Page 1

english issue

O n PAP ER the contemporary art network in milan

special edition


april 2018

Focus on •




#investment #experience

w w w . t h at s c o n t e m p o r a r y. c o m

Contents 3

Letter from the Director


Background and Progress of the 23rd Edition of miart 2018 Interview by giulia restifo


The art market focuses on fairs

francesca tribò


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

10 Marsèlleria

Felix Alessandro Di Pietro 13

Massimo De Carlo Hier, Oggi Bertrand Lavier

Elliptical Machine Gun Nate Lowman

Weird Sisters Karin Gulbran

16 mc2gallery

Jessica Tanghetti jessica@thatscontemporary.com Martina Grendene martina@thatscontemporary.com PARTNERS

Elisabetta Rastelli elisabetta@thatscontemporary.com MANAGING EDITOR

Andrea Amato andrea@thatscontemporary.com ART DIRECTOR

Francesca Tribò francesca@thatscontemporary.com MARKETING & COMMUNICATION

Andreina Privitera press@thatscontemporary.com COMMUNICATION ASSISTANT


Mariko McNeill


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

martina grendene


Giulia Restifo giulia@thatscontemporary.com DIRECTOR

jessica tanghetti


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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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

giulia restifo

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

Open Stage

Kyle Thompson


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.

focus exhibitions




Cortesi Gallery Autoarchitecture

Gianfranco Pardi




June 8th 2018

Saturday 12 pm – 6 pm

46/B, Milan

March 23rd

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

focus exhibitions

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




Nicholas Byrne


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

Giulia Restifo

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.

March 29th

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.


francesca tribò

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


focus exhibitions


Massimo De Carlo, Milano / Palazzo Belgioioso Elliptical Machine Gun


Nate Lowman


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

earthly powers.

investigates the relationship between art and consumerism, to new interpretations



Hier, Oggi


Bertrand Lavier

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.


Collecting Today

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 – Art Basel and UBS in collaboration with Clare McAndrew].

jessica tanghetti

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

that’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

focus exhibitions




Casper Faassen


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 can’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 LTArt’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.

international institutions.


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.

www.londontradeart.co.uk info@londontradeart.co.uk


Naomi Leshem, Stripes, 2016. Courtesy: artist, Ncontemporary.

focus exhibitions



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,


Naomi Leshem

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 “ivory towers�

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


focus exhibitions

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,

Kiki Smith.

politics, transformation, utopia and dystopia,




Nctm Studio Legale and nctm e l’arte

Swirling Around One and Other

Driant Zeneli

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.

martina grendene

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,

focus exhibitions




Renata Fabbri

Leaning into the night

Sophie Ko




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.

March 6th

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

different saints.

maintains a universal connotation, and the

focus exhibitions

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

invisible magnetism.

colour as a common denominator.



The Flat – Massimo Carasi Alternative Readings


Michael Johansson


March 23rd


From Tuesday to Saturday

May 11th, 2018

2.30 pm – 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

epiphanic forms.

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

always aware.

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

Adam Gordon




April 21st 2018

Saturday 3.00 pm - 7.00 pm


February 1st

Tuesday - Friday 11.30 am - 1.30 pm and 2.30 pm - 7.00 pm Open on Sunday April 15th

Viale Premuda 46,

how to

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.


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


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


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

(Skatepark) Milan

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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...


On the occasion of the Milano ArtWeek, the digital platform about contemporary art THAT'S CONTEMPORARY moves on paper, to keep you updated o...


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