds of VIPs hosted in the hotel, both on indication of the galleries and of our VIP manager, Costanza Mazzonis di Pralafera – has a immediate and tangible fallout in favor of our exhibitors. At the level of participations, we receive the benevolent welcome of the past year’s edition in the form of welcome returns from important galleries (Giorgio Persano, Pinksummer, A arte Invernizzi, Il Ponte, and many others) and significant new arrivals, also from the abroad (Richard Saltoun and Arcade from London, for example).

What are the reasons for boasting the 2020 edition?
Compared to 2019, the signed sections go from one to three: Fotografia e immagini in movimento, curated, like last year, by the Fantom platform; Pittura XXI (curated by Davide Ferri), an unedited section dedicated to painting of the new millennium; Focus, a restricted and prestigious selection of post-war masters curated by Laura Cherubini and dedicated to the events of painting in Italy between the late Fifties and the late Seventies. And then a respectable public program, which includes a new special artist project entrusted to Eva Marisaldi (Welcome), a large exhibition curated by Eva Brioschi that continues the recognition in the institutional collections of modern and contemporary art, public and private, from Bologna and the region (L’opera aperta), a program of high-level “performative activities” (Oplà. Performing activities, curated by Silvia Fanti), a busy calendar of talks curated by our content partner “Flash Art”. Last but not least: a more refined and attentive catering to the gastronomic proposals of the territory.

Under his direction, the fair has bought a “clarity” who certainly did not have before. Even many galleries that at the beginning had softly grumbled about the new rules, then proved more understanding about the choice of the outfits…
It is true, at the beginning there were some doubts about the decision, indispensable for me, to limit the number of artists per stand. But at the end of the fair, a survey commissioned by BolognaFiere showed that around 75% of gallery owners approved the choice; they had probably appreciated its effect on the general display of the fair. This year, in any case, meeting the needs of the galleries that deal with Modern and post-war art, we have introduced the possibility of presenting more than six artists, as long as they are part of a project dedicated to a movement, a trend, an artistic current of the twentieth century

Will the new pavilions help in any way the growth of this edition?
First of all, the new pavilions allow us to change the dates of the event, which returns to be held on the last weekend of January (the traditional pavilions 25 and 26 were not available on those dates for reasons of the fair calendar). In this way, Arte Fiera separates itself from the dates of Art Genève, avoiding an overlap that damaged both events. The new pavilions, 18 and 15, are also much more recent than the previous ones, and have an interesting architectural structure.

Ultimately, what distinguishes Arte Fiera from the galaxy of all the other Italian fairs? And from foreign ones, such as Art Basel and Frieze?
Arte Fiera wants first of all to be a great showcase for Italian art of the XX and XXI century and for the galleries that represent it; and I believe that this ambition is already enough to remove it from other fairs, first and foremost those in Turin and Milan, which aim to be as international as possible. The very success of their policies creates the possibility, indeed, the need for a great Italian art fair, at a time when the latter (from the historical avant-garde to the latest generations) is increasingly appreciated across borders. This does not mean closing on the very precious contributions that can come from abroad, but framing them in the most profitable way for the fair and the galleries themselves. In this sense, I believe that the curated sections, very selected areas and specific objectives (as in the case of painting) can be very effective in resuming dialogue with non-Italian galleries. The first signs of this dialogue will be seen already in 2020.

What are the reasons for visiting Arte Fiera?
In addition to all that I have already said, the fact of visiting an event with an inclusive, welcoming and communicative style.

Don’t you think that the 26 euro day ticket is a bit expensive?
First of all, there are many reductions compared to this price, starting from those for students. And last year, when the ticket price was the same, around 50,000 people visited the event.


Simone Menegoi, direttore artistico di Arte Fiera, ph courtesy Arte Fiera 2020Simone Menegoi, direttore artistico di Arte Fiera, ph courtesy Arte Fiera 2020

Corinna Gosmaro, Piccolo paesaggio, 2019, pittura spray su filtro di poliestere, cm 100x70. Foto Cosimo Filippini. Courtesy The Gallery Apart, RomaCorinna Gosmaro, Piccolo paesaggio, 2019, pittura spray su filtro di poliestere, cm 100×70. Foto Cosimo Filippini. Courtesy The Gallery Apart, Roma

Tony Oursler, Le volcan, 2015-2016, video installazione 3D DLP. Foto di Bruno Bani. Courtesy Dep Art Gallery, Milano

Michael Bauer, Boy, 2017, olio, pastello, carboncino, acrilico su tela, cm 91x81. Courtesy Norma Mangione Gallery, TorinoMichael Bauer, Boy, 2017, olio, pastello, carboncino, acrilico su tela, cm 91×81. Courtesy Norma Mangione Gallery, Torino

MAKERART: art compares with new technologies at Maker Faire Rome

MakerArt, a new project dedicated to the relationship between contemporary art and new technologies, will take place in the framework of Maker Faire Rome – The European Edition 2019, an event promoted and organized by the Rome Chamber of Commerce through its Special Innova Camera Company which will be held at the New Fair of Rome from 18 to 20 October. MakerArt constitutes, for the first time in the history of this event, the opening to contemporary art through the creation of synergistic and integrated paths between makers and international artists selected by the curator Valentino Catricalà. We now understand the importance of this exhibition moment from his words.

DS: What do you think are the strengths of this edition of Maker Faire?
VC: Being the Maker Faire of Rome the official European edition and, therefore, the largest one, it has many facets ranging from robotics to artificial intelligence, environmental and technological sustainability and this year art, the new section on which we are betting a lot, even in the forecast of future projects. So, art definitely comes as great novelty, but I also can say that the Maker Faire can be a great novelty for art.

DS: What do you expect, in terms of feedbeck, from this first time of MakerArt and from the opening to the contemporary by an event of this importance?
VC: It is also a new challenge for me. I have been dealing with the relationship between art and technology for years, both in the field of curating and of academic studies. In recent years my interest in the relationship between art and innovation has increased (a book of mine about this theme is going to be published by the Londoner publisher Rowmann & Littlefield), being able to enter in the largest context of creativity and innovation in Europe is an important occasion. It fascinates me to put artists together with companies in the technology sector, in order to create new synergies with engineers and technicians, to think about new forms of production and to collaborate with research centers. All this represents a new world still to be explored.

