Art

IC and PAC help make contemporary Italian art competitive in the world

From 2017 to 2024, around 17 million euros were allocated to the 13 editions of the Italian Council, 13.5 million for the four editions of the PAC

Tomaso Binga per la Ventesima Giornata del Contemporaneo, Donna in gabbia, 1975 - 2024

4' min read

4' min read

12 October is the Day of the Contemporary, the event dedicated to contemporary art that involves the whole of Italy. Now in its 21st edition, this initiative, promoted by Amaci (Association of Italian Contemporary Art Museums), is realised with the support of the Directorate General for Contemporary Creativity of the Ministry of Culture and in collaboration with the Directorate General for Public and Cultural Diplomacy of the Ministry of Foreign Affairs and International Cooperation. Since its genesis in 2005, its aim has been to bring contemporary art to the general public and this year, thanks to the support of the Maeci diplomatic network, embassies, consulates and Italian cultural institutes will also be involved, extending the event abroad.

The Artist for Contemporary Day

Like every year, Amaci, the association of contemporary art museums, decided to entrust an artist with the creation of the guiding image for the event. The image for the 21st edition is the work "Woman in a Cage" (1975 - 2024) by Tomaso Binga, an Italian artist born in Salerno in 1931. Alter ego of Bianca Pucciarelli Menna, Tomaso Binga is a poet and artist, a leading exponent of Italian phonetic-sound-performance poetry. The image is taken from a performance in 1974 that denounced gender inequality and forms of control masquerading as protection. In Amaci's choice, "the canary cage thus becomes a barrier, not only physical but also metaphorical, on the inaccessibility to freedom as an inalienable right and to all the tools and possibilities that can bring each of us to a condition of greater awareness and emancipation. And precisely accessibility, in its broadest sense, is the theme of this Contemporary Day.

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Investing in the art of the present

In Italy, much has been done to conserve and enhance the heritage of the past, but very little to enhance and support the contemporary, above all, in the last seven decades there has been a lack of constant and accurate investment in the art of the present. In the past, in the allocation of public resources, the protection of historical heritage prevailed and only as of 2017 did something change with the establishment of the'Italian Council (IC) by the Ministry of Culture with the General Directorate for Contemporary Creativity with the dual purpose of, on the one hand, making a direct contribution to creative production and, on the other, offering artists, curators and critics - as well as cultural institutions active in the contemporary, public and private - the opportunity to create international networks aimed at the knowledge and dissemination of Italian art in the world, contributing to the development of careers with similar international realities.

From 2017 to 2024, 13 editions of the Italian Council were held and approximately 17 million euro in funding was allocated. For an emerging or mid-career Italian artist 'winning' the Italian Council represents an important achievement not only in terms of the possibility of seeing one's own project funded, but also in terms of institutional recognition and international visibility.

Promoting Italian creativity abroad

Over the years, the Italian Council has, in fact, become more and more inclusive, supporting more strongly the promotion of Italian art in the world. For this reason, every project must necessarily include collaboration with international cultural realities and a promotion phase abroad.

The 13th edition of the Italian Council 2024, allocated EUR 2.7 million and awarded 67 projects against 240 applications. Among the "winning" artists whose work will become part of Italian museum collections and whose proposing institution was a foreign institution we find Elisa Giardina Papa with the project "SHE FLICKERED IN AND OUT OF HISTORY" destined for the collection of the Madre - Museo d'arte contemporanea Donnaregina of Naples which received a funding of 150,000 euro compared to a request of 222,000 and had as its foreign partner the Museo de Arte Moderno de Bogotá (Colombia). The work "Adaptability (Like a Flood)" by the artist Adelita Husni-Bey went to the Museo delle Civiltà, Rome (funding 143,600 euro from a request of 228,600) with the Sharjah Art Foundation (United Arab Emirates) as partner.

The PAC - Plan for Contemporary Art

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Since 2020, the support and promotion of contemporary Italian creativity has been further strengthened with the Direzione Generale Musei, which involves all museums through the public call for proposals PAC set up in 2001 for the acquisition of works created in the last 70 years and of collections or archives related to contemporary art and creativity; the second for the production of new works; the third for projects to enhance donations. Four editions financed the acquisition of 149 projects for a total amount of €13.5 million. In the latest edition of the PAC 2024, 40 projects were selected to receive a total of €3.5 million in funding.

Among the acquisitions, the Galleria Nazionale d'Arte Moderna e Contemporanea in Rome acquired for the permanent collection, the work "Untitled" (2012) by Rudolf Stingel, the Museion in Bolzano acquired "Same Skin for Everybody" by Nicola L. (1932 Mazagan, Morocco - Los Angeles 2018) from the 1960s, when the artist began to give form to his "Pénétrables", a series of canvases that allowed the public to literally immerse themselves in the work by introducing parts of their body; over the years, these canvases were transformed into banners with political slogans.

During the demonstrations in May 1968, Nicola L. took to the streets making a series of 'penetrable' protest banners, including 'Same Skin For Everybody' with space for 11 heads.

The artist Tomaso Binga and his market

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The artist works with Galleria Tiziana Di Caro (Naples) and the prices of works produced in the 1970s range from 12,000 for works on paper made with a typewriter (so-called 'Dattilocodici') up to 100,000 for alphabets (such as 'Alfabetiere Murale') or paper installations made in wide time spans such as 'Ti scrivo solo di domenica'. The Biennale's 'Dattilocodici' (i.e. those that were exhibited at both the 'Materialisation of Language' exhibition in 1978 and 'The Milk of Dreams' in 2022) are now worth around EUR 28,000. For the photographic works, some of which relate to performances, the range is EUR 10,000 - 30,000.

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