08 February 2017
- About Art Fair in Bologna year 2017, what were your impressions about?
The visitor (Dreams and Conflicts. DICTATORSHIP OF THE SPECTATOR, was titrated in 2003 Francesco Bonami her Venice Biennale) knows how to choose, not to be polite and directed: it is experiencing and seeing in politics; people want to go back to see, to think and above all to choose, perhaps between what we do not consider art but by their ideas and emotions are, for themselves, and does not need (and this is proving unsuccessful in all sectors) that others think they can decide for themselves what is right to see exposed and you should select.
I was greeted with great enthusiasm the choice of Dr. Vettese to the direction of Art Fair but, while maintaining the extremely positive judgment that I still have her, I must unfortunately note that, at least to date, the "cure Vettese" he has not yet given the desired fruits. It was obvious that it would be difficult, if not impossible, to revive within a few months an event which now suffers from a chronic disease, but medicine teaches us that some care you can always find, and you can still improve the conditions of life of patients .
Today it tends to rigidly select not only the galleries participating in the event but also to ask them a program, as if the gallery had in it only those artists "for investment and / or value", this choice that reveals deleterious to all artists "not called" thwarting the moral and suggesting the worm, the collectors who perhaps just a few months before they bought their works in the same gallery, that they are not so much "well regarded" by the gallery itself . We forget that Italy is different from the rest of Europe: a time when there was still the EEC, he is still speaking of the "Land of a Hundred bell"; We forget often that his wealth, its history and its art is precisely the sum of those differences, many of those choices and those original individuality.
- Tell us about your book "Anninovanta 1990-2015. An Italian art path." What are the reasons that prompted you to write it? and with whom you have worked?
The book was the first attempt of analysis through a historical perspective of the generation of Italian artists active between the late eighties and early twenty-first century. The volume was already fully recognized this about having been added to these prestigious International Libraries: https://www.worldcat.org/title/anninovanta-1990-2015-un-percorso-nellarte-italiana/oclc/905852983&referer=brief_results
I am very grateful to Prof. Cosimo Semeraro Professor of Modern and Contemporary History and Secretary Emeritus of the Pontifical Committee of Historical Sciences of the Holy See that it wanted to treat the presentation.
- In one of your interviews you speak of art as a visionary phenomenon, and the ability of some artists to read the signs of the future. I believe that through art it is possible to better understand the history in its evolution, social changes, and so on. This might mean that the artist is not a hermit away from the world. So why do not pay too much attention to his work from a social point of view?
With the Book "Anninovanta 1990 - 2015. An Italian art path" I wanted to encourage, perhaps for the first, a due process of historicizing of that generation of artists that has seen its highest expression in the '90s. Today more than ever desirable that our artists will be finally recognized that excellence, that role of anticipatory which are all true artists of art history, artists have staged their works in the human and social problems of everyday life, anticipating for many years, with enlightened foresight, the crisis of values, not only economic, that our society is now experiencing dramatically. As I write now from 2007 on Finanzaonline forum under the name of "investart" the majority of collectors, critics and insiders did not even want to see what those artists were telling us with their works. So it was not easy: in the time of "quiet here we are we", when everyone lived above their real possibilities, lulled by the illusion that everyone could become owners of a house paying a mortgage and continuing to spend and spend on drinks & Co., it was easier to look the other way and ignore the warning messages that the artists we were sending. Yet they were there, with their pictures, telling us "warning: this is the future." At least today, it is impossible not to recognize our myopia.
From reading the book emerge clearly Artists better than others anticipated the huge crisis of values even before the economic globalized world is experiencing in recent years.
- What were the major changes in the period that you mentioned, in terms of the market and collecting the works?
The question that is asked more frequently to us insiders who approaches the art world recently is whether there are certainties, question that personally answer that, if it was all so automatic, it would be sufficient to go with his wife at Gagosian , buy one or more works by artists he represents, perhaps accessing private funding, to be able to pay his university studies to the children, and perhaps leave them a little capital for when you put a family. But, as is true that prices of Works of Art are extremely difficult to predict in the short term, it is also true that the art market, such as finance, is an "efficient market", which, as the Nobel Prize for the economy, Eugene Fama, the market is not wrong and must be left to do, without controls and public interference, since this tends spontaneously to equilibrium. Well what happened to the stock market has had an impact also for the art market. Empirical studies of economists on changes in equity and bond prices are in fact similar to those of Art and Artists. If we take for example the crack of the new economy, the subprime bubble and the crisis of sovereign bonds they resemble what happened in the same years in Art. Acclaimed artists, brought to the stars and then vanished into thin air, or that have been collapsing in an instant their quotes, then the time has returned or is returning, and will return in the near future.
