O n PAP ER the contemporary art network in milan
Focus on â€˘
w w w . t h at s c o n t e m p o r a r y. c o m
Letter from the Director
Background and Progress of the 23rd Edition of miart 2018 Interview by giulia restifo
The art market focuses on fairs
Collecting Today. Between Awareness and Responsibility
aA29 Project Room Open Stage Kyle Thompson
Cortesi Gallery Autoarchitecture Gianfranco Pardi
A bridge between art and finance. The London Trade Art Case Interview by giulia restifo
The Festival Parma 360: When Art Descends from its “Ivory Towers” Interview by elisabetta rastelli
The Tailor-made Experience: A new language in art
how to survive at miart 2018
elisabetta rastelli francesca tribò
Federica Schiavo Gallery Fumes Nicholas Byrne
Felix Alessandro Di Pietro 13
Massimo De Carlo Hier, Oggi Bertrand Lavier
Elliptical Machine Gun Nate Lowman
Weird Sisters Karin Gulbran
Jessica Tanghetti email@example.com Martina Grendene firstname.lastname@example.org PARTNERS
Elisabetta Rastelli email@example.com MANAGING EDITOR
Andrea Amato firstname.lastname@example.org ART DIRECTOR
Francesca Tribò email@example.com MARKETING & COMMUNICATION
Andreina Privitera firstname.lastname@example.org COMMUNICATION ASSISTANT
Martina Brembati, Rosa Cascone, Gianluca Gramolazzi, Elisabetta Melchiorri, Roberta Ranalli PRINTING
geca Industrie Grafiche
Funder35, the grant promoted by 18 Foundations (17 banking foundations and Fondazione Con il Sud) adherents to Acri, among which Fondazione Cariplo, which has supported the “That’s Experience” project.
Casper Faassen 20 Ncontemporary
Ein Gvul – Without Borders Naomi Leshem 24
Nctm Studio Legale e nctm e l’arte Swirling Around One and Other Driant Zeneli
Office Project Room Dialoghi Francesco Bertocco and David Simpson
Renata Fabbri Leaning into the night Sophie Ko
The Flat – Massimo Carasi Alternative Readings Michael Johansson
Giulia Restifo email@example.com DIRECTOR
that’s contemporary Since 2011, that’s contemporary and That’s App are the foremost guide for contemporary art spaces, exhibitions, events, and practices in Milan. that’s contemporary designs and curates editorial products online and on paper, as well as conceiving, organizing, curating, and communicating events for art spaces, cultural institutions, and private companies. that’s contemporary is launching its spin-off That’s experience for privates and companies, winner of the grant Funder35 awarded by Fondazione Cariplo.
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that’s contemporary on paper
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We have been making the transmission and the sharing of knowledge possible for the last 500 years.We help spreading art and literature, testing new forms of expression, communication and design. We are Gutenberg’s heir, disciples of Manuzio and accomplice of Andy Warhol. We are typographers.
People of the contemporary art world are passionate, tenacious, curious, studious and always with their suitcase ready. Today, being a part of this reality means dedicating a huge part of personal life to business trips; whether they are on the other side of the world or simply 9 different openings all packed into one evening and as it happens in a typical Thursday night in Milan. But how to become people of the contemporary art world? Is it true that you have to work in the art industry or have an art collector as a father? Maybe not… 2011, year when that’s contemporary was founded, also marked the beginning of my commitment to contemporary art and my dedication to promoting it. I am pleased to say that I have witnessed an increase in the overall collective interest of art, and don’t get me wrong, I’m not simply referring to the number of participants at openings, which of course has increased, but to the type of connections that art has triggered, as professional studios that support our artists abroad, the discussion tables that enhance the integration of contemporary art in our cities, schools and
everyday life. What’s more, the ever expanding connections between art and fashion, collaborations between historic buildings and galleries, the interferences with cinema and theater, along with many companies that have chosen to devote their own Corporate Social Responsibility to the world of contemporary art. It’s as if everyone today is aligned by the same constellation of knowledge and contemporary art has become a guide to looking at life.
that’s contemporary on paper, therefore, outlines the transversal way in which people of the contemporary art world have made an impact. Starting from the work done by the Director of miart, Alessandro Rabottini, for both the fair and city of Milan; the dialogue with Francesca Casiraghi – co-founder and ceo of London Trade Art – a project that aims to bridge art and finance; and lastly, to underline the drive of the two artistic directors of Parma 360, Camilla Mineo and Chiara Canali, who strive to unite and enhance a city through a festival dedicated to contemporary creativity. We will also be exploring the most recent studies and data surrounding art fairs and collecting, closing with a focus on the increasingly important role that the tailor-made experience plays in contemporary art. Lastly, before delving too far into concepts, art truly deserves to be experienced live. Therefore, you will find a guide to surviving the fair, along with a selection of exhibitions and events not to be missed around the city.
focus exhibitions GALLERY
aA29 Project Room
From Thursday to Friday, 12.30 am – 7.30 pm
Piazza Caiazzo 3, Milan
Kyle Thompson, Harness, 2018. Courtesy: artist, aA29 Project Room.
April 10th –May 18th 2018
On the occasion of the first solo show in Italy of artist Kyle Thompson
he reveals the real context of his better-known mysterious environments.
(Chicago, 1992), aA29 Project Room collaborates with La Reggia di Caserta,
As it becomes evident in the exhibition, this is a courageous choice: knowing
which will host his exhibition from March 28th to June 4th, in order to
the true context, the “backstage” may brake the magic, and this is risky, but,
promote the work of this recognized photography talent. Born in Chicago
at the same time, it exposes a part of the artist’s research and interests that
twenty-six years ago, Kyle Thompson has been developing a solid body of
are not so well known.
works since he was nineteen. Open Stage (2017-18) is a new series of works
In fact, the concept of the series has not only to do with underlining the
and an exhibition. In these new photographs, Thompson intends to show the
staged trait of his photographs, which is evident, but more likely with
viewer the context of his photographs. In this sense, he considers the settings
investigating the intertwining of urban tissue and nature in his native
in which he shoots as a stage, thus in this series through a sort of zoom out,
Gianfranco Pardi, Architettura, 1973. Courtesy: Cortesi Gallery London, Milan, Lugano.—Photo: Bruno Bani.
