Artissima 2017

Course Course Vittorio Emanuele II, 12
Torino, Italy
3–5 November 2017

Artissima, the International Fair of Contemporary Art, presents its 24th edition in Torino from 3 to 5 November 2017.

Confirming its mission of innovation, experimentation and research that have made it a case of true excellence in the international art fair panorama, Artissima 2017 with its cutting-edge approach anticipates the future.
Intercepting trends and cycles in the art world, the fair envisions alternative models of cultural interaction, becoming the vehicle of a new way of communicating with an audience of collectors, professionals and art lovers.
Three special projects, three new ways of relating to art audiences.
Artissima goes digital on
The fair catalogue is digital, passing from printed to virtual: on it is possible to explore galleries, artists and works interactively. After registration, visitors can save their own favourite contents creating their own “virtual collection” of desiderata.
Alongside the catalogue, the online agenda interfaces the wishlist allowing registered users to highlight their favourite events: talks, guided tours, prize ceremonies and encounters. To plan their visit to the Oval, but also to enjoy the fair during and after the Torino contemporary art week.
* With the support of Compagnia di San Paolo
Artissima pays tribute to Arte Povera
In the 1960s Torino was one of the international capitals of artistic research. Today Artissima pays tribute to that heritage, looking back on one of the most innovative experiences of the time: the Deposito d’Arte Presente (Warehouse of Present-Day Art, 1967–68). A place of production and display of works by emerging artists organised by Gian Enzo Sperone, the Deposito, in the words of art historian Robert Lumley, was “an extemporaneous, non-permanent collection … a space for the present, for a type of art connected to the hic et nunc and stripped of any sacred character”.
With the Deposito d’Arte Italiana Presente, curated by Ilaria Bonacossa and Vittoria Martini, Artissima retrieves that format, shifting it into the present time and using it as a conceptual framework for a project that absorbs the operative modes of the original. Presenting works from Piedmontese institutions and galleries exhibiting at the fair, the Deposito is not really an exhibition, but a temporary warehouse that triggers a narration on the last 20 years of Italian art, to capture it today and understand its future developments. The Deposito becomes a place of study and discovery for curators, collectors and art lovers.
* With the support of Camera di commercio di Torino
Partners: Art Defender, Metalsistem Piemonte
Media partner: Flash Art
Swinging Artissima
“PIPER. Learning at the discotheque” is the title of the programme of Artissima talks coordinated by “the classroom”, a centre of art and education directed by Paola Nicolin. The content of the project develops from reflections on the Piper club in Torino, a discotheque designed by Pietro Derossi with Giorgio Ceretti and Riccardo Rosso, which became a popular venue from 1966 to 1969, welcoming eclectic and creative personalities like Michelangelo Pistoletto, Alighiero Boetti, Piero Gilardi, Mario and Marisa Merz, Gianni Piacentino, Carlo Colnaghi, Carlo Quartucci, Patty Pravo, Living Theater, Carmelo Bene, Massimo Pellegrini, Pietro Gallina, just to name a few. Transforming the provincial atmosphere of a “dance hall” into a self-managed cultural centre, the Piper set a precedent on an international level for non-institutional spaces focusing on contemporary art. Artissima offers an evocative reconstruction: a classroom-disco created in collaboration with the art group Superbudda, and with the contribution of Gufram recreating the original chairs. A space in which to present an open course leed by artist Seb Patane, as well as lectures and talks on contemporary artistic production.
* With the support of Fondazione per l’Arte Moderna e Contemporanea CRT 
Partners: Gruppo Campari, F/ART, Gufram
Thanks to: Centro di Restauro e Conservazione “La Venaria Reale”