Along with the art historian Salvatore Puzella in the book "Investing in Art and Collectibles" we explained in a totally innovative way the art market mechanisms, considering that no one has a crystal ball to predict the future, we wrote a book all 'incontrario listing all the errors not to do when you approach investing in art, if the collector will avoid such "mistakes" most likely the chances of seeing one day rewarded their choices increase exponentially in number than the "do it yourself" or recommendations for purchases reported in a more or less disinterested from the literature, periodic or less of the sector.
- I think it is undeniable the value of some old gallery owners, friends of the artists, heroic if they have attempted at their expense (and sometimes failing) to fill large gaps in the public sector, but in many cases, today, in my opinion, we have to do with the "landlord" unscrupulous and a little 'surface that care only to sell space. How you should move an art gallery to be credible?
The gallery should first be programmed with at least 12 months' notice of its activities, offering a mix of artists that speak for themselves first among them with their work and seek a true international character trying to be present in international exhibitions of prestige and seeking contacts not a fee, which is difficult but not impossible, with critics and Italian and / or foreign Curators who believe them first in the artist. Let us never forget that the Critic lives and is successful thanks to the artist and his job, and a serious professional does not let some escape the value (historical even before economic) when and if there is the presence.
- We are also witnessing a proliferation of international Prize for a fee where there is no real selection, the only selection is the payment of the space to be used ... maybe art has taken a drift a bit 'too close to major shoppimg centers.
The proliferation of such "disastrous" events a fee is exclusively the responsibility of the artists who want to participate, if you miss a request for such events would collapse immediately even their proposal.
Personally I find it shameful in certain events such the patronage that the institutions (read then the State) sometimes issue with too much lightness and superficiality.
But let me break a lance in favor of shopping centers, with our old towns suffering from chronic parking shortages and the "electronic policeman" that controls access of the restricted traffic area making it very likely for the "foreign visitor" to stumble in a fine (the gates of access are often poorly also reported by most current browsers), the idea of "moving" the Art Galleries and centers in easily accessible and usable i see it as a great opportunity for the future of certain industry business.
In this regard I would like to mention the volume "Who colors Nanu?" written with the Artist Stefano Tedioli with the aim of introducing children to Love for the Arts from an early age and which part of the proceeds from book sales will be donated to charity the Organization of Solidarity with the people SAHARAWI, "RIO DE ORO Onlus".
- The painting can be judged by the jury along with the photography and all other forms of art or craft? You can be placed on the same level?
In Italy Prizes in Art have so far not worked, "the judges" should be people who with their life / Passion have over the years proven to have them in the first launched and above consolidated Artists came to the attention of institutions / museums / Collections especially foreign. I do not see today in the vast majority of the jurors our own people of this caliber, maybe in the future should be "to outsource" the jury of these Awards to our own eminences or better foreign excellences, I think mainly British and American.
- What are the countries of the world that currently offer interesting things, in your opinion?
The U.S.A., particularly in Los Angeles and in New York remains the single vital hub for the Contemporary Art World, currently the global market, however, it allows to discover new artists everywhere.
- The web display can replace the real one for the sale of their works?
Definitely yes and Italy or rather the Italian collector is already paying from his own pocket this backwardness and provincialism of our gallery owners still closed like a clam in their galleries or afraid to face a now truly global market. Purchases of Web art works are steadily increasing around the world and giants like Amazon online Art Gallery that are already positioned on the field show that it is not possible to go back, now the road has been traced.
- For Art Fair I heard insistently talk about your own future show on Italian artists of the "Generation 60" (ie born between 1960 and 1970) requested loudly by artists and industry professionals. Can you give us a preview?
Would be very nice; but it really is a big undertaking. It would take a fine show, it would be very interesting, one of the few cases in which a book (Anninovanta 1990-2015. An Italian art path ") causes a display, usually always the reverse is true, also because of this, my, it is a true art criticism text.
I would like to thank you for your attention and, for those wishing to continue the discussion, I refer to the appointment of Brown Finanzaonline Forum Publisher.
