Even though the concept of “nationality” when we talk about an internationally acclaimed artists is more and more blurred and has little to do with the importance of the artworks, it is evident how small the Italian art presence in great international art manifestations is, sometimes almost negligible. It is then necessary to understand the causes of this situation, to draw a map of the current state of the contemporary Italian scene and state some resolutions from it. The first 2022 Report “How (well) known is Italian art abroad?” by BBS-Lombard Benefit Corporation, together with Arte Generali has investigated how much Italian contemporary artists are (in)visible in the international art market, laying the groundwork for a much more in-depth research of the art system, with the ultimate purpose of giving new solutions to overcome this situation, wandering whether Italian art has a business model with (still) some gray areas - unlike almost all other product sectors – and how building an economy to bridge the gap, having a market strategy and being attractive in the international positioning can be a strategic move. The study was conducted carrying out both qualitative and quantitative analysis throughout more than 20 interviews to Italian curators internationally known that have helped us understand causes, strengths and weaknesses of the Italian art system and a big data collection about the presence of Italian artist in international museums, art manifestations, biennials, such as Biennale di Venezia and documenta, international art galleries and auctions. The global media coverage of Italian artists was analyzed with the help of Artiker and through the artificial intelligence of Wondeur AI, partner of Arte Generali, it was possible to analyze the relationship between art development and cities, considering the city’s overall success rate (percentages of artists showing growth in the city) and the city’s risk propensity (ability to attract artists). The instrument of the Italian Council was also studied, the main MIC project (Italian Ministry for Culture) in support of Italian art and the initiatives of Italian cultural institutes abroad. From the overall analysis some relevant names have emerged: Francesco Vezzoli, Monica Bonvicini, Enrico David, Paola Pivi, Tatiana Trouvè, Roberto Cuoghi, Rosa Barba, Massimiliano Cattelan (above all) and a few others, all united by a time of study or work abroad which allowed them to create valuable relationships with curators, galleries and museums abroad.
| Published in | International Journal of Economics, Finance and Management Sciences (Volume 12, Issue 5) |
| DOI | 10.11648/j.ijefm.20241205.16 |
| Page(s) | 284-292 |
| Creative Commons |
This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited. |
| Copyright |
Copyright © The Author(s), 2024. Published by Science Publishing Group |
Art Market, Italian Contemporary Art, Art System
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APA Style
Sanesi, I. (2024). Visibility in the Italian Art World: How Far Along We Are. International Journal of Economics, Finance and Management Sciences, 12(5), 284-292. https://doi.org/10.11648/j.ijefm.20241205.16
ACS Style
Sanesi, I. Visibility in the Italian Art World: How Far Along We Are. Int. J. Econ. Finance Manag. Sci. 2024, 12(5), 284-292. doi: 10.11648/j.ijefm.20241205.16
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Download@article{10.11648/j.ijefm.20241205.16,
author = {Irene Sanesi},
title = {Visibility in the Italian Art World: How Far Along We Are
},
journal = {International Journal of Economics, Finance and Management Sciences},
volume = {12},
number = {5},
pages = {284-292},
doi = {10.11648/j.ijefm.20241205.16},
url = {https://doi.org/10.11648/j.ijefm.20241205.16},
eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijefm.20241205.16},
abstract = {Even though the concept of “nationality” when we talk about an internationally acclaimed artists is more and more blurred and has little to do with the importance of the artworks, it is evident how small the Italian art presence in great international art manifestations is, sometimes almost negligible. It is then necessary to understand the causes of this situation, to draw a map of the current state of the contemporary Italian scene and state some resolutions from it. The first 2022 Report “How (well) known is Italian art abroad?” by BBS-Lombard Benefit Corporation, together with Arte Generali has investigated how much Italian contemporary artists are (in)visible in the international art market, laying the groundwork for a much more in-depth research of the art system, with the ultimate purpose of giving new solutions to overcome this situation, wandering whether Italian art has a business model with (still) some gray areas - unlike almost all other product sectors – and how building an economy to bridge the gap, having a market strategy and being attractive in the international positioning can be a strategic move. The study was conducted carrying out both qualitative and quantitative analysis throughout more than 20 interviews to Italian curators internationally known that have helped us understand causes, strengths and weaknesses of the Italian art system and a big data collection about the presence of Italian artist in international museums, art manifestations, biennials, such as Biennale di Venezia and documenta, international art galleries and auctions. The global media coverage of Italian artists was analyzed with the help of Artiker and through the artificial intelligence of Wondeur AI, partner of Arte Generali, it was possible to analyze the relationship between art development and cities, considering the city’s overall success rate (percentages of artists showing growth in the city) and the city’s risk propensity (ability to attract artists). The instrument of the Italian Council was also studied, the main MIC project (Italian Ministry for Culture) in support of Italian art and the initiatives of Italian cultural institutes abroad. From the overall analysis some relevant names have emerged: Francesco Vezzoli, Monica Bonvicini, Enrico David, Paola Pivi, Tatiana Trouvè, Roberto Cuoghi, Rosa Barba, Massimiliano Cattelan (above all) and a few others, all united by a time of study or work abroad which allowed them to create valuable relationships with curators, galleries and museums abroad.
},
year = {2024}
}
TY - JOUR T1 - Visibility in the Italian Art World: How Far Along We Are AU - Irene Sanesi Y1 - 2024/09/29 PY - 2024 N1 - https://doi.org/10.11648/j.ijefm.20241205.16 DO - 10.11648/j.ijefm.20241205.16 T2 - International Journal of Economics, Finance and Management Sciences JF - International Journal of Economics, Finance and Management Sciences JO - International Journal of Economics, Finance and Management Sciences SP - 284 EP - 292 PB - Science Publishing Group SN - 2326-9561 UR - https://doi.org/10.11648/j.ijefm.20241205.16 AB - Even though the concept of “nationality” when we talk about an internationally acclaimed artists is more and more blurred and has little to do with the importance of the artworks, it is evident how small the Italian art presence in great international art manifestations is, sometimes almost negligible. It is then necessary to understand the causes of this situation, to draw a map of the current state of the contemporary Italian scene and state some resolutions from it. The first 2022 Report “How (well) known is Italian art abroad?” by BBS-Lombard Benefit Corporation, together with Arte Generali has investigated how much Italian contemporary artists are (in)visible in the international art market, laying the groundwork for a much more in-depth research of the art system, with the ultimate purpose of giving new solutions to overcome this situation, wandering whether Italian art has a business model with (still) some gray areas - unlike almost all other product sectors – and how building an economy to bridge the gap, having a market strategy and being attractive in the international positioning can be a strategic move. The study was conducted carrying out both qualitative and quantitative analysis throughout more than 20 interviews to Italian curators internationally known that have helped us understand causes, strengths and weaknesses of the Italian art system and a big data collection about the presence of Italian artist in international museums, art manifestations, biennials, such as Biennale di Venezia and documenta, international art galleries and auctions. The global media coverage of Italian artists was analyzed with the help of Artiker and through the artificial intelligence of Wondeur AI, partner of Arte Generali, it was possible to analyze the relationship between art development and cities, considering the city’s overall success rate (percentages of artists showing growth in the city) and the city’s risk propensity (ability to attract artists). The instrument of the Italian Council was also studied, the main MIC project (Italian Ministry for Culture) in support of Italian art and the initiatives of Italian cultural institutes abroad. From the overall analysis some relevant names have emerged: Francesco Vezzoli, Monica Bonvicini, Enrico David, Paola Pivi, Tatiana Trouvè, Roberto Cuoghi, Rosa Barba, Massimiliano Cattelan (above all) and a few others, all united by a time of study or work abroad which allowed them to create valuable relationships with curators, galleries and museums abroad. VL - 12 IS - 5 ER -
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