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Arte.Architettura.Design.Musica.Moda Sped. in A.P. 45% art. 2. c. 20 20 c. 2. art. 45% A.P. in Sped. let. B - l. 662/96 Firenze Copia euro 0,0001 arte.architetturaExibart.design.musica.moda.filosofia.hitech.teatro.videoclip.editoria..cinemaonpaper.gallerie.danza.trend.mercato.politica.vip.musei.gossip free | anno ottavo | numero sessantuno | novembre - dicembre duemilanove | www.exibart.com Transitiamo dentro la più grande crisi economica da ottant’anni a questa parte, ci dicono. Prendiamo atto, ma poi pensiamo che se una crisi è una cosa brutta, una crisi sprecata è una cosa bruttissima. I periodi di debolezza economica sono infatti utilissimi per adeguare i prodotti, i processi e soprattutto le modalità operative. Per migliorare, insomma, il proprio approccio alla produzione (di beni, di servizi, di cultura...). E allora, negli scorsi mesi, “non sprecare la crisi” è stato un po’ un mantra tra economisti illuminati e pensatori à la page. L’Italia la crisi l’ha ampiamente sprecata: nessuna riforma delle pensioni, della giustizia, nessuna riforma in senso meritocratico. È passato il tipico ragionamento al contrario secondo cui, visto che c’è la crisi, non è opportuno infierire con riforme profonde. E il mondo dell’arte? La sensazione è che la crisi l’abbia sprecata anche lui, alla grande. Ammesso e non concesso che vera crisi vi sia stata. Non vi è stata una sana “pulizia” in nessuno dei tasselli che compongono il mosaico del “sistema” italiano e internazionale. Non sono diminuiti, anzi sono forse aumentati, i collezionisti. Alcuni di loro, addirittura, hanno ulteriormente investito aprendo spazi, musei privati, fondazioni. Non è stata fatta selezione negli spazi espositivi privati, anzi si è continuato ad aprire nuove gallerie, seppur con ritmi leggermente inferiori alle annate precedenti. Quanto alle riviste, il nostro paese sta dando il peggio di sé dimostrando quello stesso campanilismo vetero-provinciale che moltiplica l’offerta a dismisura. E le fiere? Vi risulta che la crisi-più-profonda-dal-Ventinove abbia consigliato agli organizzatori di fondersi, di fare massa critica, di diminuire la quantità dell’offerta aumentandone la qualità e il potere contrattuale all’estero? Niente di tutto questo: restiamo l’unico tra i grandi paesi industrializzati ad avere quattro (!) fiere d’arte con velleità internazionali. La Germania e gli States non più di due; solo una per Francia, Spagna, Regno Unito e Svizzera. Come la mettiamo? Ancora: i premi. La moltiplicazione ha del patetico, con esiti discutibili, con premiazioni pilotate nell’ambito del più squallido pressappochismo nostrano, secondo il quale non solo il risultato viene accomodato, ma non ci si cura neppure di nascondere la magagna. Insomma, una vera orgia di denaro sotto forma di gallerie, fondazioni, fiere, premi . Proprio uno scenario daVentinove , non c’è che dire... In tutto questo, neppure un cenno di cambiamento delle modalità operative, nessun segnale nella direzione delle cose che realmente servirebbero al sistema (un fisco più equo, una meritocrazia vera nell’assegnazione dei ruoli chiave in musei e istituzioni, una riforma radicale della formazione accademica, una governance sostenibile per gli spazi pubblici), nessuna tendenza - come dice Alfredo Sigolo in un articolo che troverete all’interno - a smetterla di “fare mondi” e a iniziare a “pensare mondi”. Già, perché questa millantata crisi neppure è servita a far tornare in auge critici e teorici, che continuano invece a esser surclassati dai curatori (o dalle piattaforme curatoriali, santiddio che locuzioni!). Ci ritroveremo ad accogliere il 2010 con una crisi che non avrà fatto il suo lavoro e con un settore che non ha mosso un dito per sfruttarne il passaggio. Non un bel viatico per entrare negli anni ‘10 di questo strano, indecifrabile secolo. (m. t.) 4retrocover Il sommario di questo numero è a pag. 36 Exibart.onpaper sondaggi. http://sondaggi.exibart.com CON QUESTA CRISI ECONOMICA.... CASTELLO DI RIVOLI. CHI VORRESTI COME DIRETTORE? ci rimettono le giovani gallerie 12,72% m. gioni 15,19% si fa selezione sulla qualità 31,58% d. birnbaum 25,95% sopravvive solo chi è al vertice 23,25% c. christov 23,42% tutti se ne approfittano 12,28% a. bellini 15,19% ci vanno di mezzo gli artisti 20,18% c. basualdo 20,25% vignetta mandateci le vostre vignette sull’arte a: [email protected] sexybart. i perché del mese la TERNA SPAM BENEDETTA BONICHI Sta migliorando il suo appeal. Sta diventando un appuntamento (AF)FARE MONDI di ferruccio giromini fisso. Sta assumendo un profilo istituzionale. Ha una dotazione La vecchia signora i suoi anni non li finanziaria di tutto rispetto e sta divenendo anche un vero e pro- dimostra davvero. Tonica, internazionale, prio “brand” nella fin troppo affollata costellazione dei premi d’ar- sulla bocca di tutti. E soprattutto visitatissima. La Biennale di Venezia (che te contemporanea. Proprio per questo noi non capiamo perché OKsi chiude proprio in questi giorni) ha stracciato