Roberto Brunelli http://www.brunelliroberto.it/
The visitor (Dreams and Conflicts. DICTATORSHIP OF THE SPECTATOR, was titrated in 2003 Francesco Bonami her Venice Biennale) knows how to choose, not to be polite and directed: it is experiencing and seeing in politics; people want to go back to see, to think and above all to choose, perhaps between what we do not consider art but by their ideas and emotions are, for themselves, and does not need (and this is proving unsuccessful in all sectors) that others think they can decide for themselves what is right to see exposed and you should select.
I was greeted with great enthusiasm the choice of Dr. Vettese to the direction of Art Fair but, while maintaining the extremely positive judgment that I still have her, I must unfortunately note that, at least to date, the "cure Vettese" he has not yet given the desired fruits. It was obvious that it would be difficult, if not impossible, to revive within a few months an event which now suffers from a chronic disease, but medicine teaches us that some care you can always find, and you can still improve the conditions of life of patients .
Today it tends to rigidly select not only the galleries participating in the event but also to ask them a program, as if the gallery had in it only those artists "for investment and / or value", this choice that reveals deleterious to all artists "not called" thwarting the moral and suggesting the worm, the collectors who perhaps just a few months before they bought their works in the same gallery, that they are not so much "well regarded" by the gallery itself . We forget that Italy is different from the rest of Europe: a time when there was still the EEC, he is still speaking of the "Land of a Hundred bell"; We forget often that his wealth, its history and its art is precisely the sum of those differences, many of those choices and those original individuality.
- Tell us about your book "Anninovanta 1990-2015. An Italian art path." What are the reasons that prompted you to write it? and with whom you have worked?
The book was the first attempt of analysis through a historical perspective of the generation of Italian artists active between the late eighties and early twenty-first century. The volume was already fully recognized this about having been added to these prestigious International Libraries: https://www.worldcat.org/title/anninovanta-1990-2015-un-percorso-nellarte-italiana/oclc/905852983&referer=brief_results
I am very grateful to Prof. Cosimo Semeraro Professor of Modern and Contemporary History and Secretary Emeritus of the Pontifical Committee of Historical Sciences of the Holy See that it wanted to treat the presentation.
- In one of your interviews you speak of art as a visionary phenomenon, and the ability of some artists to read the signs of the future. I believe that through art it is possible to better understand the history in its evolution, social changes, and so on. This might mean that the artist is not a hermit away from the world. So why do not pay too much attention to his work from a social point of view?
With the Book "Anninovanta 1990 - 2015. An Italian art path" I wanted to encourage, perhaps for the first, a due process of historicizing of that generation of artists that has seen its highest expression in the '90s. Today more than ever desirable that our artists will be finally recognized that excellence, that role of anticipatory which are all true artists of art history, artists have staged their works in the human and social problems of everyday life, anticipating for many years, with enlightened foresight, the crisis of values, not only economic, that our society is now experiencing dramatically. As I write now from 2007 on Finanzaonline forum under the name of "investart" the majority of collectors, critics and insiders did not even want to see what those artists were telling us with their works. So it was not easy: in the time of "quiet here we are we", when everyone lived above their real possibilities, lulled by the illusion that everyone could become owners of a house paying a mortgage and continuing to spend and spend on drinks & Co., it was easier to look the other way and ignore the warning messages that the artists we were sending. Yet they were there, with their pictures, telling us "warning: this is the future." At least today, it is impossible not to recognize our myopia.
From reading the book emerge clearly Artists better than others anticipated the huge crisis of values even before the economic globalized world is experiencing in recent years.
- What were the major changes in the period that you mentioned, in terms of the market and collecting the works?
The question that is asked more frequently to us insiders who approaches the art world recently is whether there are certainties, question that personally answer that, if it was all so automatic, it would be sufficient to go with his wife at Gagosian , buy one or more works by artists he represents, perhaps accessing private funding, to be able to pay his university studies to the children, and perhaps leave them a little capital for when you put a family. But, as is true that prices of Works of Art are extremely difficult to predict in the short term, it is also true that the art market, such as finance, is an "efficient market", which, as the Nobel Prize for the economy, Eugene Fama, the market is not wrong and must be left to do, without controls and public interference, since this tends spontaneously to equilibrium. Well what happened to the stock market has had an impact also for the art market. Empirical studies of economists on changes in equity and bond prices are in fact similar to those of Art and Artists. If we take for example the crack of the new economy, the subprime bubble and the crisis of sovereign bonds they resemble what happened in the same years in Art. Acclaimed artists, brought to the stars and then vanished into thin air, or that have been collapsing in an instant their quotes, then the time has returned or is returning, and will return in the near future.