Cortesi Gallery Autoarchitecture
June 8th 2018
Saturday 12 pm – 6 pm
From Monday to Friday 10.30 am – 7.00 pm Open on Sunday April 15th
Corso di Porta Nuova
Cortesi Gallery in Milan, together with Fondazione Marconi and
on the constructive possibilities of form, of investigations into
Studio Marconi ’65, are dedicating a retrospective exhibition to
three-dimensionality, which clearly refer to avant-garde utopias,
Gianfranco Pardi (Milan, 1933–2012). Promoted by the Gianfranco
Russian Suprematism, Constructivism and Dutch Neoplasticism.
Pardi Archive and curated by Bruno Corà, the project will fully
Reinterpreting key exponents of these movements allowed Pardi
represent the artistic career of the Milanese artist, centred on
to take the still vital elements of these artistic directions and
the study of space and the relationship between abstraction and
become one of the most active representatives of the history of
construction. Pardi began to reflect on architecture, from late
contemporary painting and sculpture.
1960s, as a creative process by which he was able to concentrate
Federica Schiavo Gallery hosts the first solo exhibition in Italy by Nicholas Byrne (Oldham, 1979). An artist who, in painting, “seems to have reprised Modernism’s dismembering of representation within Nicholas Byrne, Fumes II, 2018. Courtesy: artist, Federica Schiavo Gallery.
his own work: a process that’s ongoing here as he works out some formulae”. The exhibition of six paintings and an architectural addition includes the artists’ largest-scale painting to date.
Federica Schiavo Gallery
March 28th – May 10th 2018
From Tuesday to Saturday 12 pm – 7 pm
Open on Sunday 15th April ADDRESS
Nicholas Byrne, Fumes III, 2018. Courtesy: artist, Federica Schiavo Gallery.
kind of algebra of bodily presence and absence, rehearsing different
Via Michele Barozzi 6, Milan
A work akin to religious paintings with folding panels and the formal language of Colour Field painting. In the core of the exhibition is the development of a ten-year experiment in working with copper. Four works where liquid oils are in co-operation with pictures etched on the surface. Inspired by a scratch, the raw openings will react to the space around them. Over a long time, growing black before turning Statue of Liberty green.
Courtesy: Mousse Agency.
Background and progress of the 23rd edition of miart 2018
Interview by giulia restifo
What better way to understand the background and progress made by the 23rd edition of the international fair of modern and contemporary art in Milan, if not explained by its very own artistic director? In line with the focus of this editorial project and together with Alessandro Rabottini, we will explore the potentiality and development of a model fair that today boasts the presence
of 184 galleries from 19 countries and 4 continents. “If the present has many stories”, makes miart 2018 a ”prism” that reflects the diverse personalities of those who are working behind it, while becoming increasingly central to the artistic development of Milan; along with serving as an important support system for emerging creativity with its 7 awards and a 100,000 euro acquisition fund.
I thought that “the present has many stories” was a way to try to communicate the idea that regardless of the chronology of a piece of art, today is the only point of observation where the past and the immediate future collide
I would like to start by underlining
tional interest towards miart 2018?
the essential role that art fairs are playing in
the expansion of the art market. What is your
to ensure the galleries a wide-range of new
that miart is a fair with a high level of planning and
direction for miart and what are your plans visitors and interested collectors looking for long-term investments? Alessandro Rabottini The
fairs are complex structures
that attract a number of audiences, each of them
responding differently to various means of com-
munication and diverse proposals. On the one hand, it is essential for both the collectors and vip
to communicate adequately through the contents of the fair, its exhibitors and the events offered
throughout the city, while on the other hand, it is
equally necessary that tools for approaching the art world are made readily available to a less specialized
but equally curious public, for example, through the presence of galleries. Consequently, this year
we added to our public services miart educational, a
project of free, guided tours by appointment that
I’d like to think that over the last few years,
the message has been progressively passed along
that it puts a lot of emphasis on the contents of the exhibitors. But it’s not only the care we take in ensuring that the stands and sections have precise identities and narratives, we must also factor in
the beauty that Milan expresses at this particular moment in history at an international level. Milan has always been a city that has cultivated an international vocation in the field of disciplines related
to visual culture - art, design, fashion, architecture, publishing - and today, it is a city in a‘ state of grace’,
a city that has found its own balance of artistic
harmony. At the stage in which we entered as an
event, I think we can agree that our success has also
been highlighted by the entry of Intesa Sanpaolo
Bank as a main partner, whose involvement in the world of art and culture is deeply rooted.
we were able to develop thanks to the support of
award given in the Generations section.
present” refers almost more to the title of a
Fidenza Village, our partner since last year for the GR With
the 23rd edition of miart we see
an evolved fair that continues to grow and
draw attention not only to the fair itself,
but also to the contemporary art propos-
als in Milan.Which factors do you think have contributed to the increasing interna-
that’s contemporary on paper
“The present has many stories. From the
post-war period until today, with eyes of the
biennial or a major exhibition rather than a
fair. miart therefore, is not only an opportu-
nity for formation but also to learn what has happened and is currently happening in art
around the world. How has this chronological abundance been restored at the fair and
how do you plan to meet the needs of gallery
We are living in a time where there is an extreme availability of platforms - technological and otherwise - and it makes sense to explore them all from the point of view of communication
owners and visitors alike?
which includes video works, photographs, live
performances performed with prominent fig-
AR Another point that I’d like to stress is the fact that
ures such as: Alessandro Sciarroni, Masbedo,
a fair is not an exhibition in the “authoritarian” sense
Alice Schillaci, Mousse Agency together with
of the word. With its many voices and perspectives,
the Triennale Teatro dell’Arte of Milan, In
even as a format, it allows us to say so much because
Between Art Film, Snaporazverein and Cen-
it manages to restore the richness and complexity
trale Fies Dro, transforms the communication
of the art system. Having now developed a formula
campaign into a real “artistic experience”. In
that allows us to showcase art from the early 900s
your opinion, how is the dissemination of art
to the experimentation of the latest generations;
changing and how much does its focus on
with the most current contemporary art along with
emotional involvement affect the increase in
research in the field of collectible design, I thought
the audience that chooses to experience it?
