The twenty-fifth edition of Artissima has just ended, the most important fair and Italian contemporary art market, which has drawn to a pool of over 190 exhibiting galleries, coming from 35 different countries. From the 2nd to the 4th November, at Turin’s Oval, 20 thousand square meters of exhibition hosted almost 55 thousand people visiting a selection of works conducted by an exceptional curatorial board, brilliantly managed for the second time by Ilaria Bonacossa.
This year’s edition develops on the theme of time, in eight sections that collect a diverse global cross-section of the contemporary scene, where time, understood as a dynamic flow aimed at changing the reality, acquires the ability to be suspended, accelerated or modified right through the artistic experience.
Great success was the installation of the Drawings section, of unanimous success both for the critics and for the public thanks to the exceptional curating, which included in its selection the incredible black and white walldrawing of Marc Bauer together with the delicate Parisian watercolors of Alexandre Singh, and the new Sound section, set up at the Officine Grandi Riparazioni – which also hosted the Mike Nelson exhibition – in sixteen monographic works selected by curators Yann Chateigné Tytelman, curator and art critic in Berlin and Nicola Ricciardi, artistic director of the OGR, in an installation that is also able to attract a variegated public – even if less qualified, thanks to the interactivity of the exhibited works. One of the interventions is the one dedicated to Charlemagne Palestine (Brooklyn, 1945) presented by Levy.Delval of Brussels, which brings together video, material and painting, taken from the exhibition “Une Installation Sonore” presented at Galerie Sonnabend in New York in 1975.
Too absent is the affirmed contemporary Italian art, which has only shown up in the space dedicated to the beginners and our great pillars, from de Chirico to the Macchiaioli.
The turnout of the public has intensified compared to previous years, especially as more than 5000 collectors visited: the fact that Artissima is increasingly identified as a research fair has considerably increased its quotations and its international reputation. Among the collectors Andrea Fustinoni and Fabio D’Amato, interviewed by Il Sole 24 ore, they have integrated into their collection – already very large considering that it counts about 230 works of contemporary art of which 50% are Italian – very diversified choices among them, proactively investing also and especially on video art works, the new frontier of the contemporary panorama: their most important purchase in fact refers to the video work “Big Rock Candy Mountain” by Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian, a collective of three Iranian artists that are part of the Dubai gallery Isabelle Van Den Eynde. (The video of the 2015 edition of 7 + 3 AP was on sale for 25 thousand dollars). They gave great space to photography indeed, with the acquisition, among others, of a gelatin print by Linda Fregni Nagler, for sale at 15 thousand euro. The artwork is part of a larger project in which the artist has re-photographed the subjects of the ‘School of Yokohama’ and printed them in a darkroom on hand-painted jellies – a quote from the Yokohama Sashin technique, with an unmistakable exotic taste.
Other focus of attention is the stand where Clara Ianni is exposed in various flexions including sculptures, videos, texts and installations with prices ranging between 3 thousand and 6 thousand euro, and the one of the Laveronica gallery, which features watercolors by Alejandra Hernàndez, most of which is sold for 3 thousand euros, with some exceptions of up to 9 thousand.
The outcome of this Artissima fair is therefore fervid and positive, both in terms of proposal and response, also thanks to the international resonance that has attracted a diverse but sensitive and active audience both by gallery owners and critics and especially by collectors.