DS: Also considering your studies, how much importance do you think the relationship with new technologies is acquiring in artistic research?
VC: Believing that the relationship with technology is something new is a mistake. It is the mistake that many people make today that throw themselves on these themes, a look at the past is fundamental. It is true, however, that today there is a greater interest both from the art world for the technological sector, and from the technological sector for the art world. It can represent the opening to a new world. The problem is that this synergy must be well oriented and addressed, otherwise you risk a misunderstanding and, therefore, a failure. In my opinion, this may be the new role of a cultural institution today, or of an art curator: take up the reins and to work as a guide.

DS: Do you think that in the development of the binomial Art / Technology the collaboration between artists and companies of the sector can play a decisive role?
VC: For many years artists have been working with companies, we can think about Bell Labs in the United States during the Seventies, but only today it is becoming a real trend. Think about the Microsoft Research 99 program, or the artist residences promoted by Google, Adobe, etc. What is being created is a real new trend, both cultural and of marketing. The Maker Faire is the right place for this experimentation, being the reign of innovation. Art must take a leading role inside this context. The artist invents new technologies by experimenting, however his goal is never the invention itself, but the possibility that gives the technological medium to his poetic research, for the epiphany of his vision. This is fundamental for the market today: for the production of new creative contents for new platforms, the inclusion of an ethical and deeper vision, to ethically orientate innovation.

DS: By an overall reading, what do you think are the stylistic features that emerge most from the work of the artists on show?
VC: First of all I want to underline that we have adopted a particular curatorial approach. I preferred not to have an art pavilion, but to spread the works within the fair, creating an ad hoc path and allowing the building of a new synergy with the context. It was not easy to choose the artworks, but I am very happy to be able to show some fathers of the relationship with technology such as Bill Vorn, Joaquin Fargas, Cod.Act, Patrick Tresset, and more or less young national and international artists, like Aura Satz, Donato Piccolo, Richard Garet, Fedrico Solmi, Chiara Passa and many others. This year we preferred to focus on themes such as artificial intelligence, environmental sustainability, robotics, and the sound universe.

DS: Summing up, finally, do you feel that the comparison with art can be a winning bet for a manifestation like this and, above all, something replicable?
VC: As mentioned, this experience represents a challenge that, if won, can really lead to something new. What more art can do today is fundamental and this should also be understood by the art world. If we do well, something unexpected can may come up. What I’m trying to do is to bring art into the world of innovation and, at the same time, bring innovation to the art world.


1_Joaquiìn Fargas, Rabdomante, 2019Joaquiìn Fargas, Rabdomante, 2019

Mattia Casalegno, Grass Roller, 2017

Makerart. 10_Sergey Komarov e Alexey Grachev, EXALTATION, 2018Sergey Komarov e Alexey Grachev, EXALTATION, 2018

Cod.Act, πTon, 2017

Bill Vorn, Hysterical Machine, 2010

Flashback 2019

Traveling through time: this is the chimera that Flashback, the most contemporary fair of ancient and modern art, makes possible from seven editions, without any fear of space-time paradoxes, under the guidance and coordination of Stefania Poddighe and Ginevra Pucci. The motto of the event is inspired by the thought of the artist Gino De Dominicis, for whom “Art is all contemporary”, always speaks to the present, even when it emerges from the depths of the past.

Once you have crossed the threshold of the Pala Alpitour in Turin, open from 31 October to 3 November, visitors will be catapulted into a place out of time and space, where, among the exhibitors’ spaces – more than forty, from all over Italy and abroad -, the blind looks of De Chirico’s mannequins (proposed by Galleria dello Scudo) will be lost in the details of wooded Flemish landscapes (exhibited by Caretto & Occhinegro). There will also be works by the great Picasso (exhibited by Galerie Jean-François Cazeau) who will dialogue with Vasari (Piacenti), while W. Apolloni & Galleria del Laocoonte, whose project compares female portraits from every era, will propose the Marchesa Du Chatel de Crozat by Domenico Pellegrini, responding in this way with a seraphic air to the disturbance of La Petroleuse vainçue by Giacomo Ginotti (Frascione Arte) and to the vertigo of Libby Faux CMYK, Evan Penny’s disturbing muse (opera and author proposed by Gian Enzo Sperone).

To give shapes and colors to this new chapter of Flashback there will be Sergio Cascavilla, eclectic artist, poised between comics and design, with eight works created ad hoc and a great wall-painting (very colorful, fun, with a youthful flavor). Noteworthy, without a shadow of a doubt, is the double solo show by Eva Marisaldi and Hidetoshi Nagasawa, two apparently distant artists who meet in the universal theme of travel, and, one year after their death, the exhibition dedicated to Marco Gastini, with the story of his wandering between unusual materials and daring experiments, to the special project Opera Viva Barriera di Milano conceived by Alessandro Bulgini and edited by Christian Caliandro.

In short, a galaxy of events, performances, talks and exhibitions, including the Mariachiara Guerra flashback labs; flashback sound by Mauro Battisti and Ivan Bert; the flashback videos of the Ramingo collective; and – this year’s absolute novelty – the food and drink flashback food and wine adventure.

This year’s theme, Gli Erranti, is inspired by “The Time Wanderers”, a science fiction novel by the duo Arkadij and Boris Strugackji. The invitation that Flashback wants to give to its visitors is therefore to abandon all itinerary and prejudice, to walk along roads that have never been beaten and to wander without prejudice and without fear of error. Ultimately, after seven years, Flashback proves to be a world that continues to expand, a paradox of success, which carries forward its message of the timelessness of art, declining it into every possible variant.


Flashback 2019. L’arte è tutta contemporanea – settima edizione
31 October – 3 November 2019 h 11 – 20
Pala Alpitour, Turin
Press preview: Wednesday 30 October h 11 – 13
Preview for collectors: Wednesday 30 October 16 (by invitation only)
Vernissage: Wednesday 30 October 18 pm (by invitation only)
Free shuttle: Pala Alpitour – Oval from 31 October to 3 November 2019

Marco Gastini, Retablo, 1986 In collaborazione con Archivio GastiniMarco Gastini, Retablo, 1986. In collaborazione con Archivio Gastini

Sergio Cascavilla, Senza titolo, 2019Sergio Cascavilla, Senza titolo, 2019

Flashback 2019. L’arte è tutta contemporaneaFlashback, edizione 2018

Eva Marisaldi, Surround, 2017, exhibition view at Galleria de’ Foscherari (Bologna) Flashback exhibition, Cambiando dimora: i passi nel tempo, a cura di Michela CasavolaEva Marisaldi, Surround, 2017, exhibition view at Galleria de’ Foscherari (Bologna)
Flashback exhibition, Cambiando dimora: i passi nel tempo, a cura di Michela Casavola

Evan Penny, L. Faux: CMYK, 2001-2005, courtesy Gian Enzo Sperone (Sent, New York)Evan Penny, L. Faux: CMYK, 2001-2005, courtesy Gian Enzo Sperone (Sent, New York)

Giacomo Ginotti, La Pétroleuse vainçue, 1887 courtesy Frascione Arte (Firenze)

Art Fair Zagreb

From 9 to 13 October the first edition of ART FAIR ZAGREB will be held. The artistic director of the fair is Ante Potočnjak, painter and designer. He is a long-time member of the Croatian Designers Association, Likum, of the “Colors of Fortune” cooperative and of many other official associations. Potočnjak is the founder and supporter of numerous artistic events and charity exhibitions. Among other things he started the first artistic seminar of the city of Kastav and the summer seminar of the island of Krapanj.

