We Need to Break Down Borders

Which Italian contemporary artists born after 1960 have gained the most visibility abroad, and thanks to which factors?
Maurizio Cattelan is certainly the first name that comes to mind, but he’s not the only one. In my view, other artists such as Rosa Barba, Vanessa Beecroft, Francesco Vezzoli, Lara Favaretto, Paola Pivi, Eva & Franco Mattes have also achieved international visibility. Their work has been exhibited in major international exhibitions or top-tier museums and acquired by important museum collections in Europe or the United States. International recognition depends on many factors. First of all, living or studying abroad has allowed some artists to broaden their networks and engage with diverse, expansive scenes. Take Monica Bonvicini, for instance—now based in Berlin, where she teaches sculpture. Another key factor is participation in major international exhibitions, especially the Venice Biennale and documenta. For example, Roberto Cuoghi was featured in the Italian Pavilion curated by Cecilia Alemani, and Yuri Ancarani exhibited in Gioni’s Encyclopedic Palace. In general, the Italian art system enjoyed a privileged position on the global stage during the 1990s, which gave artists active at that time more exposure. This momentum was supported by the presence of strategic figures in influential roles, a well-established gallery system, and the promotional role of Flash Art magazine. Finally, some artists have shown a distinct ability to interpret and respond to the urgencies of their time—Diego Marcon, Giulia Cenci, and Chiara Camoni, for instance, have addressed themes that resonate with contemporary life in universally compelling ways. Some Italian artists have also achieved strong international recognition by blending their practice with interests and audiences across different fields—for example, the Formafantasma collective through design and architecture, or Romeo Castellucci through theater.

Which artists, on the other hand, have not yet achieved adequate visibility, and why?
In recent years, Italy has seen a significant effort toward historicizing certain figures, initiated by a number of institutions. The PAC (Padiglione d’Arte Contemporanea, Milan) recently presented a major exhibition on the career of Liliana Moro, following previous shows—just to name a few—on Eva Marisaldi, Luca Vitone, and more recently Marcello Maloberti. At MAMbo, we’ve made an effort to highlight the work of artists often considered on the margins of the art system. Our anthological exhibitions on Italo Zuffi, Cesare Pietroiusti, and Aldo Giannotti were all part of this line of research. Last year we also hosted the first major solo exhibition in Italy of Ludovica Carbotta. Nonetheless, despite these substantial efforts, such projects risk remaining isolated case studies with limited international resonance. The list could go on if we consider other noteworthy artists like Chiara Fumai, Maurizio Mercuri, Mario Airò, Benni Bosetto, Riccardo Benassi, Valentina Furian, Adelita Husni-Bey, and Annamaria Ajmone, who have yet to receive the recognition they deserve. The causes can be traced to market dynamics that are still too focused on art fair–friendly works, a lack of global media coverage, and limited interaction with foreign curators. The Italian art system suffers from weak international connections. 

Which emerging artists (born after 1990) have the potential today for adequate visibility abroad?
I’ll name a few right away: Irene Fenara, Guendalina Cerruti, Eleonora Luccarini, Beatrice Favaretto, Adele Di Pasquale, Alice Visentin, Silvia Rosi, Isabella Costabile, Antonio Della Guardia. These are all artists born between 1990 and 1994 whose research aligns with the contemporary visions and approaches promoted by major art institutions. They are already recognized figures in the Italian contemporary art scene, and over time will continue to emerge more prominently in the global conversation. Many of them live and work between Italy and abroad or have completed part of their training outside of Italy—this aspect already provides them with a higher potential for international visibility.

In your view, where is the Italian system lacking in its support of contemporary art on the international scene?
The discourse around Italian contemporary art remains, very often, confined within national borders. In my opinion, we need to increase opportunities for exchange and dialogue on an international scale. One clear area for development is the interaction between Italian artists and foreign curators—this could foster not only qualitative and educational growth, but also lead to more exhibition opportunities abroad. We must encourage the inbound and outbound movement of art professionals. Some foreign cultural institutions—such as Cultural Institutes, Embassies, and organizations promoting the arts—have been active in this regard, inviting Italian curators to their respective countries to visit museums, foundations, and artists' studios. I personally had the chance to take part in study trips to Lithuania, the Netherlands, and Poland. These experiences allowed me to discover new artistic productions and feed them into a broader circuit of visibility and engagement. The Italian art system should follow this example.

What interventions are necessary to ensure better support?
I believe it's worth recognizing the Italian Council program, which in recent years has enabled the production of new works, supported acquisitions for public museum collections, and backed the realization of important exhibitions. Thanks to this initiative by the Directorate-General for Contemporary Creativity at the Ministry of Culture, many artists have, for the first time, been able to undertake large-scale projects that would have been unthinkable without adequate financial support. That said, this is only one side of the coin. On the flip side, the bureaucracy involved remains far too complex and hinders the implementation of each proposal. The system needs to become more agile—not just in bureaucratic terms. We must keep pace and strengthen the bridges with what’s happening in the international art world. We need to break down borders.