that “the present has many stories” was a way to
try to communicate the idea that regardless of the
of observation where the past and the immediate
happy to have had the opportunity to expand on
chronology of a piece of art, today is the only point future collide - in the present. Sections such as
Generations and Decades are, in fact, incubators of
perspectives on both history and the present, and on how a painting from the 20s just as a video installation by a 30-year-old artist are “current events”
simply by the way our gaze is fixed on them in the moment, eyes of the present. GR
As Director of that’s contemporary , I
believe that the theme of communication in regards to art is of fundamental importance. However, from my experience, it has not yet
been experimented with to the fullest. I was
thinking of “Prisma”, the visual campaign that accompanied miart 2018 and let me tell you, it is incredible. Its transmedia platform,
How nice to hear you so enthusiastic about
this experiment! I must also confess that I am very
the concept of promotional campaign and to work with all the creative minds you’ve mentioned. We are living in a time where there is an extreme availability of platforms - technological and otherwise - and it makes sense to explore them all from the
point of view of communication: paper print, web,
public space and performing events. This rings true not only for art but also for: fashion, cinema,
and even politics. The expansion of spaces and
forms of communication, the immense quality of promotional strategies is a phenomenon that other
fields are exploring in many ways, even more radical than the art world does. For our part, we asked
ourselves: what could happen if, for once, it was art that communicated art?
focus exhibitions GALLERY
Alessandro Di Pietro
May 4th 2018
Open on Saturday April 14th 7 pm – 12 am
From Monday to Friday 10 am - 1 pm / 2 pm - 6 pm and on Sunday April 15th 10 am – 18 pm
Via Privata Rezia 2,
Alessandro Di Pietro, Felix, detail, 2018. Courtesy: Marsèlleria, artist. – Photo: Sara Scanderebech.
Alessandro Di Pietro, Felix, Installation view, Marsèlleria 2018. Courtesy: Marsèlleria, artist. – Photo: Sara Scanderebech.
Felix is the last chapter of a four-episodes series, where the character of the “antagonist” comes into view. The enemy emerging here is not a nemesis of the main character, either a negative projection of the “good”. Felix is probably his name, or maybe just a way of life where the love for the world is not taken seriously. The four episodes work on the design of the spaces and developing “nameless” characters, who are attributable to the concept of monstrosity. The spaces design becomes for Alessandro Di Pietro (Messina, 1987) an act of identification in his research object, whose physical, social and political features glimpse and are then crystallized in the space planning to create an empathic and possible relationship with the observer, distracting him/her from the fiction. For the special opening night on Saturday April 14th, from 7 p.m to 12 a.m, the exhibition will feature a special sound activation by Enrico Boccioletti.
The art market focuses on
The art market has become increasingly mobile, driven by an abundance of fairs that are flourishing throughout the world. Since the founding of Art Cologne in 1967, followed by Art Basel and several other international trade fairs cultivated in the 1970s, the increase in the number of events over recent years has compelled art fairs to become an economic focal point for galleries, allowing them to reach a growing number of worldwide buyers and collectors.
According to artfacts.net, the number of art fairs has more than
doubled over the last 10 years from 2006 to 2017, reaching a peak of over 260 events in 2017 alone, compared to the 108 fairs in
2006. Meanwhile, there has also been a reduction in the number
of exhibitors at every fair in order to preserve and guarantee a high level of quality thanks to a limited selection.
But why does a gallery decide to take part in an art fair when
rental costs for the stand are pricey, along with transportation
and insurance of the works, and not to mention, travel and hotel
expenses for the entire team? According to the Art Market Report 2018 drafted by Clare McAndrew for Art Basel and UBS, the
largest area of expense incurred by the gallery owner is, in fact, the exhibition costs or 23% of annual investments ($ 19.6 billion) for a total of $ 4.6 billion. Clearly, the motivation lies in the number
of sales that galleries are able to gain during these events (46% of
art fairs not only facilitate cultural exchanges and dialogue between gallery owners, curators and collectors, but also bring to life these synergies that can be developed throughout the year
total sales, with an increase of 5% since 2016 and therefore, 16% realized in national exhibitions and 30% for international fairs
resulting in a total of $ 15.5 billion). However, ultimately, it is very difficult for analysts to establish precisely how many of the sales
took place directly at the fair or whether or not, art fairs simply serve as a conjunction point between galleries and collectors. In addition to these notable commercial aspects, art fairs not only facilitate
cultural exchanges and dialogue between gallery owners, curators and collectors, but also bring to life these synergies that can be
developed throughout the year. Moreover, these affairs are turning into highly curated events with the careful structuring of sections
and where a visit is more than just a visit, but rather an opportunity for cultural growth while experiencing the dynamic spaces and exhibitions. Collectors, who are increasingly more receptive to
these events, have the opportunity to compare works and prices,
while establishing relationships with other collectors and art dealers from around the world. The trust we put on well-accredited gallery owners is also not something to be overlooked considering the
frequent sales of fake works made by even the most well-known and renowned art dealers.
Undoubtedly, the art market remains a complex mechanism and
one that is not completely decipherable. In this context, the careful regulations and control that fairs place on the work proposed
by galleries, along with the stringent selection to which they are
subject, contributes in reassuring collectors of their more secure
purchases, while ensuring an economic return on medium and longterm investments.
that’s contemporary on paper
Massimo De Carlo, Milano / Palazzo Belgioioso Elliptical Machine Gun
April 6th - May 12th 2018
Nate Lowman, Elliptical machine gun, 2017. Courtesy: Massimo De Carlo, Milan/London/Hong Kong. – Photo: Dario Lasagni.
From Tuesday to Saturday 11 am – 7 pm
Open on Sunday 15th April 10 am – 18 pm
Piazza Belgioioso 2, Milan
Massimo De Carlo hosts a new solo exhibition of the New York artist Nate
of the mirror paintings that he began making in the wake of the 1968 revolution.
