After the success of the 2018 edition, #ArtissimaStories returns with its programme of exclusive interviews, published on the website and social channels of the fair starting in September.
Coordinated by Edoardo Bonaspetti and Stefano Cernuschi, with Anna Bergamasco, the Stories 2019 include 10 interviews with personalities from the world of contemporary art (collectors, gallerists, directors) discussing the most-timely themes of the industry based on their own experience, in a dialectic between experts and emerging figures.
Artissima Stories is part of the project Artissima Digital supported by Compagnia di San Paolo.
Discover here alle the interviews about the project Artissima Stories 2019
“I tend to prefer smaller fairs that can allow for some kind of focus—younger artists, a particular geographical zone, or specific practices—rather than multipurpose mega-events where one can lose focus” – Nienke van der Wal
“I use Instagram as a tool and I find Instastories are even more appropriate for art fairs, as one doesn’t need to be as specific with captions and details. You can just share the experience, and experience is everything these days” – Frédéric de Goldschmidt
“I agree that fairs should, and can, collaborate. We are not football teams that have to beat each other, but instead part of a complex ecosystem in continuous transformation.”- Ilaria Bonacossa
“In general, fairs are still a concentrated meeting place that bring together many different actors from the art world and enable them to exchange ideas. The physical act of being together in one place creates a certain amount of intensity.” – Joanna Kamm
“For me, the gallery space is THE space – where all our visions are truly developed – but it is a fact that we are constantly on the go, presenting projects here and there, from a gallery swap to a fair.” – Matteo Consonni
“In the end, the projects we present at fairs are exhibitions that will have a bigger audience, so we try to take advantage of this – and, of course, the sales.” – Joana Roda
“At the moment I’m prioritizing fairs that offer sections specifically conceived for young galleries” – Enrico Polato
“Artissima has unquestionably helped me find new collectors and put me in touch with curators I wouldn’t have otherwise met.” – Carlo Pratis
“There is a lot of trust involved on both sides—the creator’s and the collector’s alike. We continue to buy the work of young artists and support them wherever we can.” – Fatima Maleki
“Collecting is addictive. Collecting is first of all a personal journey that helps an ordinary person to have an extraordinary life.” – Karen Levy
“I’m an ‘information thief’, if you will: at fairs I run into friends who are gallerists, curators, artists and collectors. They’ll all say something about works that have caught their eye. So I go take a look to discover new things” – Giorgio Fasol
“We both started collecting out of curiosity, knowing little or nothing about contemporary art, but gradually building up knowledge through curiosity, enthusiasm, and research.” – Andrea Boghi
“Beirut has a special history and has been through a lot in the past forty years. Despite it all, culture has always remained a priority and has always flourished. All this allows creativity to thrive, and it’s really fascinating to witness.” – Joumana Asseily
“Lisbon is an attractive city: artists moving here; curators coming to see their work and institutions internationalizing their programs; fairs opening branches here to accommodate this influx and growth” – Francisco Fino
“Although we want to keep the focus on the exhibitions we organize (…) we think it is important to start doing projects outside of our space, as a way to engage with different contexts, reach a broader public and, most importantly, build relationships with peer galleries, creating a community that goes beyond our local scene.” – Fanta MLN
“Emalin started off as a nomadic series of exhibitions. (…) Soon we realized that the next logical step in the equation would be to open a permanent space. (…) The fair becomes a vehicle to bring the work back into circulation, reimagine it in a different geographical context.” – Emalin
“The nomadic condition is something that means a lot to me. I founded Ermes almost five years ago as a nomadic gallery… Nowadays, as you said, being nomadic is a way to survive, to be part of an international discussion.” – Ilaria Leoni (Ermes-Ermes)
“My nomadic lifestyle is mirrored by my management style, choice of artists, and networking and selling strategies. From this perspective, I would say fairs are temporary destinations perfectly in tune with this nomadic approach of ours.” – Salman Matinfar (Ab-Anbar)
“Collections are like living creatures because they evolve constantly. Connecting with art is a continuous learning experience.” – Carlos Marsano
“My art lives with me in my home with my family and feels like part of it.” – Neda Young