MEET THE YOUNG TALENT CURATORS, AFFORDABLE ART FAIR MILANO
Experts in the field of curating, Angelica Gatto and Emanuele Riccomi will be working their magic at the eighth edition of Affordable Art Fair Milan, curating the Young Talents exhibition. Both Angelica and Emanuele studied at CAMPO (for their full biographies click here), a renowned course for Curatorial studies – so we can’t wait to see the artists and artwork they have selected. We sat down to understand their views on contemporary art and and their roles as curators.
To read this interview in Italian, click here.
What do you love about curating?
“I see a curator as a catalyst, generator and motivator – a sparring partner, accompanying the artist while they build a show, and a bridge builder, creating a bridge to the public.” These words from curator and Art Critic, Ulrich Obrist describe the Curator and its function; he is a catalyst, a figure in between the artist and the public, defending the artwork from any interference that could possibly jeopardise it, or the viewers journey of discovery through it. At the same time, I think that the curator presents concepts to debate and a narration through time and space and even the senses – these are some of the aspects of curatorship that I love the most. Establishing a continuous exchange with the artist is fundamental, a relationship with their artworks and understanding the messages they convey. Curatorship is, in my opinion, the practice of planning and promoting cultural contents. As a curator you must constantly consider both the context and methodology of each exhibition, this is a skill which I have developed from constant detailed study and fieldwork.
The opportunity to create an emotional journey through curating has always fascinated me, a narration that builds relationships with images and objects in an exhibition. It’s not about building or telling a one-sided story, but about constructing a journey which allows many different interpretations by those that see it. Another fundamental aspect of curation is developing a connection with the artists, I aim to become at one with their work and their research. The collaboration between artist and curator is key when working towards the realisation of a project, ensuring that everyone involved has made a contribution.
Why should collectors invest in artwork by up-and-coming artists?
To invest in contemporary art and especially in work by young emerging artists means you are making a cultural investment and not a purely an economic one. It is an investment in their craft, and contributes to the possibility that their work may be recognised and supported. I believe that the role of the Collector should not be too far from that of the Curator. The collector is a cultural promoter and a figure that supports the artist and their work. The partnership that develops between a collector and an artist is for the latter, the ideal condition of producing art. Together they have a shared commitment to the arts and the work of the artists. So, to me, collecting is a way of cultural “sponsorship” and education.
The relationship between young artists and collectors is often based upon shared values. To buy an artwork is the most concrete way to express your own support of the creative arts and, in doing so, you give the artist the possibility to continue in their job. The more purchases an artist secures, the more potential to raise the value of their artwork, and therefore the value of the investors collection – so it is a mutually advantageous relationship.
This year you are curating the Young Talents platform, what were you looking for when selecting the artworks/artists?
For the Young Talents section of Affordable Art Fair Milano, I am working with Emanuele Riccomi to create an exhibition that works within the context of the wider fair. The selection of artists and artworks aims to create a discourse with the public, plus provide an experience within the fair. Because of this, we have chosen to create a thematic exhibition. Through the artists and exhibited artworks we will try to create different journeys, giving the public the option to debate both familiar concepts and prompt new conversations.
Angelica and have I worked a lot on the concept, we are trying to create a exhibition which will permit us to confront a theme usually only made publically accessible through non-authorised means. To do this, we have had to investigate this unspoken subject, which directly influences the daily lives of those that live in large cities, starting from elements and processes that are right in front of us. To us, it was important to try to communicate an overriding message; that art talks about everyday life.
To continue reading the interview with Angelica and Emanuele, in which they discuss the Italian art scene, discovering up-and-coming artists and accessible art; CLICK HERE »
Born in Rome in 1989, Angelica graduated at University La Sapienza, writing a research thesis on artistic association between Alain Robbe-Grillet and Robert Rauschenberg. She continued her studies graduating with a thesis on the relationship between art and science, and a historical-critical research on Luca Maria Patella
Angelica attended CAMPO in 2016. Since then, she has collaborated in the development of projects and exhibitions with public and private institutions. She is currently the executive project manager of a contemporary art space in Rome.
Born in Rome in 1989, Emanuel graduated in History of Contemporary Art at University La Sapienza, writing a master’s degree thesis about Biennale of Instanbul, where he studied for more than a year.
After his studies, he moved to Berlin to work at Ney Gallery, then back to Rome to work together with Baruchello Foundation. Emmanuel also attended CAMPO in 2016. Now he works with the journal Opera Viva and also as an independent curator.
Young Talents, 2017 Edition, “Quando, quando, quando” exhibition curated by Giampaolo Cacciottolo, Alessandro Ferraro, Elisa Torchio.
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