❄ Wishing our readers a joyous holiday season ❄
25.12.2024. (Caucasian Journal) From time to time the Caucasian Journal highlights the contemporary art scene, particularly visual arts. Our focus is consistently tied to the South Caucasus region and its connections to the global art community. How well-known are Georgian artists in Europe? Are Georgians finding it easier to connect with European audiences?
Today, we are pleased to welcome a very special guest who can offer insights from the perspective of European curators: Luigi FASSI, Director of Artissima, Italy’s largest international contemporary art fair, which has been held in Turin since 1994. The most recent Artissima, which took place last month, featured participation from Georgia.
▶ ქართულად: The Georgian version is here.
Alexander KAFFKA, editor-in-chief of Caucasian Journal: Welcome to Caucasian Journal! Can you provide us with some examples of contemporary Georgian art you are familiar with?
Luigi FASSI: Collaborating with Andro Eradze for Artissima to create a special project centered around his work, "Raised In The Dust", was crucial for showcasing the significance and role of Georgian contemporary art to both the Italian and international audience at the fair. Collaborating with Andro Eradze to create a special project centered around his work, "Raised In The Dust," was crucial for showcasing the significance and role of Georgian contemporary art to both Italian and international audiences at Artissima. The project was displayed in Parco Michelotti, a historic public space in the heart of Turin that housed the Zoological Garden until the mid-1980s.
 |
| Andro Eradze, "Raised in the Dust" ©Perottino-Piva-Castellano/Artissima |
AK: Let’s introduce Artissima to our readers. Can you characterize it using just three adjectives? What makes it stand out in Italy's and Europe's contemporary art scene?
LF: Unpredictable, transformative, and inclusive.
Artissima has a unique identity as a fair that skillfully blends years of commercial dynamism with the profile of a cultural institution. It actively engages in the direct production of works and projects with the artists represented by the participating galleries in each edition. Today, Artissima has evolved into a multifaceted platform that serves the market. It involves dozens of museum directors in each edition and attracts collectors who appreciate the privilege of discovery and research, steering clear of speculative trends.
Visitors to Artissima choose it because they know they will encounter a wealth of continuous discoveries, revelations, and important direct contacts that are valuable for future developments.
AK: Italian art life is highly dynamic and intensely competitive. How did Artissima originate? What sets it apart from other contemporary art events in Italy and Europe?
LF: Artissima was founded in 1994 with the vision of creating a unique space that not only served as a marketplace for contemporary art but also as a cultural institution focused on innovation, research, and collaboration. Its mission is rooted in the belief that art plays a vital role in civic and social development, and it aims to energize the cultural and economic landscape of Turin and the wider art community.
Artissima is distinct in its dual role as both a commercial platform and a cultural institution. It stands out for its close ties with museums, curators, and cultural institutions. Unlike many art fairs, Artissima extends its influence beyond the fairgrounds by collaborating with local institutions in Turin. Projects like installations at the Museum of Natural Sciences and the creation of public art in the city highlight its commitment to integrating art with the urban environment. Artissima has been quick to adopt emerging art forms, including photography and digital media like NFTs and AI art. Moreover, the fair attracts a diverse range of collectors by offering art at varying price points, from accessible works to high-value pieces.
 |
| Andro Eradze, "Raised in the Dust" ©Perottino-Piva-Castellano/Artissima |
In an intensely competitive field, Artissima sets itself apart through its blend of commerce, culture, and community, acting as both a marketplace and a platform for innovation, making it a key player in the contemporary art scene in Italy and beyond.
AK: Going back to the Georgian contribution to Artissima 2024, can you tell us more about the “Raised in the Dust” project by the Georgian artist?
LF: Andro Eradze’s Raised in the Dust offers a deeply contemplative engagement with themes of environmental change, human impact, and ecological memory. Through its haunting imagery of taxidermied animals juxtaposed with the disruptive spectacle of fireworks, the project poetically illustrates the fragile and often catastrophic intersection of human progress and the natural world. It resonates within Artissima’s ethos by offering both emotional resonance and critical inquiry—pushing viewers to confront uncomfortable truths about our role in the destruction of ecosystems. The work demonstrates the power of storytelling through visual arts as a means of questioning, reflecting, and reimagining our relationship with nature.
AK: From your perspective as a European art expert, is there a vision of contemporary Georgian art as a whole, or only of individual artists? How relevant are Georgian artists to the artistic mainstream of Europe, and particularly Italy?
