From Italian Council and major Italian museums, greater support

Which contemporary Italian artists (living) have, in your experience, achieved the greatest visibility abroad and thanks to which factors (e.g., galleries, biennials, exhibitions, curators, etc.)?
Maurizio Cattelan (thanks to himself), all those from Arte Povera still living: Giovanni Anselmo, Michelangelo Pistoletto, Giuseppe Penone, Gilberto Zorio (thanks to history). Francesco Vezzoli (through gallery and trend), Elisabetta Benassi (Biennale and curator), Tatiana Trouvé (curators and collector), Vanessa Beecroft (curators and gallery), Lara Favaretto (gallery owner and Biennale), Paola Pivi (gallery owner), Roberto Cuoghi (gallery owner and Biennale), Gianfranco Baruchello (Biennale, curator and gallery).

In your opinion, which contemporary Italian artists have not yet achieved adequate visibility relative to their artistic value and what are the causes of this lack of recognition?
Elisabetta Di Maggio, Maria Morganti, Maria Teresa Sartori, Mario Airò, Stefano Arienti, Bruna Esposito, Giuseppe Caccavale, Liliana Moro, Eva Marisaldi, Alice Cattaneo, Massimo Bartolini, and others. The causes are inadequate recognition and lack of promotion by national institutions and galleries, but also by Italian curators who have power yet never include Italian artists in international competitions, such as biennials around the world.

What, in your experience, are the stages and elements that favor the international career of a contemporary Italian artist? And where is the Italian system lacking in supporting Italian contemporary art on the international artistic scene?
Greater support through the Italian Council, which offers very selective calls and many obstacles before granting support. Internationally recognized Italian museums should dedicate solo exhibitions and, above all, bring them to museums abroad.