The Quality of the Educational System Is Unfortunately Low

In your experience, which contemporary Italian artists (still living) have achieved greater visibility abroad, and thanks to what factors (e.g., galleries, biennials, exhibitions, curators, etc.)?
At this moment, Giuseppe Penone, Maurizio Cattelan, Rosa Barba, Angela Ricci Lucchi and Yervant Gianikian, Vanessa Beecroft, Rossella Biscotti, Lara Favaretto, Giorgio Griffa, Guido Guidi, Francesco Vezzoli, Martino Gamper, Invernomuto, Armin Linke, Diego Marcon, Eva and Franco Mattes, Adrian Paci, Nico Vascellari, Caterina Barbieri, Lorenzo Senni — the last two more in the musical field, but with strong resonance in art. Many different factors vary from artist to artist; one is certainly their continuous participation in significant exhibitions such as Documenta and Biennials, a presence in exhibitions — and often consequently in collections — of non-Italian institutions, and in some cases, non-Italian galleries. The decisive factor is the originality and quality of the work.

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?
I believe the duo Invernomuto could receive greater visibility; in general, it is very complex for artists who do not base their work on the production of objects to emerge, as neither commercial galleries nor private foundations take risks with important projects. The same goes for Riccardo Benassi and, in some ways, Anna Galtarossa, who is gradually reappearing on the scene. I am always surprised that an artist with such an ambitious and often monumental scale of work like Nico Vascellari generated little interest in the past, but I believe the rapid changes in institutional agendas contributed to this.

In your experience, what are the stages and elements that favor the international career of a contemporary Italian artist?
Quality, but also comparison and dialogue with international research practices are decisive. There are excellent opportunities for exchange between international curators and artists, such as the courses for young international curators at the Fondazione Sandretto Re Rebaudengo or the Advanced Course in Visual Arts at Fondazione Ratti, but these are probably not enough. There is no doubt that the Italian Council is playing an important role, the impact of which is beginning to be measured a few years after its launch. And I believe that the appointment of directors with strong institutional experience abroad, such as Stefano Colicelli, Luca Lopinto (unfortunately ending soon), Francesco Manacorda, and Francesco Stocchi respectively at museums like Pecci, Rivoli, Macro, and Maxxi, can represent another important step forward: they collect, have a relevant network, and a proactive and energetic approach.

Where is the Italian system lacking in supporting Italian contemporary art on the international art scene?
In education. The quality of the educational system is unfortunately low, and few who could become artists have the means to afford significant training experiences abroad at innovative schools such as — staying in Europe — Basel, Geneva, Lausanne, Frankfurt, Munich, or London. There are no significant, well-publicized year-end exhibitions in academies that would allow young curators and gallerists to conduct research. On the other hand, public funds for supporting independent initiatives (the traditional artist-run spaces), nor for artist studios, are very limited, and this does not help.