The fair is presented as a low-cost event, with the participation and first-hand promotion of many authors, but in reality it also presents some gems, such as the membership of One Monev Gallery in Sofia and the Independent University of Banja Luka. There are works of all kinds (performances, photos, sculptures, paintings, etc.), but it also hosts some sections with a very traditional and academic approach. The fair is spread over 4 thousand square meters, 40 thousand visitors are expected and it hosts 275 stands. With a certain cunning, to attract the public and the curious, it is realized in parallel with the “Ambienta” fair, dedicated to furniture and design.

As a fair event, the Kontura auction house will organize a pre-auction exhibition of 300 works of art (paintings, sculptures, installations and photographs) many of which were created during the middle of the last century, which is to say that of the Croatian art will be proposed the “classics” (such as the internationally renowned artists Ivan Kožarić, Julius Knifer or Mladen Stilinović), some of the most important representatives of conceptual art (Ivo Gattin, Braco Dimitrijević, Boris Demur, Željko Kipke, Zlatko Kopljar, Antun Maračić), together with the most significant representatives of the young generations (Kristijan Kožul, Marko Tadić, Ivan Fijolić). Finally, more than 100 art photographs of some of the most significant contemporary Croatian photographers (Ante Brkan, Stanko Abadžić, Boris Cvjetanović) will be offered for sale.

The auction will be held in Hall 7A on Saturday 12 October starting at 1:00 pm and the second session is scheduled for 3:00 pm.

JULIET magazine participates in Art Fair Zagreb not only with the free distribution of 3,500 back issues of the magazine and extra issues, but also with five exhibition stands: “City Angels” by Giovanni Pulze, where six canvases on the theme of metropolitan angel will be exhibited; the stand where the installation “Kiss me again” by Lucia Flego will be placed; the environment defined by eleven canvases (all, strictly square format) by Elisabetta Bacci and a floor installation, with the overall title “Cycles”; the stand with colorful works (canvas and ceramic plates) by Carlo Fontana entitled “Paysages”. In addition, stand 3B will host a propaganda project, entitled “Since 1980 style & elegance”, a collective that highlighting the title in the year 1980, wants to bring to mind the release of the number zero of the magazine JULIET and the beginning of this adventure that is about to reach the goal of forty years of activity. Among the various works exhibited there will also be those of: Bagrat Arazyan, Maurizio Cattelan, Piero Gilardi, Mark Kostabi, Živko Marušič, Gregor Purgaj, Antonio Sofianopulo.

Cover image: Lucia Flego “Kiss me again” 2016, sculpture/neon, cm 150 x 100


Art Fair Zagreb
Hall 6, ZV
Avenija Dubrovnik, Zagreb
open to the public: October 9th and 10th
from 10.00 to 19.00
11, 12, 13 oct
from 10.00 to 20.00

ArtVerona 2019

From 11 to 13 October, ArtVerona returns, the event dedicated to modern and contemporary art at its 15th edition, the third directed by Adriana Polveroni, with the participation of 150 galleries. So a growing fair in every respect.

In addition to the Main Section, dedicated to the most consolidated artists, the fair also pays attention to young people and more experimental realities. Numerous prizes, with two novelties: the MZ Construction Prize, created on the initiative of two entrepreneurs and collectors from Campania, and the Casarini Prize created by the DueTorriHotels Group and aimed at painting under 35.

All other awards are confirmed: Level 0, to which adhere the directors of some of the major Italian museums, supported by AGSM, the Icon Award, the WiDiba Award in collaboration with Banca Widiba, the Under 35 Photography Award, Display, Sustainable Art Prize promoted by the Ca ‘Foscari University of Venice, the second edition of the Veronafiere fund A Disposizione and recognition for the Independent Spaces, in the tenth anniversary of the project, supported by AMIA. The exhibition continues with Free Stage, the section dedicated to the artists who are not yet represented by a gallery, this year with eight promising young people invited by Alberto Garutti and with the fourteen project spaces selected for the section dedicated to Independent Spaces, curated by Cristiano Seganfreddo.

Research is a fundamental stimulus for the market, for galleries and collectors, but also for the world of Italian museums that with their directors participate in the Level 0 format and undertake to identify one of the artists at the fair to carry out a project in the course of the following year. Arturo Galansino joins for the first time Palazzo Strozzi in Florence, Daniele Pitteri for Fondazione Modena Arti Visive and Andrea Busto for MEF in Turin. Focus is on the relationship with collectors, to whom opportunities for meetings are also dedicated during the year, starting from the North East, and the company, with new collaborations. Among these, the one with Sineglossa, winner in partnership with Art Verona of the Culture Call of the Cariverona Foundation.

To celebrate its fifteenth anniversary ArtVerona opens to the public the adjacent Mercatali Galleries: the 6,400 square meters of this fascinating industrial archeology building are transformed for three days into “Loony Park”, a large environmental installation by the artist Norma Jeane, created by Contemporary Locus and curated by Paola Tognon. Not just a party, but an artistic experience that evolves from day to night, to enter into the mechanisms of entertainment: an interactive work that embraces visual arts and performance. Juliet art magazine will be present in the space dedicated to art publishing. Finally, we report some of the galleries that have joined this edition of ArtVerona: Enrico Astuni (Bologna); Alessandro Bagnai (Foiano della Chiana); Dep Art Gallery (Milano); Federico Luger (Milano); MLZ Art Dep (Trieste); Studio Raffaelli (Trento); Santo Ficara (Firenze); Studio G7 (Bologna); Michela Rizzo (Venezia); White Noise (Roma).


