A pink month, this September, for modern art, which some strive to distinguish from that which is called contemporary. While it is simply modern art, because the term contemporary is not chronological and differentiating, but anachronistic, confirming that
elective affinities. Contemporaneity is by no means the modernity closest to us; that, if anything, is actuality, which is another thing, because, as the unsurpassed Benedetto Croce told us, everything can be contemporary, even that which is very distant in time, as long as it is
Desiring, infatuating, affectionate. In the sweet grip of Photo London, of London and the Harmony Show, of New York, and shortly after, of Art Basel, and shortly after that, Miart 2021, the brilliant Milan returns to display art in person, without video mediation, asserting a plastic, visual, olfactory, gastronomic, tactile value that is ineliminable, in a materiality that makes artifice of imaginary life.
An evidence of life and vitality, which contradicts the repetitive pessimism of some of our compatriots who see others as great and themselves as small, ever smaller. One hundred and forty-five galleries, vying for a record of the visible, which is not a race to see who arrives first, but a high demonstration of genius, which undeniably exists. In five highly pedagogical and didactic sections – Established Contemporary, Established Masters, Emergent, Decades, Generation – a whole universe of options, styles, trends, and poetics expands, designed to attract (and succeeds in doing so) a multiplying range of interest and collecting, from diverse latitudes and longitudes, in a kermesse capable of confirming Merz, Bonalumi, Rotella, but also of promoting a whole youthful universe, such as Romina Bassu, Troy Makaza, Andrés Pereira Paz; in short, a beautiful, complete circle.
KLESSIDRA | EDITED BY FRANCESCO GALLO MAZZEO
Italiano 
English (UK)