tutti i suoi record. il Premio Terna si ostini a consentire e incoraggiare una pratica Biglietti strappati, giornalisti accreditati, cataloghi venduti. Il barbarica come il voto-via-internet. Dando la stura all’autopro- modello di mostra che, come la Settimana Enigmistica, vanta mozione selvaggia di schiere di artisti che (via mail, via sms, via numerosi tentativi d’imitazione non mostra la corda neppure facebook o a voce) questuano il voto di amici e conoscenti. Un nel bel mezzo della buriana della crisi economica. E così ecco i premio che deve e vuol essere prestigioso è compatibile con numeri da capogiro anche per la non troppo coraggiosa edizione questo inelegante mercimonio? “Fare Mondi” di Daniel Birnbaum. ARTE PUBBLICA ALL’OSPEDALE AMACI EXTRASETTORE Chiamateci cattivi. Chiamateci perfidi. Chiamateci insensibili. Ma Siamo in Italia, per cui non ci si stupisca troppo se si loda qualcuno che fa - egregiamente - il lavoro per cui è nato, insito nella sua siamo assai convinti che il problema del deficit di arte pubblica stessa ragione sociale. Come AMACI, l’Associazione dei Musei nel nostro paese e i problemi della sanità e del sociale in Africa d’Arte Contemporanea Italiani, che va a presenziare - ospite del siano due questioni da affrontare su piani differenti, con stanzia- Telecom Italia Future Lab - il Festival della Scienza di Genova. menti dedicati. E soprattutto siamo convinti che ciascuno debba Alla ricerca di un pubblico vasto, giovane e curioso, e soprattutto fare il proprio lavoro. Si sta cercando in ogni modo di convince- “extrasettore”, al quale dire che ricerca e creatività sono parole re gli enti pubblici a far funzionare finalmente quella “legge del che alla scienza accomunano anche l’arte dei nostri giorni... 2%” che obbliga i grandi cantieri a dotarsi di opere d’arte a mo’ di ornamento monumentale. Se i soldi faticosamente ricavati MAC(RO MA)XXI vengono poi destinati dall’artista vincitore alla costruzione di un Ne ha fatta di strada la nostra proposta di qualche mese fa di ospedale in Sudan, il messaggio che noi - come sistema dell’arte inaugurare insieme MAXXI, MACRO e Museo del Novecento. In realtà quest’ultimo si è un po’ defilato per lo scarso interesse - mandiamo ai politici è il seguente: “L’arte pubblica non serve, della politica milanese sull’evento, ma la sinergia tra MAXXI e pensiamo alle popolazioni derelitte del mondo”. Con questo ra- MACRO si rafforza. Si rafforza a tal punto che l’assessore alla gionamento non dovrebbero esserci mostre, biennali, collezioni La conversazione platonica cultura del Comune di Roma Umberto Croppi si è dichiarato, pur Trittico pubbliche. Non dovrebbero esserci neppure musei. È un benal- di inaugurarli insieme, disposto a modificare la data dell’opening “Le mie ossessioni: la realtà e l’amore”. Oh, trismo con venature buonistiche che non ci appartiene. Ed ecco del comunale MACRO a seconda delle necessità e dei tempi dello finalmente qualcuno che non ci gira intorno, che non perché non capiamo l’opera di Massimo Grimaldi vincitrice del statale MAXXI. si vergogna di voler andare al nocciolo della vita, concorso d’arte pubblica del Maxxi e non comprendiamo chi ab- del nostro passaggio su questo pianetino sperduto. bia deciso di farla vincere. Benedetta Bonichi (Alba, 1968) è una gloriosa amazzone della volontà e della ricerca delle verità DEAD OF (CITY)LIFE? (plurali, attenzione, non si dimentichi che la verità Perché, perché, perché. Una sinfonia di perché! A gran voce ANGELI MA SOPRATTUTTO DEMONI non è mai una sola). Tanto per cominciare, esce da sarebbe da chiedersi il perché la questione del museo d’arte studi articolati, ampi e profondi: di storia, filosofia, Angeli come il Franco Angeli grande pop-artista romano degli contemporanea di Milano debba sembrare sempre sul punto di anni d’oro. Demoni come i demoni di un mercato che non riesce antropologia, filosofia del linguaggio, etologia, esser risolta per poi, però, ripiombare nell’incertezza più profon- a essere “pulito” e ad assegnare ad artisti assolutamente geniali paletnologia, mica bazzecole. Dalle scienze umane da. Da qualche tempo sembrava assodato: il museo si farà nel (non solo Angeli, ma anche Tano Festa o Mario Schifano...) il all’estetica, poi, il passo non è più lungo della valore che meritano. È di inizio ottobre la notizia: sgominata una gamba, se nel ‘99 la risoluta trentenne sposa le nuovo quartiere CityLife, in mezzo alle torri di Zaha Hadid, Arata banda di falsari di opere di Franco Angeli. 650 opere contraffatte, due ottiche non convergenti combinandole in un Isozaki e Daniel Libeskind. Già, peccato che tra crisi economi- altre 1000 già vendute. I responsabili? Gli stessi che curavano gioco a sua volta ottico, antico quanto la caverna ca, crollo del mercato immobiliare, lentezza della burocrazia, il l’archivio storico ufficiale dell’artista. Andando avanti così, il di Platone. Le ombre. Quelle proprie, vabbè, le nuovo development è ultimamente messo seriamente in forse.
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