ArtVerona 2019 Pad 11 e 12 of Veronafiere

viale dell’Industria

invitation only preview: Friday 11 October 11.00 – 14.00 opening for the public: 14.00 – 19.00

opening hours: Saturday 12 and Sunday 13 October 11.00 – 19.00 045 8298204

ArtVerona 2019Norma Jeane “The Straight Story”, cabine individuali per fumatori, Frieze Projects, Frieze Art Fair, Londra 2008. Ph Linda Nylind, courtesy the artist and ArtVerona

Bianca Baldi “Classic Scent” 2018, silver gelatin print mounted on Alu-dibond, wooden contruction, 120 x 100 cm, detail. Ph courtesy Flip Project Space, Napoli (sezione Art Verona dedicata agli Spazi Indipendenti)

Norma Jeane “Loony Park”, ph Mario Albergati, courtesy Art Verona 2019 (spazio delle Gallerie Mercatali)

What to see at MiArt 2019

The 24th edition of MiArt opens from 5th to 7th April to the public after the invitation only preview on Thursday, at Pavilion 3 in Fieramilanocity, flanked by a very rich city schedule available on the website The international fair of modern and contemporary art in Milan, directed for the third consecutive year by Alessandro Rabottini, proposes a path divided into 7 sections to present 185 galleries (of which 75 are international) that will be confronted with the motto hold everything dear, title of a poem by Gareth Evans, curator of the Whitechapel Gallery in London. The phrase is at the same time an observation of the apprehension with which art looks at reality and an invitation to attention tout court, in an age in which the conflicting coexistence of poetics and different styles reflects the bewilderment of the individual in front to the contradictions of the contemporary.

Among the most urgent issues the theme of consumerism stands out, to which the installation by Jon Kessler (Edoardo Secci) refers, a circular procession made of nativity figurines and other kitsch fetishes otherwise destined to the landfill ironically controlled by a smartphone installed on a selfie stick. Erratum, an exciting arrangement by Latifa Echakhch (Kaufmann Repetto Gallery) made with the colored shards of hundreds of broken tea glasses alludes to the phenomenon of over production. The violent destruction of these objects and the fact that they are poor series reproductions of the traditional chalices of Morocco, the country of origin of the artist, adds the question of the crisis of local cultures in the globalized world.

In some way connected to this aspect is the fascination for a nature from time to time perceived as utopian, artificial, ambiguous or elusive. In this regard, the dialogue between the works of Giovanni Kronenberg and Florian Roithmayr in the Renata Fabbri stand is remarkable: the first presents samples of natural elements reworked according to the philosophy of the minimum (but decisive) intervention, while the second observes the way in which the physical and chemical reactions born from the interaction between artificial materials, such as the injection of polyurethane foam into the plaster, produce forms with a deceptively biomorphic appearance. Federico Tosi (Monica de Cardenas) creates suggestive cement fossils that seem to prefigure a distant post-atomic future, while Namsal Siedleck (DVIR gallery / Magazzino) protects a cactus already buried in precious silver casings. Also very classic at first sight representations, such as the technicolor pornographic flowers painted by Marc Quinn (Contini Art Gallery) or the evocative photographic landscapes by Elger Esser (Alessandra Bonomo) printed on coppery silver leaf, imply a nature irreparably adulterated and subject to human aesthetics. The sculpture by Ariel Schlesinger (Galleria Massimo Minini) refers to nature as a metaphor of tenacity and resistance, a bronze branch that feeds and preserves an inexhaustible burning flame.

In the era of instantaneousness and telematic ubiquity the loss of historical memory and fixed points scares: this is reflected in the archives of Lucia Tallova (Soda Gallery), which catalogs personal and other memories in alienating architectural settings with a historiographical method, and the conceptual assemblies of Farah Khelil (Officine dell’Immagine) that make traditional and technological devices for the conservation of knowledge implode into objects that are at once dense and rarefied. The intricate installations by Chiharu Shiota (Mimmo Sconamiglio) interpret the reminiscence as a visceral tension between presence and absence, while Franco Guerzoni’s Archeologies (Studio G7) interprets the passage of time as a stratigraphic superimposition of materials.

If memory is weak, even identity becomes more and more chameleonic: on the infinite variations of the self, is centered Urs Lüthi’s poetics (Otto Gallery) and Ulay‘s giant posters – protagonist (this time without Marina) of the Richard Saltoun gallery stand – are played on the display of an ambiguous gender identity. The work by Yves Scherer (Gallleriapiù) is colder but not less engaging, combining memories of his private life, fan fictions and celebrity cultures in intriguing voyeuristic devices. At the fair, the artist presents a clone of himself (made with a 3D printer from old family videos) while playing on a sensual flesh-colored carpet under the watchful eye of Kate Moss in a display case. The search for identity in fragmentation and analysis can be a suggestion to look at both John Coplans’s monumental self-portraits (P420) and Vasilis Papageorgiou’s environmental conceptualizations (UNA) that reflects on the essence of aggregation places with very refined deconstructions and abstractions.

There is no lack of quotations from the history of the art of the past, as in the intriguing still life by Keith Edmier (Mimmo Sconamiglio), which materializes in the form of sculpture some floral compositions present in famous paintings of seventeenth-century Italian painting. Or in the luminous sculpture by Bethan Huws, (Vistamare) which reproduces the famous ready made by Duchamp. All the historical phases of passage generate uncertainty in the market and for this reason the artists question the status of the artwork: Simon Linke (Thomas Brambilla) reproduces the advertisements on Artforum of some of his successful colleagues with a pasty and sensual painting, the Untitled sculpture by Henrik Olesen (Cabinet), is formed by an empty display case, while Edson Luli in This is not the artwork (Prometeogallery) hypothesizes the value of a statement wrapped by cellophane.

In the absence of predominant artistic addresses, many collectors choose to rely on the masters already permanently consecrated by auctions and museum exhibitions that have managed over the years to evolve their poetics. An emblematic case is David Hockney (Lelong & Co.), the highest-paid living artist in the world – last November his Portrait of an Artist (pool with two figures), 1972 was auctioned for 90.3 million of dollars. – Heir of the great avant-garde tradition and stubborn supporter of the centrality of painting through uninterrupted research that also includes new media, presents at the fair a series of color graphics made with the iPad. Even among young people there is a significant return to figurative art, with no more separation between analogical and technological media: if even Ed Atkins (Cabinet), guru of digital art, does not disdain the ink and the sheet of paper to paint his his sci-fi visions, we understand how figurative art is back. The knowledge of traditional techniques goes hand in hand with the ability to reinvent the languages ​​and to experiment contaminations between practices, as Michelangelo Pistoletto teaches that updates the characters screen-printed on his mirrors portraying a family of tourists surprised in taking a selfie ( whose image will overlap with that of the many visitors who will be photographed in the works of the master).

