By Giorgia Ferro
The weekend dedicated to Arte Fiera has just ended, the longest running modern and contemporary art fair in Italy at its 44th edition this year. For some, the new location, the pavilions number 15 and 18 of the Fiera di Bologna previously at 25 and 26, could be criticized, inconvenient for the presence of the shuttle but by comparison airy and bright as a space in itself.
The two sections worth mentioning were Focus curated by Laura Cherubini and Painting XXI curated by Davide Ferri, respectively dedicated to important names of the twentieth century and in a very accurate and interesting way to contemporary trends in painting. Photography and moving images, which began last year, also presented interesting works curated by the Fantom group.
Directed for the second year by Simone Menegoi, we see an inclination towards research, a curatorial approach, an intelligent and well-balanced layout of space, with a pavilion almost entirely dedicated to modern art and the other, to contemporary art.
Lots of new proposals, well thought out was the idea of bringing only three artists to medium- sized stands and six to larger exhibitors. Also important as a medium to be showcased, the presence of photography, a good balance between modern and contemporary. But most importantly an always proactive and profitable dialogue with the city, which again this year presented Art City with a vast program on Saturday night, an opportunity which allows people to interact with the spaces dedicated to art and often hosted in historical buildings throughout the city.
Quite striking and part of the Painting XXI section, Boccanera dedicated its stand to two young painters with extensive use of lively brushstrokes. Nebojša Despotović, born in 1982, and Andrea Fontanari, 1996, who enlivened the stand with large and colorful canvases, in a perfectly successful duet. Also in the same section, in the stand of Francesca Antonini there was the painting by Guglielmo Castelli striking at a first glance thanks to its noteworthy expressive charge. While the home grown Bolognese P420 offered a pastel-colored stand alternating the sculptures of Paolo Icaro, the delicate surfaces of Irma Blank and the photographs of Alessandra Spranzi in a mix of contrasting elements.
There are those who complained about the lack of a more international presence, because in fact there was a focus on Italian art, which in this case played out to be a virtue rather than a fault, whilst on the other hand supporting young Italian artists never hurts.