Compared to ten years ago, we are now witnessing a broader institutional recognition of Georgian art through its inclusion in major European fairs, exhibitions, and biennials.
LF: I currently direct a fair like Artissima, but my background is that of a curator who has worked for several years directing art institutions and institutional exhibition programs. In my recent past I have had the opportunity to cooperate with other Georgian artists, such as Vajiko Chachkhiani. In this sense, I believe the Georgian art scene is gaining significant visibility, first of all at a European level, but also globally. From the perspective of Artissima, what matters to me, in line with the identity of the fair, is to carry out continuous scouting, starting from the galleries, to bring new emergencies of global art to the attention of the Italian public. In this sense, working with Andro Eradze was an important result.
 |
| “Does the sun have smoke #2”, Elene Shatberashvili |
LF: Georgian art has undeniably grown more visible within the European contemporary art landscape over the past decade. This is thanks to a combination of historical richness, distinctive artistic practices, and the dynamic ability of Georgian artists to engage with contemporary issues, such as migration, memory, and ecology. Compared to ten years ago, we are now witnessing a broader institutional recognition of Georgian art through its inclusion in major European fairs, exhibitions, and biennials. Artists like Andro Eradze, Elene Shatberashvili and others have become vital contributors to critical conversations about identity, history, and environmental change, offering fresh and thought-provoking perspectives. This visibility reflects not just the strength of their individual practices but also a growing support system through galleries, institutions, and curators facilitating their entry into European networks. There’s clear momentum and progress in how Georgian art is being received and celebrated on a global stage, which speaks to its vitality and innovative engagement with pressing contemporary themes.
There’s clear momentum and progress in how Georgian art is being received and celebrated on a global stage, which speaks to its vitality and innovative engagement with pressing contemporary themes.
AK: How does Georgian art align with European trends - how “European” is it?
LF: Georgian art is both deeply rooted in its own unique history and traditions while engaging dynamically with broader European trends. What makes Georgian art so compelling is its ability to balance its specific regional narratives with universal contemporary concerns, such as memory, identity, migration, and ecological change—issues that resonate across Europe. The 'European' aspect of Georgian art lies in its shared exploration of conceptual experimentation, critical reflection, and multidisciplinary approaches—traits that define the European art scene today. However, it remains distinct due to its unique cultural heritage and history, offering a dialogue between East and West, tradition and modernity. Georgian artists often interrogate themes like diaspora, history, and political transformation, providing a perspective that is both distinctively Georgian and profoundly European in its shared pursuit of questioning and innovation. This duality makes Georgian art incredibly rich and relevant within the context of European contemporary art movements.
This duality makes Georgian art incredibly rich and relevant within the context of European contemporary art movements.
AK: A year ago, Georgia was granted “EU candidate” status. Luigi, if you see Georgia joining the EU family of nations anytime soon, what might that mean for the art scene, exchanges, and art education?
LF: It would mean being able to greatly accelerate a process of integration of the Georgian scene with the European institutional one, thanks to even more agile, direct and immediate relations. I hope that this can happen soon and I myself can visit Georgia as soon as possible to get to know its artists better. I have not yet been to the country and it would be wonderful to be able to go there to experience first-hand the vitality of its artistic scene.
AK: My final question is about Artissima’s event titled “WoW – Worlds of Words.” Can you tell us more about its concept, as it seems so relevant to publishers and magazines? Could the Caucasian Journal be involved in future iterations of WoW?
LF: WoW – Worlds of Words is a special project at Artissima that explores the connection between contemporary art and the world of publishing. It highlights how magazines and editorial projects play a crucial role in shaping cultural and artistic conversations. In 2024, the focus was on magazines that are pushing the boundaries of the publishing industry, offering a unique platform for these publications to engage with new audiences. The project featured several sections, including Talking Magazines, Edicola, and the Editorial Area, each focusing on the role of magazines in contemporary culture and how they adapt to the digital age.
Given its emphasis on thought-provoking and relevant issues, the Caucasian Journal may be a good fit for future iterations of WoW – Worlds of Words at Artissima.
AK: Thank you, we would be honoured to take part! If there is anything that you would like to add for our readers, the floor is yours.
LF: We are maintaining open communication with Georgia. In Western Europe, we need to better understand its art scene to gain new stimuli for comparison and collaboration.
AK: Thank you very much!
Read the Georgian language version here.
This article was produced with the financial support of the EU and the German Marshall Fund of the United States (GMF). Its contents are the sole responsibility of the Caucasian Journal and do not necessarily reflect the views of GMF.
No comments:
Post a Comment