To conclude, we would like to highlight two stands with a museum imprint: that of Hauser & Wirth dedicated to Paul McCarthy, whose anguishing visions operate a merciless criticism of the system of dominant values ​​in the Western world through Freudian symbolism linked to sex and food, and Massimo de Carlo’s one  with the pop-kitsch installation by Rob Pruitt, an ambiguous merchant of apparently innocent delights that conceals a merciless criticism of the mystifications of contemporary society. Also in 2019 MiArt, which was experiencing a deep crisis a few years ago, confirms itself as a leading event for the Italian and international public. The involvement of young and competent curators and the change in orientation of the Ente Fiera, which now focuses decisively on the event in terms of investment, has made it possible to bring together almost all the best Italian galleries in the contemporary sector and some international stars whose choices influence the market is decisive.


Lucia Tallova (Soda Gallery)

Farah Khelil, Historie en flottaison, 2018 papier maché (Histoire de l’art – Ernst Gombrich), piano cord, acrylic

Chiharu Shiota, State of being (photographs), 2018 struttura metallica, filo, fotografie (Mimmo Sconamiglio)

Urs Lüthi, Selfportrait as Kafka at the time he wrote his novel the Metamorphosis, 2014 aluminium cast on wooden base (Otto Gallery)

Urs Lüthi, Selfportrait as Kafka at the time he wrote his novel the Metamorphosis, 2014 aluminium cast on wooden base (Richard Saltoun)

Keith Edmier, Still life of flowers with silver pitcher (Andrea Belvedere 1652-1732), 2018 acrilico dentale, poliuretano, pittura acrilica, maiolica (Mimmo Sconamiglio)

Bethan Huws, Tour, 2007 tubo di vetro bianco con gas argon neon montato su Perspex (Vistamare)

Simon Linke, Joel Shapiro at Pace London, 2017 oil on canvas (Thomas Brambilla)

Henrik Olesen, Untitled 2, 2019, glass, glue, metal brackets (Cabinet)

Edson Luli, This is not the artwork, 2019. Inkjet print on cotton paper, PVC translucent (Prometeogallery)

Jon Kessler, Exodus, 2016 Trunk, wood, aluminium, rubber wheels, found figurines, iPhone with selfie stick, LCD screen and motor (Eduardo Secci Contemporary)

Latifa Echakhch, Erratum, 2004 broken glasses site specific installation adaptable dimensions(Galleria Kaufmann Repetto)

Giovanni Kronenberg (Renata Fabbri)

Federico Tosi (Monica De Cardenas)

Namsal Siedleck, Cactacee, 2017, cactus, nickel (DVIR gallery Magazzino)

Marc Quinn, The slopes of Mount Abu, 2010 oilon canvas (Contini)

Elger Esser (Alessandra Bonomo)

Ariel Schlesinger, At arm’s length II, 2017 – Alluminio sabbiato, olio per lampade, fuoco (Massimo Minini)

Yves Scherer, Boy, 2019 (Gallleriapiù)

John Coplans, Knees with Fist, Side View, 1984 gelatin silver print (P420 Arte Contemporanea)

Vasilis Papageorgiou (UNA galleria)

David Hockney, 4 Blue Stools, 2014 Montage photo imprimé sur papier et monté sur aluminium (Lelong Co.)

Ed Atkins, Untitled, 2019, ink and acrylic on paper (Cabinet, London)

Michelangelo Pistoletto, Selfie – La Famiglia, 2018 (Galleria Continua)

Rob Pruitt, YOU + I (Massimo De Carlo)

ArtCity 2019: a guide to the “not to be missed” events

The most awaited week of the year has begun in Bologna for all fans of contemporary art: as always, Arte Fiera catalyzes a myriad of events spread throughout the city, as well as three collateral exhibitions (Set Up, Paratissima and Fruit Exhibition). The seventh edition of Art City, the official programme of Arte Fiera off, in this edition involves 108 places with 118 projects, not counting the hundreds of other initiatives that make Bologna the place to be in the first weekend of February.

Let’s now look at some possible itineraries that will test even the most tireless presences, certain that in every street it will be fun to get lost in a constellation of events and situations and that everyone will be able to find his own individual art path. As a starting program, we therefore propose those that we believe are the most “unmissable” stages of this tour de force.

One of the pulsating centers of art in Bologna is above all the Manifattura delle Arti, a recently redeveloped district that has its nerve center in MAMbo, where a visit to the first solo exhibition in Italy by the Argentinian artist Mika Rottenberg is a must. She focuses her research on the critique of mass production in contemporary society. In the Sala delle Ciminiere she proposes a large installation composed of sculptural objects and videos that explore in a sarcastic and bizarre way the seduction, the magic and the despair of our hyper-capitalist and globalized reality. (On Saturday at 11 am we will mention the talk with the artist and Germano Celant). Somehow connected to this exhibition is Débora Delmar‘s solo show in the nearby GALLLERIAPIÙ, which analyzes the influence of European coffee culture in the development of cities, in social relations, in interactions and in the contemporary lifestyle. The project attempts to establish links between the function of the bars and the gallery space to reflect on how the aesthetic choices of the places in which we live affect our behavior within them. In 5 minutes walk we arrive at P420, which presents a collective exhibition of 5 young artists (Adrian Buschmann, George Rouy, Peter Shear, Sofia Silva, Tamina Amadyar) who propose different approaches to painting with the aim of freeing a constructive and emotional violence that goes beyond the result and beyond the object in the direction of action and process. The challenge is to create a difficult exhibition, happy to cause a slight headache. At CAR DRDE we find the exhibition of David Casini, who re-elaborates in a series of refined unpublished sculptures the theme of the Tuscan landscape caught outside the common places to which it is usually associated. Localedue continues its radical curatorial approach that for the current season includes the presentation of individual works-shows offered to the free interpretation of the viewer with a new work by Giovanni Kronenberg. In Porto dell’Arte we will have a chance to visit a solo show by Giulio Alvigini, young Italian (simple) artist who in a few months has made Instagram go crazy with the Make Italian Art Great Again project, an intelligent meme-like satire on the Italian art system. To reset the mind after all these exhibitions, we recommend returning to MAMbo for the DJ set of Messnr, Huerco S. and Mayo Soulomon curated by Locomotiv Club, which will also host the official after party of Art City.