Along with the art historian Salvatore Puzella in the book "Investing in Art and Collectibles" we explained in a totally innovative way the art market mechanisms, considering that no one has a crystal ball to predict the future, we wrote a book all 'incontrario listing all the errors not to do when you approach investing in art, if the collector will avoid such "mistakes" most likely the chances of seeing one day rewarded their choices increase exponentially in number than the "do it yourself" or recommendations for purchases reported in a more or less disinterested from the literature, periodic or less of the sector.
- I think it is undeniable the value of some old gallery owners, friends of the artists, heroic if they have attempted at their expense (and sometimes failing) to fill large gaps in the public sector, but in many cases, today, in my opinion, we have to do with the "landlord" unscrupulous and a little 'surface that care only to sell space. How you should move an art gallery to be credible?
The gallery should first be programmed with at least 12 months' notice of its activities, offering a mix of artists that speak for themselves first among them with their work and seek a true international character trying to be present in international exhibitions of prestige and seeking contacts not a fee, which is difficult but not impossible, with critics and Italian and / or foreign Curators who believe them first in the artist. Let us never forget that the Critic lives and is successful thanks to the artist and his job, and a serious professional does not let some escape the value (historical even before economic) when and if there is the presence.
- We are also witnessing a proliferation of international Prize for a fee where there is no real selection, the only selection is the payment of the space to be used ... maybe art has taken a drift a bit 'too close to major shoppimg centers.
The proliferation of such "disastrous" events a fee is exclusively the responsibility of the artists who want to participate, if you miss a request for such events would collapse immediately even their proposal.
Personally I find it shameful in certain events such the patronage that the institutions (read then the State) sometimes issue with too much lightness and superficiality.
But let me break a lance in favor of shopping centers, with our old towns suffering from chronic parking shortages and the "electronic policeman" that controls access of the restricted traffic area making it very likely for the "foreign visitor" to stumble in a fine (the gates of access are often poorly also reported by most current browsers), the idea of "moving" the Art Galleries and centers in easily accessible and usable i see it as a great opportunity for the future of certain industry business.
In this regard I would like to mention the volume "Who colors Nanu?" written with the Artist Stefano Tedioli with the aim of introducing children to Love for the Arts from an early age and which part of the proceeds from book sales will be donated to charity the Organization of Solidarity with the people SAHARAWI, "RIO DE ORO Onlus".
- The painting can be judged by the jury along with the photography and all other forms of art or craft? You can be placed on the same level?
In Italy Prizes in Art have so far not worked, "the judges" should be people who with their life / Passion have over the years proven to have them in the first launched and above consolidated Artists came to the attention of institutions / museums / Collections especially foreign. I do not see today in the vast majority of the jurors our own people of this caliber, maybe in the future should be "to outsource" the jury of these Awards to our own eminences or better foreign excellences, I think mainly British and American.
- What are the countries of the world that currently offer interesting things, in your opinion?
The U.S.A., particularly in Los Angeles and in New York remains the single vital hub for the Contemporary Art World, currently the global market, however, it allows to discover new artists everywhere.
- The web display can replace the real one for the sale of their works?
Definitely yes and Italy or rather the Italian collector is already paying from his own pocket this backwardness and provincialism of our gallery owners still closed like a clam in their galleries or afraid to face a now truly global market. Purchases of Web art works are steadily increasing around the world and giants like Amazon online Art Gallery that are already positioned on the field show that it is not possible to go back, now the road has been traced.
- For Art Fair I heard insistently talk about your own future show on Italian artists of the "Generation 60" (ie born between 1960 and 1970) requested loudly by artists and industry professionals. Can you give us a preview?
Would be very nice; but it really is a big undertaking. It would take a fine show, it would be very interesting, one of the few cases in which a book (Anninovanta 1990-2015. An Italian art path ") causes a display, usually always the reverse is true, also because of this, my, it is a true art criticism text.
I would like to thank you for your attention and, for those wishing to continue the discussion, I refer to the appointment of Brown Finanzaonline Forum Publisher.
Roberto Brunelli http://www.brunelliroberto.it/
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