Lowman, who will showcase a new series of paintings at Palazzo Belgioioso until
At the same time, the gallery in via Ventura also presents the first exhibition in
May 12th. The artist investigates contemporary themes such as mass consumerism,
Italy by the Los Angeles based, American artist Karin Gulbran. The exhibition
pop culture and violence.
showcases a series of ceramic creations adorned with her unique, dream-like quality
The gallery in via Ventura presents until June 23rd a retrospective exhibition of
iconography of animals and landscapes. The exhibition offers a glimpse into the
the iconic French artist Bertrand Lavier, exhibiting a selection of works from the
artists supernatural universe, allowing the viewer to connect to glazed and enticing
80s to today, ranging from his signature painted objects, through which the artist
investigates the relationship between art and consumerism, to new interpretations
Massimo De Carlo, Milano / Ventura
April 12th – June 23th 2018
From Tuesday to Saturday 11 am – 7 pm
Open on Sunday 15 April 10 am - 18 pm ADDRESS
Via Giovanni Ventura 5, Milan
Weird Sisters Karin Gulbran
Karin Gulbran. Courtesy: Massimo De Carlo, Milan/London/Hong Kong.
Bertrand Lavier, Timex, 1987. Courtesy: Massimo De Carlo, Milan/London/Hong Kong. – Photo: Alessandro Zambianchi.
between awareness and responsibility
The most recent data related to the art market show an exponential growth with a sales volume of 64 billion dollars in 2017 and with a 12% increase compared to the previous year [The Art Market 2018 Report â€“ Art Basel and UBS in collaboration with Clare McAndrew].
The sector, characterized by anti-cyclicality, has had a positive
response during the recession over the last 10 years, recording a
minimal decrease in volumes compared to other industries. One piece of surprising data inherent to the moment is the fact that
Post-War and Contemporary art were considered to be the most
consistent segments at the auctions in 2017, with a market share of 46% and the percentage of living artists just close to 19%,
numbers expected to grow exponentially over the next five years. These groundbreaking market dynamics are the result of the
ongoing transformation in the world of collecting, due to an easier access to information and offer, thanks to the network of various
online platforms and the world of digital, paired with an emerging collecting, as a result of the proven increase in High Net Worth
Individuals who approach art as novice collectors. Â The propensity to contemporary in comparison with historical artists, also
thatâ€™s contemporary on paper
the key words in the contemporary art market reside in the terms “vast”, “accessible” and, lastly, “global”, three characteristics that bear numerous opportunities but are, nonetheless, accompanied by a number of challenges and risks
demonstrates a greater willingness to take a risk, where in the past,
due to the lack of concrete information, the search for an apparently safer purchase was more widespread.
In this context, as defined by the Director of Art Basel Marc Spiegler, the key words in the contemporary art market reside in the terms “vast”, “accessible” and, lastly, “global”, three characteristics that
bear numerous opportunities but are, nonetheless, accompanied by a number of challenges and risks.
With the bar set relatively low when it comes to entering the
market, along with the numerous outlets of visibility, it has become increasingly complicated to orient oneself. Which is why the role
of market experts has become essential, both in terms of economic
intermediation but also in relation to quality and curatorial matters. Consequently, the art advisor has become not only a key role, but
also a position in which professionalism is indispensable, especially
when it comes to novice collecting, where the art advisor serves as a well-informed guide in understanding the offer.
This role assumes even more importance if the impact that
collecting can generate on both a personal and social level is
contextualized. A collection of contemporary art, in fact, represents an act of responsibility; if properly cared for and built up, it can serve as a form of “autobiography” of the collector, as stated by the director of miart Alessandro Rabottini during the inaugural
conference of MuseoCity 2018. There is also a sense of responsibility towards the public in providing resources for the purposes of artistic production: contributing to the confirmation of specific artists and
forms of expression, you are, therefore, participating actively in the evolution of the entire market.
Casper Faassen, Samaa, 2016. Courtesy: artist, mc2gallery
Casper Faassen, Mono no aware, 2016. Courtesy: artist, mc2gallery
April 10th – May 12th 2018
From Wednesday to Saturday
Via Malaga 4, Milan
3 pm – 7 pm
mc2gallery hosts the solo exhibition of painter and photographer Casper Faassen (Leiden-Netherlands, 1975) curated by Claudio Composti. Inspired by traditional 17th century Dutch painters such as Garrit Dou and Rembrandt, the artist presents portraits, nudes and cityscapes. Casper’s work deals with beauty as well as melancholy. His women are aesthetic archetypes, but are portrayed behind a layer of either fog or glass, thus creating a sense of distance between the admirer and the subject. The artist technically reinforces this feeling of nostalgia by adding a layer of craquelure. Casper refers to the traditional theme of Vanitas, widely used in 17th century painting. So the silent, eternal and beautiful are set up against a background of apparent decay, in such a way that the deterioration is visible in the handling of the materials but not necessarily in the subject presented.
Marketplace: Buy artworks through our platform, where you will find a curated selection of cutting-edge emerging as well as established artists.
Pooling Investment: Do you think you canâ€™t afford to buy the high-value artwork you love? Buy just a percentage of it and benefit from temporarily renting it.
Market Making: Still not enough? Our art exchange will allow you to buy and sell art shares on a digital platform that looks like a financial trading system.
a bridge between art and finance
The London Trade Art case
Interview by giulia restifo
London Trade Art (LTArt), a London-based project founded by Francesca Casiraghi and Andrea Seminara, has the ambitious goal to create new connections between Art and Finance. Aiming at applying financial models to the art market, the LTArtâ€™s team, composed by experts from both the art and financial industries, is working on innovative technologies to be integrated in the platform www.londontradeart.co.uk. In particular, the final scope is to develop an art exchange digital platform, allowing in the trading of shares of artworks. We deepen the advantages provided to the users with Francesca Casiraghi, co-founder and ceo of LTArt.