In the station area it is worth visiting the Enrico Astuni gallery which, on the occasion of the fair, inaugurates the group exhibition PoliArte (The Art of Arts), curated by Giacinto Di Pietrantonio, with works by Gabriele Basilico, Alberto Garutti, Ugo La Pietra, Corrado Levi and Alessandro Mendini, five authors who have all studied Architecture at the Milan Polytechnic, with the intention of not focusing purely, or not at all, on architecture. Going back to via Indipendenza to reach to the city center we find the three windows of Tripla, which offers a large site-specific mural by Rob Chavasse made with an ink jet gun normally used to identify and catalog the goods in large retailers. Along the way we propose a stop at the Oratorio San Filippo Neri, where Leandro Erlich will set up an evocative collection of clouds that will stage a delicate dance of evanescent forms.

In Piazza Maggiore in the courtyard of Palazzo d’Accursio we will find a large sculpture by Eduard Habicher, a contemporary protagonist of a solo show at the Studio G7 gallery, formed by bright red steel beams, a welcoming shape in which the viewer can enter and watch the historical building from a different perspective. Upstairs in the Sala Farnese the large canvases arranged in crypt by Massimo Kaufmann will wrap the visitor in a dense pictorial setting that investigates the rhythm of chaos, the Dionysian and the shapeless. Moving to Palazzo de’ Toschi we will visit Terraforming Fantasies, a personal exhibition by Belgian photographer and videomaker Geert Goiris in an ambitious design set consisting of hexagonal exhibition modules. The artist’s research is focused on the landscape, which in his shots appears suspended and enigmatic, as if it belonged to another planet. From there you go then to the de ‘Foscherari gallery, which houses a beautiful exhibition of Vajiko Chachkhiani, in which we see scattered on the floor a strange population of toothed and ungulate pumpkins, hybrid ghosts resulting from the assembly of fruits and animals without more pulp, meat and innards. The exhibition reflects on the concepts of fragility, absence, otherness in an environmental layout to be crossed with respect and caution.

At the Museum of Palazzo Poggi we find a sculptural installation by Christian Fogarolli that, in dialogue with the permanent collections focusing on the medical traditions of the past, focuses on the so-called “stone of madness”, an intruder that was previously believed to appear in people’s brains with psychiatric disorders causing behavioral deviance. If madness was considered a foreign body to be eradicated, the popular surgical attempts to remove it would endanger the patient’s safety. In the nearby Porta San Donato we will see the lighting installation by Patrick Tuttofuoco, a gigantic and inoffensive pop hand.

For those who still have the energy to move out of the city centre (but a free train leaving the Fair every 20 minutes will accompany visitors around the main locations of Art City) we recommend first of all Thomas Struth‘s exhibition at MAST. With a surgical approach, the German photographer shows usually inaccessible places, such as space research laboratories, nuclear facilities, operating theaters or drilling platforms. In these avant-garde positions a technology is so complex that it is obscurely threatening like the power that the hidden structures of control and influence exert on our existence. And then at Villa delle Rose the precious retrospective of Goran Trbuljak, a conceptual artist who, from the end of the ’60s, investigates the limits of art making and the existential status of the artist with irony and intelligence through alternative means of production and representation that provide the constant renegotiation of the implicit rules of the system. To conclude, Marsala District (SetUp Plus circuit), collective of creatives, innovators, dreamers, art managers, invades with art a private home in via Augusto Murri (info and reservations in collaboration with DAMSlab for the project Barrhaus, whose name pays homage to the owner’s surname and winks at the German avant-garde movement. The multidisciplinary research of four young artists (Francesca Catellani, Diego Repetto, Alice Cannara Malan, Bénédicte Vanderreydt) will challenge the public to look beyond the beautiful to ask ethical and social questions about the role of women as archetypes and as future bodies.

More info:

Art City 2019Mika Rottenberg, NoNoseKnows (video still), 2015 Video e installazione scultorea 21’ 58” Edizione: variante dell’artista Dimensioni variabili Courtesy l’artista e Hauser & Wirth

Art City 2019 Sofia Silva, The Engagement Ring, 2017, olio e acrilico su tela, cm.25×35 (Courtesy the artist & P420, Bologna)

Art City 2019Giovanni Kronenberg

Art City 2019Gabriele Basilico, Beirut, 1991, Pure pigment print, 110 x 140 cm, edizione 3/15 Courtesy Archivio Gabriele Basilico

Art City 2019Geert Goiris, Owl, 2018

Art City 2019Leandro  Erlich, Clouds, 2016, Mori Art Museum, Tokyo, 2017 Photo credit Hasegawa Kenta

Artissima 25 yrs – The Day After

Also this year Artissima, one of the most interesting artistic events in Italy, ended with great success of the public and great enthusiasm of visitors, all intent on actively participating in the various initiatives of the kermesse. It is undeniable the organizational and qualitative effort that the staff of Artissima, led by Ilaria Bonacossa, performs every year.

In particular this year, on the occasion of the 25th anniversary, the fair has been enriched by the new Sound section, in an osmotic dialogue with the Ogr, of new special projects, such as the one dedicated to Carol Rama, on the occasion of one hundred years from her birth and of the popular editorial and video program Artissima stories. 25 years of art, aimed at proposing different points of view on the city and on the contemporary art world.

The countless initiatives at the other exhibition venues of the city have allowed visitors to follow their ideal itinerary, thanks to the simultaneous inauguration of the various exhibitions this weekend. The multiple galleries that exhibit at Artissima represent the international art scene of the moment and walking through the stands of the Oval is always an interesting moment of reflection, analysis and observation of what gallery owners think represents the current artistic moment and how the audience shares or less such choices.

Among the most interesting galleries for the innovative artistic proposal of the works represented we found:

In Situ-Fabienne  Leclerc

The In Situ gallery of Fabienne Leclerc is particularly aimed at researching and experimenting with expressive content and methods. The work of the Dutch artist, Marcel Van Eeden, presented in Artissima, is inspired by photographic and pictorial events created before the author’s birth in 1965. Around this dominant motif the artist builds intense and dramatic charcoal drawings, referring to attractive graphic references and archiving techniques, through which he weaves the narration of his work. Particularly striking are the drawings in which unusual narrative elements are introduced with intense colors like Untitle 2018 (in the picture) in which the puzzle of narrative references, also takes on a particularly attractive chromatic connotation. The same gallery, which also exhibits video installations by Gary Hill, while not focusing on an emerging artist like the latter, however, prefers the use of the audiovisual medium, now become mainstream among younger artists. In the suggestive performance “Incidence of catastrophe 1987-1988”  inspired by the book “Thomas the Obscure” by Maurice Blanchot, the performer stages at a suggestive journey first between the pages of the book and then outside the surrounding world, with a performance in which seems to be that the book comes out of the alphabetical characters with which it is written and is progressively transformed into visual storytelling.

