Arte in Nuvola slows down, but then restarts

Flat previews, but improved flows with the weekend audience at Arte in Nuvola, with a solid level of modern offerings and excellent special projects in cooperation with museums and cultural institutions. Particularly exciting were the photos from the Roman Studio of Pietro Consagra (via Cassia 1162, Archivio Pietro Consagra, photos by Claudio Abate), the vis-à-vis of Giuseppe De Nittis and Pino Pascali, the intense solo exhibition by Piero Guccione (Archivio Guccione), and the 10 sculptures by Antonio Canova (Ifis Collection). Ditto for the contribution brought by the Museum of Civilisations in Rome with Polynesian works in tree bark or those of Isabella Ducrot.

What a pity for the absence of some important exhibitors at the fair, including Brun Fine Art, Contini, Cavaciuti, Cortesi, Farsetti, GAM, Mazzoleni, Benappi MarcoRossi and Federica Schiavo. As is sometimes the case, the institutional participations fill a few gaps, not because the event is lacking, since many galleries do not hesitate to consider that of the Nuvola an appointment not to be missed. In which the interest of many national and international gallery owners in meeting Roman and central-southern collectors is confirmed. But some promises are fraying. Internationality is in the forefront, represented by galleries such as Tornabuoni Arte, Matteo Lampertico, Valentina Bonomo or Dep Art and many others (Galleria Gaburro, with offers between 15-25 thousand), but the flows between the stands, cyclically insufficient, also suffer from the lack of reception standards usual in Basel, Paris and London, and of that charge of creativity that should also focus on the commercial side, since it is the operators that are the heart of a fair. Among other things, the VIP programme seems to have offered more opportunities and curiosity in the city than in 2023, but it only generated random flows at EUR. Among operators and the public, there are shortcomings in refreshment stands, advertising, taxis and reception signs at Eur.

The fact remains that when the bidding was calibrated and seductive, in moderate ranges, quick exchanges were made such as at Galleria Michela Rizzo (from €3-4 thousand upwards) or on a fine triptych by Pino Pinelli at Dep Art in the range of €5-10 thousand and above, while on medium-high values prudence and reflection prevailed. This was predictable and the slowdown is confirmed, albeit in a different way from international auctions.

The historicised offer holds, with rare paintings such as a Magnelli, Expressionist from 1918-19 (from BKV, at €160,000) or a Max Bill (from Marco Orler) and the contemporary offer diversifies, from big names to emerging ones such as Luca Grechi (from Richter, installation €1.2-9,000) while the significance of the relationship with the gallerist is re-emerging.

Excellent fabric in Central-South collecting, between pause for thought and curiosity. 'We fight this form of depression,' explains Antonio Addamiano of Dep Art, 'with our artists and an extra share of creativity. The fair is not necessarily a place for immediate sales, but a time to weave relationships. We have many appointments to meet again in our gallery in Milan. Today we have to reconsider the whole art system, and not give up anything. In Rome, there is a hurried public, less practical than in the North, which is 'desperate' and does not move easily. And it is prepared and attentive. Few from Milan and Turin, but in the Urbe there is an excellent collector fabric, which requires closeness, even if there is no painting fever". Dep Art creates cultural experiences, such as the Apulian exhibitions in Ceglie Messapica, inside a trullo restored with total respect for tradition, without structural changes and modern facilities, intended for contemplation and detachment from customs.