LTArt’s main goal is to exploit the potentialities offered by the technological implementation to the art market
Let’s start from the cultural-e-
development and monitoring of the financial and
What are the considerations on which the
The opportunity to cooperate with a distinguished
conomic context that has inspired the project. project is based? FRANCESCA CASIRAGHI
The project origins from the
observation of the parallelism between the art and the financial markets, whose models are similar, even if
the art market is lagging behind from a technological
point of view. Considering also that art collecting has been experiencing an exponential internationalisa-
technological structure regarding the art exchange. hedge fund allows LTArt to combine the expertise and know-how of both the markets, while taking
into consideration the substantial methodological differences between the industries. Furthermore,
the collaboration is reinforced by the fact that we
are both based in London, which represents the European epicentre of Art and Finance.
tion, LTArt’s main goal is to exploit the potentialities
art market. In particular, we aim at developing an
from the art market. Considering that, which
offered by the technological implementation to the
that will require a certain period of digestion
alternative trading system of art shares that recreates
are your objectives and next steps?
some characteristics of the financial trading model, with the purpose of introducing a comprehensive and diversified digital service for art investments. GR
The strength of the LTArt’s model has been
improved through the collaboration with the
hedge fund and asset manager Redhedge. Can you tell us more about it?
FC The collaboration with Redhedge is the result of the
encounter between two industries moving closer to each other. The integration between Art and Finance
is both prerogative and the final goal of the LTArt
project. In this context, Redhedge is in charge of the
that’s contemporary on paper
is a complex and innovative project
We are fully aware that LTArt is an innovative
project able to provoke some reticence within the art market. For this reason, we believe it is important
to create adaptability around the art co-ownership concept. Therefore, we have decided to split the project development into 3 phases, which will be
progressively integrated until they coexist. The first phase, to be launched soon, is a marketplace of emerging as well as established artists’ artworks
purchasable directly online. The second phase will
be the pooling investment, which will allow buying
percentages of selected artworks. The third and final phase is the art exchange: a digital platform similar
Technology will bring transparency to the market, institutionalising also the democratization of art collecting
to the financial one, allowing buying and/or selling
that otherwise would have been stuck in caveau for
liquid and continuative trading system. The artworks
of them, we aim at contributing to the dynamicity
shares of high-valued artworks through a transparent, will be stored by a third party guarantor and made
as usable as possible through temporary leases to
years: giving everyone the possibility to buy shares and democratization of the market.
tional concept of ownership.
of innovations are you planning to integrate
This could be considered a revolution in the tradi-
Which is your main target of clients and how
do you think LTArt will contribute to expand the audience of the art system? FC
LTArt aims at reaching a heterogeneous target of
clients. Firstly, our project is addressed to art lovers, both collectors and not, but also to art professionals who will be able to benefit from a diversified trading service for themselves and their clients. Through the
introduction of the co-ownership options, LTArt’s model will be also suitable for corporations and foundations which will be able to take advantage from the
temporary rental of the artworks for philanthropic purposes, as well as from the opportunity to offer to
their clients an alternative channel of investment. Another ideal target will be represented by the new
generation of potential high-tech collectors, often
with a financial background, not yet investing in art due to the opacity of the system. Our project will also allow the circulation of some important artworks
The technological aspects play a prominent
role in reaching a global market. What kinds in the platform?
FC Our objective is to offer an efficient and high-quality
digital platform. This is the reason why we are currently working on an in-house developed and scalable
software, which will host all phases of the project.
The platform will support the implementation of the most recent and efficient technologies: co-owners, for example, will receive a digital and irreproducible certificate which will regulate the co-ownership,
guaranteeing also the authenticity and traceability of the artworks. In this context, we are also researching on the integration of blockchain technology in order to link the certificates to the artworks and track their circulation.
Technology will bring transparency to the market,
institutionalising also the democratization of art collecting.
Naomi Leshem, Stripes, 2016. Courtesy: artist, Ncontemporary.
Ncontemporary Ein Gvul – Without Borders
Contemporary Israeli photographers have long
The exhibition will be accompanied by the
since attracted interest from international
participation of Ncontemporary for the first
collectors and, in the wake of this growing
time in Photo London where, along with the
attention, Ncontemporary has decided to
cooperation of the Berlin Contemporary
dedicate its activities during the month
Podbielski, will present the recent works of Naomi Leshem along with Ohad Matalon,
of May 2018 to this theme. On May 24th,
Yuval Yairi and Matan Ashkenazi. Following
solo show of Naomi Leshem (Jerusalem,
on May 27th, at Casale Monferrato, Tzurah
May 24th – June 23th 2018
Ncontemporary will inaugurate the first 1963) entitled Ein Gvul – Without Borders.
()הרוצ: looks into Israel a collective curated
Strongly based on technique inspired by the
by Gigliola Foschi with Naomi Leshem, Ohad
Swiss photography school, the exhibited
Matalon, Yuval Yairi and Noga Shtainer will be
works will reflect the artist’s interest on
inaugurated as well.
From Wednesday to Saturday 3 pm - 7 pm
Via Malaga 4, Milan
transitional moments and the Israeli society.
The Festival Parma 360
when art descends from its â€œivory towersâ€?
Francesco Diluca, Germina, 2017. Courtesy: artist.
There is often the mistaken perception that contemporary art thrives only in large cities, but the truth is that in Italy, just as abroad, there are a number of smaller communities with diverse personalities, that have long invested in the promotion of contemporary art. Among these realities stands Parma 360, a multidisciplinary Festival that enhances contemporary creativity. Having just entered its third edition, it is among the most important of initiatives that has allowed Parma to be designated as the Italian culture capital for 2020. In this three-part interview, artistic Interview by elisabetta rastelli directors Camilla Mineo and Chiara Canali share the history of this project while highlighting the process and complexity in the realization of the Festival. .
art must return to play a more central and innovative role in society by allowing a collective, conscious and critical participation from those who surround it
ELISABETTA RASTELLI: Parma 360. A Festival of con-
streets, the shops and forgotten spaces was one of
project that aims to take a 360 degree look at the
when the Festival was first started, was facing some
temporary creativity, the perfect given name for a
Italian contemporary creativity with a focus on
emerging talent as well. With the involvement of some of the most important names from the world of contemporary art, you have not
only increased the value of the city’s projects
at an international caliber, but also without
the objectives in our mission to revitalize a city that,
complications. Regenerating and refurbishing new
spaces after the first edition has become an important aspect; the input of Michelangelo Pistoletto’s Terzo
Paradiso in the city center, which had its difficulties, has given us that extra push to begin.
ever neglecting for a moment, the importance
ER Given the context of the fair, where there are
starting point for this venture and what was
financial support to the spaces and artists, in
of involvement at a local level. What was the taken into consideration before you decided to invest in this Festival?
