ARTISSIMA2014 holds its 21st edition in Turin

 
From 7 to 9 November, Turin celebrates ARTÍSSSIMA 2014, the international contemporary art fair which celebrates its 21st edition in the Oval Lingotto Fiere.
 

More than 190 galleries, 34 countries and a special exhibition dedicated to Maurizio Cattelan, Myriam Ben Salah and Marta Papini, entitled "Shit and Die" in the Palazzo Cavour ... It would be a good claim in it self but ARTISSIMA 2014 ( according to its director Sarah Cosulich) "wants to stand out with its own personality to survive with major international competition"... and it they get it considering it is the fifth show in the list of the 30 most important international exhibitions of contemporary art world, according the study of American consultancy Art Market Research Skate's.

 

Artissima is probably the most experimental and avant-garde of the fairs and in his 2013 edition was visited by around 50,000 visitors. 2014 has 194 galleries, mostly European but also the arrivals from China, Israel, United States, Portugal and Latin America. The Spanish representation comes on the heels of Casado Santapau (Madrid), ProjecteSD (Barcelona), Sabrina Amrani (Madrid) and PM8 (Vigo).

 
 
ARTISSIMA 2014 has five main sections organized by 40 curators and dedicated to: established galleries, emerging, young artists, artists who were active between 1960 and 1980, editions of art (books, prints, engravings and works in series). There will also be proposals and new spaces at the fair, as PER4M, a special section devoted exclusively to the performances. His section "Back to the Future", includes 25 solo shows of "works by 'museum quality' of the 60s, 70s and 80s", curated by João Fernandes, deputy director of the Museo Nacional Centro de Arte Reina Sofía (Madrid ); Beatrix Ruf, director of the Stedelijk Museum (Amsterdam); Jochen Volz, chief curator of the Serpentine Gallery (London); and Douglas Fogle, independent curator.
 

 

Thirteen years have passed since its beginnings, and in all this time the Video Art Festival PROYECTOR has grown and consolidated its position as an essential event in this discipline. Since its inception, the initiative has tried to give visibility to a discipline that has always been relegated to the background in the usual exhibition circuits. Although video creation is not new, since it emerged by its own in the 60s of last century, the way to get to know it and enjoy it has not always been easy. On many occasions, the exhibitions only included a few isolated pieces within the main route, as if the video was the anecdotal contribution to the whole. However, our daily lives are invaded by moving images, and there is a paradox that video art, despite being a format of artistic expression very much in tune with the habits of today's society, remains a minority discipline

Frame from “Hel City”, by Gregorio Méndez Sáez, 2019

To some extent, PROYECTOR was born to reverse this situation, to value video as a creative format and to offer a wide, itinerant space to host a multitude of proposals, coming from inside and outside our borders. In this time, the growth of the festival has led it to travel the world, but also, to be a benchmark that each year arouses more interest. In the open call to receive proposals, they reach almost half a thousand, and a hundred works selected by the jury are a representative sample of different ways of understanding video creation, with pieces mainly from Europe, Latin America, Southeast Asia and the Middle East.

In turn, PROYECTOR wants to be more than a video showcase and offers a large program with talks, workshops, masterclasses, meetings with artists, visits and concerts. A complete experience that always has the moving image as a backdrop.

El Instante Francisco Ruiz de Infante. El bosque que se mueve (errores de medida)

In this evolution, another circumstance stands out: video is a creative format that has its own codes, but it is also one of the disciplines most open to artistic hybridization and the widening of uses. The video may, therefore, be the genuine idea of an author who conceives an autonomous project to be carried out in this format, but it can also be the complementary result of an action or the documentary record of a previous performance being recorded to guarantee its survival. The versatility of the moving image and the potential that it has acquired in recent years allows us today to speak of numerous branches of art that focus on the fusion of languages and the integration of techniques and methodologies from other sectors, and in many of them, the video is still a cornerstone. So it is with technological art, interactive sound art, performance recording, the transformation from big data to image, artificial intelligence, and a long etcetera. Precisely for this reason, PROYECTOR offers a panoramic vision of this reality, with an extremely interesting program that plays with the variety and wealth of proposals.

Frame from “Herdança”, by Thiago Rocha Pitta, 2007

The 2020 edition will run from September 9th to 20th. As usual, the program displays in various venues throughout the city of Madrid, each of which will house a small section of the activities. This year the festival will count with the collaboration of the Casa Árabe, White Lab, Cruce, El Instante Fundación, ¡ésta es una PLAZA!, Extensión AVAM (Matadero Madrid), Institut Français de Madrid, Medialab Prado, Quinta del Sordo, Sala Alcalá 31, Sala El Águila, Secuencia de Inútiles and White Lab, in addition to the collaboration of the INELCOM Collection and the video art collection of Teresa Sapey.

The festival is also the ideal place to articulate the cultural fabric, since it involves numerous professionals in the sector, from curators to creators, from centres managers to critics and teachers. The 2020 program also has the collaboration of the FUSO Festival and the Museo Reina Sofía, which are providing some of their pieces for the exhibition.

In short, an appointment that lovers of contemporary art should not miss and that promises many novelties in this 13th edition.