How the Path to an Artist’s Success Is Changing

In your experience, which contemporary Italian artists (living) have achieved the greatest visibility abroad, and thanks to which factors (e.g., galleries, biennials, exhibitions, curators, etc.)?
It depends on what is meant by "visibility." If by this word we mean fame in popular culture and mainstream media, then among living Italian artists only Maurizio Cattelan is truly “visible.”
If we understand visibility as broad recognition within the art world—reaching art enthusiasts and exhibition visitors—then the still-living artists of Arte Povera and those of the Transavanguardia certainly fall within the definition, as do Cattelan himself, Vanessa Beecroft, and Francesco Vezzoli. If, finally, we refer to recognition among curators, gallerists, and other professionals of the international art system, the list fortunately becomes much longer and includes the “outsiders” of the 1960s and ’70s who have recently received renewed attention (like Giorgio Griffa or Irma Blank), as well as younger-generation artists such as Roberto Cuoghi, Pietro Roccasalva, and Lara Favaretto—in addition to those previously mentioned.

I have the impression that the pathways to recognition for an artist have changed considerably over time, mirroring the evolution of the art system. For the artists of Arte Povera and the Transavanguardia, the figure of the critic/curator/impresario—such as Germano Celant and Achille Bonito Oliva—was still decisive, without, of course, underestimating the work of the galleries that supported and promoted those artists or the importance of institutional recognition. For more recent generations of artists, however, what matters most is the connection with a powerful gallery that has a strong international presence. This is even more true considering that the Poveristi and Transavanguardisti presented themselves as groups, which gave them greater visibility, while today’s younger artists, each with their own individual poetics, operate independently. Institutional exhibitions remain important across generations—provided they are held in institutions with real international influence, which are relatively few and mostly based abroad—as does participation in major recurring events (biennials, etc.). Spending periods working abroad, or even residing abroad permanently, certainly helps artists develop valuable international networks or can even lead to their "adoption" by an art system stronger than Italy’s—I’m thinking, for example, of Monica Bonvicini. Lastly, but no less importantly: collectors. Having the support of major collectors and entering their collections is not only a validation but an active driver of success in an artist’s career. The tastes and choices of prominent collectors influence those of other collectors, galleries, and institutions—and increasingly, these institutions are private foundations established by the collectors themselves (see Prada or Pinault). I’m not including auction prices in this list. Subject to strong speculative dynamics, they are so unstable and volatile that they can pose a risk of ruining, rather than making, an artist’s fortune.

In your opinion, which contemporary Italian artists have not yet achieved adequate visibility in proportion to their artistic value, and what are the causes of this lack of recognition?
There are too many to make a list. At least since the postwar period, Italian artists have consistently had far fewer chances of international success than their counterparts from countries with stronger economies and cultural systems, such as the United States, the UK, and Germany. Even when recognition has come, the market disparity often remains overwhelming—Lucio Fontana himself used to lament the difference in value between his works and those of Jackson Pollock. The reasons have been cited many times. Without going too far back or into too much detail, some persistent problems include: The weakness of Italian contemporary art institutions compared to those of other countries (just compare, not even in terms of influence or prestige, but simply the number of contemporary art institutions in France or Germany versus Italy); Tax burdens and regulations that make Italian galleries less competitive than their foreign counterparts; The lack of a coherent and effective strategy for promoting contemporary Italian art abroad, which reflects a broader lack of national appreciation for present-day art. A significant indicator of this is the way Italian mainstream media treats contemporary art: sporadically, carelessly, and often reduced to gossip.

In your experience, what are the key stages and factors that support the international career of a contemporary Italian artist? And where does the Italian system fall short in supporting contemporary Italian art on the international scene?
The answer largely follows from the previous two. An Italian artist can hope for an international career if they are: Represented by influential galleries; Exhibited in respected public or private institutions, whether in Italy or abroad; Invited to biennials or other major recurring exhibitions; Supported and collected by prestigious collectors. The Italian system falls short: Institutionally (too few institutions, underfunded); In the coordinated promotion of our contemporary art abroad (recently the Quadriennale has made a commendable effort in this regard, but it too struggles with very tight budgets); In the tax disadvantages Italian galleries face compared to foreign competitors. I realize I haven’t yet mentioned the support of critics or curators as a key factor in an artist’s success. Unfortunately, in my view, that support is often marginal compared to the factors listed above. Let’s say it’s a welcome and sought-after endorsement, but not essential—decisions are increasingly made upstream by other players in the art system.