CHIARA CANALI: We believe that the Festival has the po-
many awards and acquisition funds that supply what way does the Festival intend to support
more experimental outlooks along with new generations?
tential to become an important cultural resource for
CC Together with more established artists, the Festival
as The Festival of European Photography in Reggio
way they have the possibility to express themselves
the city of Parma. For example, an annual event such Emilia or the Philosophy Festival in Modena; able
to create a network in our community and convey in its own way, both contemporary art exhibitions and
events that are fully dedicated to young creatives. We are convinced that art should not only be enjoyed
exclusively in galleries and museums but that it must leave its ivory tower, by seeking out a more inclusive reality and a wider audience, not solely made up of
insiders. Art must return to play a more central and innovative role in society by allowing a collective,
conscious and critical participation from those who surround it.
CAMILLA MINEO: Certainly with the desire to bring con-
temporary art to a city like Parma, which is very tied to long-standing traditions, we tried to do it with a fresh, young and simple outlook in order to reach a
transversal audience. Furthermore, bringing art to the that’s contemporary on paper
offers space as well as visibility to young artists, that and experiment with new forms of art linked to this
transitional period that we are currently experiencing. For this reason, we have been paying a lot of attention
to the endorsement of new experimental and technological forms of expression through shared artistic and experimental design. Similar in the case of Stazione
Creativa of Studio Azzurro, which has now become a concrete meeting place and an opportunity to revitalize
artistic practices that promote creative exchange and experimentation.
CM Since the first edition, the Festival has been offering
free or discounted workshops with artists and other professionals of the industry. In addition to Stazione
Creativa, we have developed a number of workshops in
food design, macrophotography, and art photography with Maurizio Galimberti along with others. This year
we will hold a series of stimulating events with Franco
the biggest news is that for the first time the Festival will have a theme, a common thread that will unite all of the exhibitions, installations and events of the initiative
Fontana as well as a series of meetings promoted by the
dedicated to them.
Lab, a new laboratory of digital manufacturing that
of the creative community in our region are the key
A.P.S. On/Off and 3d ArcheoLab including Heritage
promotes cultural heritage. From last year’s edition, we re-opened the Antique Pharmacy of San Filippo
CC Networking, participation, inclusion and validation
words of the Festival.
Neri after more than 50 years, as a location in hosting
ER Just to conclude, I would like to know what
creating site-specific art.
and given the recent nomination, what can we
young artists who will be primarily working on and
expect to be developed for 2020?
Regarding the decision to create an event
in a region that has such an important history
Festival, in fact, encourages collaborations with
with the past and present of the local region. Parma
with a city known for its inspiring splendor; the
other organizations, associations, universities
and research centers. What kind of relationship has been established with them and, furthermore,
have you also gained the support of local patrons? CM
new and exciting ideas you have for this edition
The Festival wouldn’t be what it is without the
support of the Municipality of Parma as well as others;
thanks to their generosity, all of the exhibitions are offered completely free of charge. Unity is synonymous with strength, and so many projects have been brought
to life thanks to the contribution of so many realities
such as the Association of Urban Manufacture and Kinoki. So many of our partners have been there since
the beginning and have truly accompanied us on this journey while offering advice and suggestions along the way. This year, we created a special section called “Creativity and Business” to aid in fostering effective relationships and collaborations between the young
creative community and the businesses and companies that support us. Our effort is based around combining
business and culture through the promotion and expansion of new projects with various companies,
For 2020, the Festival intends to strengthen its
organizational structure along with its relationship
360°, in fact, has proposed a multimedia project that
strives at tracing the magnificence of its characters and the evolution of its citizens through images of past masterpieces that will cross paths with snapshots
from the present. A video installation by the artists of karmachina will explore various forms of expression,
mostly experimental in the realm of digital art, while
narrating the story of these characters and their role in the history of Parma.
CM The biggest news is that for the first time the Festival
will have a theme, a common thread that will unite all of the exhibitions, installations and events of the
initiative. This year will be a visionary and exploratory path surrounding the theme of environmental sustainability and the relationship between man, nature and
landscape. As Chiara said, we are looking forward to
a lot of growth over the next two years and we really can’t wait to come back stronger than ever in 2020 with a super edition!
along with artistic and creative projects specifically
Nctm Studio Legale is collaborating again this
rethinking the idea of the true, the false,
year with miart, on Saturday 14th April it will
challenge and failure in tune with his own
open the doors of nctm e l’arte’s collection
vision. The initiative is part of nctm e l’arte,
and host the exhibition Swirling Around One
an independent project to support artistic
and Other, by the artist Driant Zeneli (Albania,
creation, curated by Gabi Scardi. Activated
1983). During the morning, some of the
in 2011, nctm e l’arte includes the nctm e l’arte:
artist’s works will be presented, including
Artist-in-Residence scholarship, support for
the unedited video Who was the last to have
artistic projects, collaboration with relevant
seen the horizon?, made with the support
Italian cultural institutions and the creation
of nctm e l’arte.
of a collection with works by artists such as
Zeneli interweaves personal experience with
Miroslaw Balka, Rä di Martino, Adrian Paci,
collective history, and myth with history,
politics, transformation, utopia and dystopia,
Nctm Studio Legale and nctm e l’arte
Swirling Around One and Other
April 14th 2018
10.30 am - 1 pm
Via Agnello 12, Milan
Driant Zeneli, Who was the last to have seen the horizon?, 2018, Courtesy: artist.
The tailor-made Experience
A new language in art
experience [from Latin. ex-perentia der. from experiri: to experience] [from Greek. Pèira from ex pèriens verbal adjective derived from ex-pèrior to try]. A course or series of acts through which one acquires knowledge or skills; the practical contact with observation of facts or events.
