Arissima (Arissima Internazionale d’Arte Contempoanea di Torino for Reconds) Restored last week with 176 exhibitions of the Oval Lingotto of the Olympic Winter Games – in the industrial district of Turin. It is a city where modern art has long set the pace for cultural innovation throughout Italy. The first modern museum in Italy, Castello Di Rivoli, was founded here in 1984, 10 years before the launch of Artissima. The sandretto resaupetto opened almost at the same time as the draw of the fair, and the galleria civica d’arte areasana e comeranea (gam) was already flourishing. Artissima came as a market platform, but it served equally as a skill in these flower centers.
The Fair was directed for the fourth year by Luigi Fassi, who introduced himself as “100 percent keeper.” He started working with Arissima literally to oversee the current and upcoming phase. Since about 2007, artissima has only bartors as its directors- “which tells a lot about the DNA, the spirit of order. I try to strengthen this curatorial identity,” Fassi told the viewer. He pointed out that more than 50 curators contribute to shaping this kind of fair, working in its various parts and offite projects.
“Obviously it’s 100 percent a market platform. It has to be, it will be. But I think it’s something that has a stake in that market. We have to work for it as a service platform.” Regarding those ideals, Fasi commented, “We are trying to combine the middle type of Collector, Italian and international. Therefore, it has been found how great the grandparents are, there is no income where it is similar to this, even Europe. In Italy, it is our culture.”
Although this obvious Italian sensibility helps the context of simplicity, Fassi pointed out that most of the participating shows were not Italian. “It’s like 60 percent of 60 countries, 40 Italian. There aren’t many regional songs where the local players are small.” The Fair is publicly owned, even if it does not receive public funding; It is to build the Tothazione Torino Musei, next to the main centers of the Museum. “I don’t have to answer to the CEO and ask to generate more money. This is my thing. I can renew whatever I get in justice, if you don’t have to generate money for shareholders, then you think differently.”
As a curator, Fasi had high expectations for the booth’s presentations. “One less job is better than one more job,” he said. There were about 30 monographic booths, which he noted “gives you an idea of the level of trust the booths have with musicians, because it’s great to have musicians.” The Fair also featured discussions, including the London-based gallery Alice Amati, which brings the Romani-born artist Paul Robas – based in Zurich, based in Zurich, based in Zurich, based in Zurich Swelpt from €2,500-€4,000 and paid some attention. Amati, presenting for the second time at the right time after graduating from the new category included, noted, at first, it seemed that I am in the scene here, “and they explain that they are in Artissima but also return to ARISISMA but also with Nada Miami in December.
Representing the Turin Scene was Beriatutti & Biliatti, founded in 2000 by Attilio Biasutti and his son Giuseppe and daughter Paola. The gallery presents a project in the movement of Pro Povera with four artists who have collaborated with nature: Piero Gilardi (€ 10,000-450,000), Giulio Paolini (€ 40,000-700,000) and Mario Paolini (€ 40,000-700,000), including his Fibonacci series. Paolo Biliatti noted that during Turin’s Art Week there was a “good movement,” but that “Turin is a magical city,” adding that “with all the difficulties, and [the fair] it is a way to overcome things. ” The gallery also participates in Bologna’s Arte Fiera, although BeriaSutti admitted that it attracts a national crowd.
International at large was the Thomas Dane Gallery, which also exhibits annually at Frieze and Art Basel. The executive director Federical Sheehan told the audience that the gallery, which participated in Artissima from 2010 to 2012, returned in 2023 after opening a foreign location, “says this type. Pinacoteca Agnelli presents a work by one of the gallery’s artists, Paul PFEIFFER, who saw the project on the Pista 500 Billboard in collaboration with Artissima. PFEIFFer’s work at the Booth revealed that Justin Bieber Body, which became “the most taken work of the booth … perhaps with beauty,” said Sheehan, noting its focus on “Religion and pop media at the same time.” However, the pictures of Luigi Ghirri (€11,000) sold first and were bold during the preview.
Among the new category of installations, which revealed 12 emerging paintings with less than five years of work, was Murat Pilevneli’s installation in 2017 in Istanbul’s Dolapdere in the first district in Istanbul. He also described Turin as being on the “Local” side of the spectrum but was happy to meet Turkish collectors. AKıncıtürk, At that time, played with the idea of the fair itself, noted that “in the sense, today’s beauty is often this hypercapitan of dystopian nature [thing]. ” His work, which is drawn from images found on the Internet, takes a “kinda flowy colorful” which shows that, in this case, the shiny boots are refined. “I think [the work] He’s tapping into the market because he’s a late-stage startup,” he added.
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