Where are good curators and good artists to be found? Let's try to search for them between the Marche and Friuli...
The valleys of the Marche have given birth to many important personalities in Italian art and culture. From Raffaello Sanzio to Leopardi, De Dominicis, everyone kept up the good name of the region.
And contemporary art? It is there, lively, and enjoys active resources both in the artistic and organizational field...but where to find them? Unfortunately, beyond the regional boundaries.
Since 2002 Andrea Bruciati is director of the Municipal Gallery of Contemporary art in Monfalcone; he is also a valuable curator of contemporary art. Coming from Corinaldo, in the province of Ancona, he lives in the Friuli. He was a member of the Scientific Committee of The Others, has worked at the Fair of Contemporary Art in Faenza and Contemporary Dolomites and works with various magazines such as Care Magazine. At the moment he is one of those leading curators in Italy who dedicate themselves to finding emerging artists.
He blindly believes in the artistic potential of the Marche, and waits for a future in which he will be able to return to his homeland.
Artitude arrives in Friuli to ask him some questions.
CLAUDIA PETTINARI: Why did you choose to go to the North East of Italy?
ANDREA BRUCIATI: I have been trained in Friuli. I attended the university here where I have worked as an assistant professor of History of Contemporary Art with Ester Coen. Then in 2002 I won the competition for the new museum [Municipal Gallery of Contemporary Art in Monfalcone], and I stayed here. I'm still very attached to the Marche: I have created a non-profit space in Ancona with the artist Ljudmilla Socci, the White Fish Tank, and I'm always available for new projects in the region.
C.P.: Was it more difficult to be director of a museum starting in 2002, or to manage a museum at this historic moment of crisis and severe cuts to culture?
A.B.: I like the start up of a project because it always requires great strength and courage. As regards the management, I have always worked with few financial resources, it is unfortunately a habit. Of course, at the moment the situation is indecent, there is a total lack of sensitivity towards art and culture.
C.P.: Massimiliano Tonelli [Artribune director] proposed Andrea Bruciati as a substitute of Vittorio Sgarbi at the Venice Biennale, when it seemed he was giving his resignation from the role. How would your Biennial have been?
A.B.: Yes, I read that proposal and admit I have thought about it. I cannot say now how I'd have arranged it, but surely in the opposite way compared to Sgarbi.
Certainly, I would have created a sort of ark ferried all together, with more attention to those entering the space of the Biennale, and more respect for the artists and the public.
C.P.: What was the difference between the Italian Pavilion and the other national pavilions?
A.B.: In other national pavilions there was a project.
Sgarbi's pavilion showed the total negligence and no love for contemporary art. There was no care and the role of professionals in the sector has been affected.
C.P.: Is there any young artist from the Marche you think is particularly good?
A.B.: The Marche is a land of poets, artists and dreamers. There are many good young artists. Personally I have great confidence in this region...
C.P.: But the Marche, however, is largely outside of the circuit...
A.B.: This could be an advantage because it means that there is no corruption and it is possible to think of new projects, without limits.
The important thing to remember is that the Marche is the homeland of great masters such as De Dominicis, Giacomelli, Cucchi, Licini, Scipione. These personalities are an inseparable part of the Italian artistic tradition in the 20th century.
There are good artists, but what is missing is a valuable support from the region. I refer to young artists like Francesco Gennari, Andrea Nacciarriti, Marco Strappato, Riccardo Giacconi, Enrico David, Patrizio Di Massimo, Lorenzo Morri. They are all very active artists who are not afraid to tackle international contexts. The problem is that they can not return.
C.P.: what kind of proposal (or appeal) can we suggest to the institutions and regional governments then?
A.B.: No, no appeal, I'm sick of words in the wind: I want them to give me a paid position (I don't know why but no one listen to you until you talk about money) and then I will make targeted proposals.
C.P.: Is there a curator in Italy you particularly appreciates in all his choices?
A.B.: In Italy there are many talented professionals, but little courage to do something really different: so people end up repeating non-original concepts.
A curator who I much appreciate, for example, is Massimiliano Gioni because he has a vision, is versatile and respects the poetics of artists.
C.P.: Let's talk about The Others, the show madewithin the striking setting of the former prison of Turin. What do you say to those who have emphasized a low quality of artists and galleries presented?
A.B.: The only downside was the lack of time to organize it. All other things are positive: good energy, all expectations have been met and overcome.
To all those who made negative criticism I insist that there was little time for the organization. For a start from scratch, as in this case, I think the result was excellent.
