Lack of Connection Between Emerging Artists and the System

Which Italian contemporary artists born after 1960 have gained the most visibility abroad, and thanks to which factors?
Some of them include Maurizio Cattelan, Marcello Maloberti, Lara Favaretto, Nico Vascellari, Diego Perrone, and Monica Bonvicini. The contributing factors vary and are specific to each artist, including the type of research and production of their work, the galleries that have represented and supported them over the years, the international exhibitions in which they have participated, and the opportunities to carry out research/production residencies abroad, which allowed them to engage with international artistic communities.
What they all have in common is the ability to respond to the urgencies of their time.

Which artists, on the other hand, have not yet achieved adequate visibility, and why?
Elisa Giardina Papa is a mid-career artist who, especially in the last few years – particularly following her participation in the Venice Biennale two years ago – is starting to receive the recognition she deserves on the international stage.
Generally speaking, research-based practices developed through the use of video are, in my opinion, still underappreciated in Italy and poorly circulated. This “delayed” recognition in Italy may in turn make it more difficult for such work to circulate and gain visibility abroad as well.

Which emerging Italian artists (born since 1990) currently have the potential for adequate international visibility, and thanks to which factors?
Rebecca Moccia, Isabella Costabile, Costanza Candeloro, and Monia Ben Hamouda are some of the artists who are developing highly compelling research connected to the urgencies of the present. I believe their ability to question themselves both as artists and as individuals within a collective society – and to reflect those questions within their artistic practices – makes their work both relevant and universal.

In your view, where is the Italian system lacking in its support of Italian contemporary art on the international scene?
Unfortunately, the Italian gallery system still provides limited support to young artists, and only a few galleries have started – with foresight – to open up to the research of younger generations by exploring their practices. The university education system is certainly not designed to facilitate contact between students/artists and galleries or even institutions. In many universities, end-of-year group exhibitions are not organized, and when they are, they are not effectively communicated. Gallerists or curators are rarely invited to visit these projects, which leads to a lack of connection between emerging artists and the broader system.

What interventions are necessary to provide better support?
Following up on the previous question, promoting and encouraging the production and experimentation of young and mid-career artists would certainly have a positive impact in terms of support – for example, by providing affordable studio spaces or through residency programs and grants. There is a serious lack of space available for artist studios, especially in large cities like Milan or Rome, and this inevitably limits the potential for experimentation in artistic practice.