22,48 m2

In the 22.48 m2 gallery the work of Nelly Monnier is exhibited with series of paintings Bracconage. The artist, present on the stand, shows us the methods of realization of her works, original and very studied. Starting from the various French landscapes, Monnier realizes a meticulous observation of the colors and shapes of the vegetation, reproducing them in a simplified way on canvas. Alongside each work inspired by nature, she produces another one inspired by industrial logos, with the same colors, but with completely different shapes, giving rise to an interesting dialogue that combines the classical form of abstract painting with a more modern form and linked to contemporary reality.

Galerie Anne- Sarah Bénichou

The absurdity of everyday life is the artistic focus of Massinissa Selmani, represented by the Galerie Anne – Sarah Bénichou. The artist inspired by various news events appeared in newspapers, surrealist photographs and elements of literature and graphic design, reproduces delicate and minimalist designs that highlight the dichotomy between comedy and the tragic nature of everyday life. They are flanked by small sculptures that also reflect the themes just exposed and give spatial completeness to the concepts already illustrated in the drawings.

Glassyard Gallery

The Glassyard Gallery is a new entry in Artissima and represents a real added value for the kermesse. In particular, the photographs of Peter Puklus bring, in the fairly standardized panorama of the event, a breath of fresh air. With the series “The Hero Mother – How to Build a House” the photographer destroys the normal axiom of the established roles between man and woman, placing himself in an entirely original perspective. He thus succeeds in elaborating, with an absolutely fascinating aesthetic, a reversal of roles and actions within the family and between the parents.

Galleria Massimodeluca

The leading artist of the Galleria Massimodeluca at Artissima is Filippo Berta. The photographer realizes in his works the “delegated performances”, in which he assigns to others the visual representation of the fundamental motives of his research. This is what happens in the performance “In our image and likeness” of which a photographic representation is exhibited at the fair. With the work of great impact “Homo Homini Lupus”, instead, the artist with a game of references to the Hobbesian doctrine and the return of man to the state of nature, depicts in a video a pack of wolves that contend, ripping it from jaws, an Italian flag. The evident references to the Italian political reality and to its undeniably internal fractures connote the performance, making it a reason for deep reflection.

Marcel Van Eeden, Untitled, 2018, Pencil and color pencil on paper (Galerie Fabienne Leclerc)

Nelly Monnier, Haut-Jura, 2018, diptych, oils on canvas ( 22,48 m2)

Massinissa Selmani, Galerie Anne – Sarah Bénichou

Peter Puklus, Erection (from the series “The hero mother how to build a house”), 2016 (Glassyard Gallery)

Filippo Berta, Homo Homini Lupus, 2011, HD Video 2’ 33’’, Video-Still, Photo Print Diasec© (Massimodeluca)

About Art Verona 2018

The 14th edition of Art Verona ǀ Art Project Fair, currently ongoing in Verona, confirms the event as a growing reality, aimed at promoting quality collections that do not necessarily require prohibitive economic investments. The second year of Adriana Polveroni’s artistic direction shows the involvement of 150 exhibitors focused on Italian artists (that’s why #backtoitaly) engaged on the theme of utopia, an invitation to experience collecting as a chance to promote new values ​​and and a conscious participation not only in art but also in the world itself. In the Main Section, the main axis that crosses the two pavilions of the fair, historic artists of the twentieth century, mid career and young mix: the presence of the leading Italian galleries (very fond of Artissima and Miart) is still missing, but the proposals are convincing and meditate, very attentive to quality in the modern section and sensitive to new cultural and aesthetic issues in the most strictly contemporary sector.

The area dedicated to research and experimentation, which is one of the most interesting and vital aspects of the fair, is consolidated: the so-called Raw Zone dedicated to solo shows, Scouting, composed by 16 experimental galleries presenting 3 artists each, and the lane dedicated to Project Spaces, increasingly active in identifying and supporting emerging artists. On the other hand, it is an absolute novelty the Focus on project, which brings together galleries from a host country, this year Lithuania with its lively artistic scene thanks to the collaboration with Julija Reklaité, cultural representative of the Republic of Lithuania in Italy.

Among the works on show we find a lot of painting, in its various stylistic and technical aspects, photography, more and more inseparable from digital or manual re-elaboration, and small and medium-sized sculpture. The prevalence, as it is obvious in a fair situation, is of stands that present varied proposals not connected by a stringent thread (the curatorial theme suggested hovers as intention without offering many immediate feedback), among which we enjoyed identifying some recurring elements letting ourselves be guided by curiosity and by the irresistible attraction for some art works.

First of all we noticed a return of the portrait, intended as an attestation of presence, social investigation, introspection, provocation or critical tool: it goes from the collages of the American street artist Bäst (Cellar Contemporary) who stratifies on the canvas finds and images taken from the street in an endless process of overlapping and masking, to the credit card photo of the Slovenian trio Janez Janša (MLZ Art Dep), the result of a relational performance realized in 2015 with the unwitting collaboration of Nova Ljubljanska Banka. The bank’s personalized credit card service was in fact used to create a portrait of each of the 3 artists derived from the fragmentation of the magnified photos of their identification documents subsequently recomposed in a large mosaic of customized credit cards. The work criticizes from the inside the fictitious feeling of affinity with the client that this service wants to suggest and the not so far hypothesis of a new identity document that also records the user’s financial transactions. Social control also refers to the series Self Portrait from Surveillance Camera (2018) by Irene Fenara (UNA), a series of self-portraits made by the artist standing in front of the surveillance cameras of various places, always disturbingly lonely, and retrieving the network freeze picture of hers passage. The result is an intriguing game of presence-absence poised between voyeurism and reappropriation of the self. Alongside these examples we have to mention a classic of the genre, I’d like to be a cubist sculpture in another life (2005) by Urs Lüthi (L’Elefante Gallery) a bust of the Swiss artist supported by an unstable totem of cubist decompositions, and a real gem, a letter that Maurizio Cattelan has self-sent in the ’90s replacing the stamp regulate his own mocking effigy (Nicola Turco arte contemporanea).

The history of art is self-perpetuated through a continuous game of references and citations, as Adriano Altamira points out in the series of photocollages entitled Coincidence Area (Studio G7). Survival and analysis of the images of the past is also the starting point for the search for younger artists, such as Serena Gamba (Isolo 17 Gallery) who proposes a rigorous mapping that conceptualizes a witch’s sabbath by Francisco Goya through words drawn on canvas partially erased by black-thread embroidery or Vik Muniz, which is also inspired by the Spanish master to compose a dystopian miniaturized landscape in which the residues of the production chain seem to have definitively annihilated man. Art as a craft linked to a heritage of techniques and instruments handed down over time alludes to the work / object presented by Spazio Buonasera, a pack of wax crayons produced by the seven founders of the project.