Why can creating tailored experiences that allow the direct and
personal knowledge of a given reality become an effective tool to bring diverse audiences closer to a specific context?
Organizing a tailor-made event means passing information through the language of the interlocutor, making it the central actor of an
experience, unique in substance and long lasting in the emotions provoked. Consequently, the way we communicate is of utmost
importance, with an infinite amount of possibilities also comes a
sense of responsibility as we are driven to create projects, events,
and communication campaigns that intrigue, enrich, and engage a variety of potential audiences. This diverse situation of boundless
possibilities often presents a risk, defined by American psychologist
Barry Schwartz as the “Paradox of choice”, meaning an abundance of options that can often cause dissatisfaction and a sense of paralysis
in the decision making process. Let us consider our presence on one of the most widely used social networks, Facebook, for example.
the tailor-made experience attempts to overcome this gap: to learn the linguistic styles and tones of its interlocutor and, accordingly, create and propose unique and formative opportunities while generating positive and long lasting memories
As we reflect on the vast range of events and openings to which we are constantly invited and asked whether we shall “participate”, all
too often than not, many occasions simply remain unlived. But, let’s think for a moment about experiences, or better yet – tailor-made
experiences. There it is, that simple click of the button “participate” or “I’m interested” but what about the individual behind it? Behind every click there is an individual to explore and learn about, an
individual with certain values, desires and habits. But above all, there is an individual with thoughts that are determined and affected by specific means of communication.
If we analyze the art sector and, in particular, the contemporary
art world, that is full of contrasting dynamics, places and actors,
we can not help but consider the aspect of impenetrability that is often provoked in those who are familiar with different linguistic codes in everyday life. Moreover, with the number of potential actors, if we are able to grasp and understand their forms of
communication, we could open doors that have up until now
remained closed, thus giving life to important virtuosities for the future. The tailor-made experience attempts to overcome this
gap: to learn the linguistic styles and tones of its interlocutor and,
accordingly, create and propose unique and formative opportunities while generating positive and long lasting memories. The cultural
and economic value generated by art and the experience, not only relies heavily on emotional and sensory aspects, but also strategic - economic, as it becomes the key to unlocking a fascinating,
educational and unexpected world of contemporary art. Whether it is a single individual, a group or a company, or the key actor of
a particular show that will encounter the tailor-made experience,
it is undoubtedly an important vehicle not only to increasing and understanding cultural heritage, but also in bringing innovation towards a forward thinking economic vision.
that’s contemporary on paper
focus exhibitions Office Project Room hosts the solo exhibition by Francesco Bertocco (Milan, 1983), in dialogue with Late Lilac (2006) by David Simpson (Pasadena, 1928). The show opens the exhibition cycle Dialoghi, a project that establishes a dialogue between younger and more established artists. The work presented by Francesco Bertocco, Praxis (2018), begins with an investigation of the locus of therapy: a series of photographs explores the original setting of the Sigmund Freud’s studio in Vienna. The setting becomes a social space, in which the dynamics between patient and therapist are defined in a process of continuous exchange. Simpson in Late Lilac considers the coexistence of multiple levels of perception, using chromatic abstractions. The surfaces of his paintings change depending on the
Francesco Bertocco, Praxis, 2018. Courtesy: artist.
viewer’s angle of perspective.
Office Project Room
Dialoghi Francesco Bertocco and David Simpson
March 8th – April 30th 2018
2 pm – 5.30 pm
From Monday to Friday
Via Altaguardia 11,
Leaning into the night
April 28th 2018
Open on Sunday April 15th
From Tuesday to Saturday 3.30 pm to 7.30 pm
Via Stoppani 15/C,
Sophie Ko, Del cielo e della terra, 2018. Courtesy: artist, Renata Fabbri arte contemporanea. Photo: Lorenzo Bacci.
Sophie Ko, Sporgersi nella notte, 2017. Courtesy: artist, Renata Fabbri arte contemporanea. – Photo: Lorenzo Bacci.
The exhibition Leaning into the night invites
sense of belonging to one same mother earth
to let go on our supposed certainties and
brings together a majority of cultures across
questions ideas and images that sound as much
the planet. We can weave together a net of
familiar as they are remote from our everyday
images bringing forward such shared relation,
experience. Through her works, Sophie Ko
one that could hold together those symbols
(Tiblisi-Georgia, 1981) intends to re-appropriate
defining us across diverse cultural paradigms.
and tune into the meaning connected to
By re-positioning a range of existing objects
the notions of “sacred”, “saint” and “earth”
and performing minimal interventions, each
that might now appear as anachronistic: the
work gives shape to the allegorical apparatus
figure of the saint is conventionally associated
defining the identity and the actions of
to miraculous actions; the idea of sacred
maintains a universal connotation, and the
Parallel with the familiar, there is something
Johansson (Sweden, 1975) continues to
grueling and mysterious to be found in the
explore how our perception of the everyday
work. When things are taken out of their
objects we find ourselves surrounded with
natural context, their function becomes
through simple methods can be shifted.
uncertain and turn into becoming something
Apparent disparate objects gathered from
else, more impalpable and appealingly
different places and contexts are repackaged
incomprehensible. Over the years, Johansson
into coherent entities based on notions of
has increasingly expanded and developed
colour and shape, in such a perfect fit they
the approach to his work through various
seem to be held together by some kind of
explorations as for example in the use of
colour as a common denominator.
The Flat â€“ Massimo Carasi Alternative Readings
From Tuesday to Saturday
May 11th, 2018
2.30 pm â€“ 7.30 pm
Open on Sunday April 15th from 10 am. to 7 pm ADDRESS
Via Paolo Frisi 3, Milan
Michael Johansson, flip shelf, 2018. Courtesy: artist, The Flat - Massimo Carasi.
In the exhibition Alternative Readings,
focus exhibitions Starting from the language of performance, Adam
Gordon (Minneapolis-MN, 1986) at ZERO… gallery.
