Throughout 2024, several historic galleries have closed their doors, a sign of the difficulties even well-established institutions are facing. Among them, the gb agency in Paris, active since 2001 and known for its innovative artistic research, has ceased operations. An even more emblematic case is that of Marlborough Gallery, which, after nearly 80 years with locations in New York, London, and Madrid, announced its definitive closure and the sale of its archive and collection. These events highlight the ongoing transformation and uncertainty in the art market.
Despite these circumstances, attendance at the 2025 Arte Fiera preview was remarkable from the very first hours, even though access was by invitation only. The galleries present—essentially all of the most important ones at the national level—showcased significant works, both in Pavilion 26, which focuses on established artists, and in Pavilion 25, which is more dedicated to contemporary art and the fair's "non-main" sections.
Art collecting remains an exclusive pursuit, requiring significant financial investment. While prices in Italy are lower than those in major international fairs and markets like the United States, they remain well beyond the reach of the "average person." Small works by artists with some exhibition history—but not of museum caliber—already command prices equivalent to several months' worth of the average Italian salary. Limited-edition photographs by well-known photographers easily exceed €10,000 (excluding VAT), even in relatively small formats, while paintings by more established artists multiply those figures several times over—without even approaching the truly high-profile pieces.
And then there is the vanity of the galleries, which, on grand occasions like this (and at a national level, this certainly qualifies), dress in their finest, showcasing their best works. But also the vanity of the attendees, visible in their outfits—certainly among the women, but also among the men (if we are still allowed to use these categories). They are well aware that such events are a stage where eyes will be upon them, even when their best years are behind them.
On the global economic front, uncertainties persist. The protectionist policies of the newly elected U.S. president are set to fuel trade tensions, with potential repercussions for Europe. The German economy, traditionally the Eurozone's engine, is facing a period of stagnation. Yet despite these looming clouds, the prices at Arte Fiera do not seem to reflect any particular concerns among market operators. The actual sales figures will emerge in the coming days, but we can expect the usual declarations of success and perhaps even a few transactions with plenty of zeros.
The overall impression is that of a successful edition, though we leave it to true experts to determine which were the standout works and the most promising emerging artists.
Celebrating art is always a positive endeavor, and in Italy, contemporary art still receives far too little attention. An open engagement with art—even when it appears "incomprehensible"—makes us better people. So let us accept that all of this must inevitably pass through a carefully staged spectacle of small or grand vanities.
Antonio Giuliani
Published on February 07, 2025
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itinerarinellarte.it è un sito che parla di arte in Italia coinvolgendo utenti, musei, gallerie, artisti e luoghi d'arte.