The artificiality of the contemporary landscape as a symptom of a new lifestyle and a new aesthetic brings together the lush plant weaves of the street artist Tellas (Magma Gallery) in which the natural fluidity of natural lines becomes a genetic sampling of basically monochromatic decorative patterns, 3D renderings by Matilde Cassarini (Porto dell’Arte) examining an archive of Soviet brutalist architectures turning them into science fiction models and the synthetic domestic interiors by Laura Giardino (Area / B) rendered hostile by incongruities and traps reminiscent of increasingly sophisticated virtual rooms of video games created with digital graphics. The apotheosis of mystification is reached in Sheep n.16 by Yang Maoyuan (ABC-ARTE), a true sheep swollen and dyed blue as the extreme derivation of the sheep Dolly, the first artificially cloned living being. The nostalgia of a clearly legible landscape and the observation of its impossibility in the era of multiplication of images is instead at the center of the black and white analog montages of Roberto Rinella (aperto al contemporaneo), which overlap real panoramic views in spaces saturated by simultaneity.

The disturbing charm of contemporary materials with their attractive colors and their muted effectiveness in evoking family and alienating worlds at the same time is an increasingly frequent source of inspiration for the younger generation. In this regard, we point out the elegant and balanced sculptures by Martino Genchi (Galleria Michela Rizzo), the sensual painted guardrail by Giovanni De Cataldo (z2o Sara Zanin Gallery), the suffused cosmetic painting by Serena Vestrucci (Galleria Fuoricampo) and the refined installation by Agostino Bergamaschi (Galleria Massimodeluca) that interprets in a quintessential key the fantastic creatures of the medieval bestiaries through original material and stylistic combinations.

Bäst, Sei cappelli, 2018, tecnica mista su tela (Cellar Contemporary)

Janez Janša, All About You, 2015 (MLZ Art Dep)

Irena Fenara, Self Portrait from Surveillance Camera, 2018, digital print on hahnemuhle paper (UNA)

Adriano Altamira, Area di Coincidenza: Pietà, 1990-2009, fotocollage (Studio G7)

Serena Gamba, Lettura e obnubilamento de Sabba di Streghe, 2018, grafite su tela, filo nero (Isolo 17 Gallery)

Tellas, Wet Tropics, 2017, acrilico su tela (Magma Gallery)

Matilde Cassarini, News From Nowhere – nowhere #3, 2018 (Porto dell’Arte)

Laura Giardino, Flood 01, 2016, tecnica mista su tela (Area/B)

Martino Genchi (Galleria Michela Rizzo)

Giovanni De Cataldo, Yoshi, 2018, guardrail verniciato (z2o Sara Zanin Gallery)

Urs Lüthi, I’d like to be a cubist sculpture in another life, 2005 (Galleria L’Elefante)

Maurizio Cattelan, Senza titolo, 1994 (Nicola Turco arte contemporanea)

Vik Muniz, Saturn devouring one of his son, after Francisco de Goya y Lucientes, 2005, stampa cromogenica

Wax pastels, 2018 (Spazio Buonasera)

Yang Maoyuan, Sheep n.16, 2003, pecora tinta e gonfiata (ABC-ARTE)

Roberto Rinella, collage fotografico (aperto al contemporaneo)

Agostino Bergamaschi, 2018 (galleria Massimodeluca)

Serena Vestrucci, Trucco, 2018 (Galleria Fuoricampo)

Ale Guzzetti, Dies Irae Gregorian robotic chair, 2011-2012, resina, silicone, led, voci sintetiche e circuiti elettronici (Valmore Studio d’Arte)

Christina Steinbrecher-Pfandt tells viennacontemporary

viennacontemporary, artistically directed by Christina Steinbrecher-Pfandt and organized by managing director Renger van den Heuvel, closed its premises with excellent sales and 30.863 visitors. The fair, mostly focused on a dialogue with countries belonging to East Europe, has hosted four Italian galleries: Alessandro Casciaro (Bolzano), Doris Ghetta (Ortisei), Private View (Turin), Michela Rizzo (Venice). The galleries represented a number of artists among whom few Italians, in particular we undeline the presence of Antonello Viola (presenting suggestive and lyrical works) for Alessandro Casciaro and Silvano Tessarollo (presenting ironical and “cartoon inspired” works) for Michela Rizzo.

We talk about viennacontemporary with Christina Steinbrecher-Pfandt.

How did viennacontemporary project start?
We took the license to organize the fair in 2012 from Reed Exhibitions. Three years later, in 2015 we decided to move to Marx Halle due to problems getting a fixed date from Reed Exhibtions. We moved and wanted to buy the name but since Reed Exhibitions didn’t want to sell the name we started viennacontemporary. The idea is to do an international fair with the focus on Eastern Europe.

What are viennacontemporary goals compared to other European art fairs, like Frieze or Art Basel?
We are a specialized fair and we take care of educating our visitors about our focus.

Why Marx Halle can be considered a good site for an art fair?
Beautiful grand palais like metal structure: it has high ceiling with day light flooded windows.

Can you give us some hints about this 2018?
We have a stunning ZONE1 (curator Victoria Dejaco) with young Austrian artists and a convincing explorations section with international positions. The 2018 edition showcases artists with the ability to look closer at the stories of everyday life, political situations, materials and the human condition.  Also, check out the Armenia Focus (organizer Armenia Art Foundation; curator Sona Stepanyan; artists: Ayreen Anastas & Rene Gabri, Mher Azatyan, Arman Grigoryan, Piruza Khalapyan, Rebecca Topakian, Mika Vatinyan), we really go far to show interesting art scenes from CEE. Armenia went through a peaceful revolution this year and artists feel the need to present their work internationally.

How many gallerists will partecipate this year?
118 galleries and institutions from 27 countries.

What is your opinion on Italian galleries low participation?
We are working to establish strong links. All takes time.

Any forcast about 2019 edition?
I can give you the fair dates 2019–2022: 26–29 September 2019, 24–27 September 2020, 23–26 September 2021, 22–25 September 2022.

Elisabetta Bacci

Christina Steinbrecher-Pfandt, ph A. Murashkin, courtesy viennacontemporary

Fair view, ph Niko Havranek, courtesy viennacontemporary

Fair view (Six ways from Sunday makes for a full week, 2018, work of Alexander Viscio, Galerie Michaela Stock), ph Niko Havranek, courtesy viennacontemporary