Gordon tends to work with collaborators who are not
The search for these revelations unfolds through
Interested in the artist’s role and in the contemporary
a multifaceted exploratory process that seeks to
definition of the artwork, Adam Gordon investigates
Including them in a personal microcosm of
investigate the interstitial phases of what we call “the
the residual potential of the image moving along the
relationships, the artist artificially elaborates a
art world”, through the inclusion of the real world and
dividing line between the art system and the world.
process that aspires to the achievement of new
the human society that is being redefined.
Adam Gordon, Secession 2000 – 2005, installation view, 2018. Courtesy: artist, ZERO… – Photo: Roberto Marossi.
Secession 2000-2005 is the solo exhibition by Adam
Secession 2000 - 2005
April 21st 2018
Saturday 3.00 pm - 7.00 pm
Tuesday - Friday 11.30 am - 1.30 pm and 2.30 pm - 7.00 pm Open on Sunday April 15th
Viale Premuda 46,
IC D O N ’T PA N consideration when deciding to visit a fair is not to The most important aspect to take into
elisabetta rastelli francesca tribò
survive at miart 2018
feel panicked or overwhelmed while scrolling through the long
list of participating galleries. It’s important to have a plan. Take a deep breath, open up your map of the fair and don’t forget that it’s divided into sections, 7 to be exact. Map out your course based on personal tastes and remember: in Established Masters you will find works created up until 1999, while in the Established Contemporary, the tone is more directed towards the “most contemporary”. If you are looking for the latest generation of recent artists, head towards the Emergent section. The Decades 9 section is dedicated to key moments surrounding monographic and thematic projects while the Generations section reunites two galleries in the same stand, creating a dialogue between artists from different generations. And lastly, in Object, space is given to design research, while in the area On Demand, you will find context-based, site-specific and interactive works.
TA K E YO U R T IM E
You’re not running the New York marathon so keep calm: take your time to see all the stands. Another piece of advice: the gallerists don’t bite! Don’t be afraid to approach them and ask
questions about the exhibiting artists and prices of the works, they are here specifically for this. If there is any particular artist that you are interested in, bear in mind that the gallery representing them will certainly have other works to show you, even in different formats, which can help cautious collectors in the purchasing process.
YOU NEED After the second or third hour of your visit, A BREAK your brain, now full of multisensory stirrings, could be asking you for a break. Don’t try to be the hero, the overload of images does not help you in metabolizing all that you have admired at the various stands and by the time you reach the exit, you may have already forgotten everything you’ve seen. Give yourself some time to rest, regain your thoughts and give your legs a break. Find one of the cafe areas, grab a coffee or a
R Here you are, YO U E T A surrounded by an I A R Y array CRE D of masterpieces, L A works by your favorite artists VISU
glass of water, and you’ll be feeling better in no time. The break will also be the perfect moment to dive into the contents of our that’s contemporary on paper, where you’ll find a selection of exhibitions to see in the city during art week.
and the latest of proposals. So, the desire to be
snapping pictures at every stand in order to share your experience with friends and colleagues is inevitable. But beware! Make sure you are equipped with a power bank, you don’t want to find yourself begging to recharge at the nearest cafe and above all, do not deprive yourself
OU TF IT : CO M FY OR EL EG AN T?
Here you are, taking part of a social gathering that brings together a considerable variety of
artists, critics, journalists, curators, gallery owners,
the beauty of observation. Don’t worry about capturing
various VIPs, and even college students; all with their personal style
every piece of work with a photo; our visual memory is
aimed at letting people know who they are and what role they play
stronger than we think, pay attention to the captions
in the artistic environment. But what about the visitor who intends
and select and share only the best. That way, your own
on spending the entire day at the fair? Well, for starters, take an
personal visual diary will be transformed into your most
“onion” approach and think in layers. Dress for various temperature
important image archive.
changes from indoors to outdoors, choose a pair of shoes that are both comfortable yet elegant, and bring your favorite tote in exchange for leaving the most cumbersome of belongings at the coat check. Most importantly, don’t let your clothes speak for you but rather let your
O E S N ’T T H E FA IR D FA IR E N D IN T H E
personality make all the difference.
The tour has finished and there are still works of art that have escaped you. Ok, so maybe you weren’t brave enough to buy this time. But do not fear! Love at first sight can often be painful but the day will come where you will meet again. Now the time has come to go back to the city, download That’s App from that’s contemporary and let us guide you through the must-see events
Download That’s app
of art week. Luckily, our role as guide to contemporary art does not end here! It was a pleasure to meet you and keep on following us on www.thatscontemporary.com.
Hannes Egger, Sculpture Training (Crouching Venus, from Chalandry), 2017. Courtesy: artist.
supports beOut. Art, sport and social integration On the occasion of the 6th Sunday of beOut, Milano outdoor per tutti, nine works of the sister project beOut. Art, sport and social integration, curated by Roberta Ranalli in collaboration with Pietro Fachini from Love Foundation Milano, will be publicly presented. Franco Ariaudo, Angelo Bellobono, Francesco BertelĂŠ, Stefano Boccalini, Hannes Egger, Pietro Fachini, Emilio Fantin, Pierfabrizio Paradiso and Sergio Racanati, have generously donated their published and unpublished artworks to the cause. These nine artists have always centered their research on social, relational and integration processes. Art becomes an instrument that offers different perspectives, overturns pre-established dynamics and deepens the theme of sport, through a side view. All nine works will be part of a fundraising campaign, which will end on June 17th. The proceeds will go to the cause in order to continue all sports activities, with particular attention to unaccompanied minors and the physically and mentally disabled. EVENTS
beOut. Art, sport and social integration ORGANIZATION
Love Foundation Milano - Arte Sunday April 15th 2018 DATE
from 10.00 am to 04.00 pm HOURS
Parco Lambro via Feltre 75, ADDRESS
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On the occasion of the Milano ArtWeek, the digital platform about contemporary art THAT'S CONTEMPORARY moves on paper, to keep you updated o...
Published on Apr 11, 2018
On the occasion of the Milano ArtWeek, the digital platform about contemporary art THAT'S CONTEMPORARY moves on paper, to keep you updated o...