It is called “London Calling: British Contemporary Art Now”, featuring 30 works by 13 artists working in London since the early sixties. It's a living testament to the British capital's ability to attract creatives from all over the world, to make them feel in a magical place where anything can happen, and then make it happen for real.
This means playing the metropolitan, dominant and hegemonic role;
It means managing to transform quantities into qualities “alchemically,” turning ordinary individuals with potentially unremarkable biographies into protagonists, through the entire functioning of the art system, which is pyramidal, with a relatively wide base that tapers to a peak. This peak is London, along with New York, with other co-protagonists in Cologne, Dusseldorf, Frankfurt, Paris, Milan, Rome; but nothing comparable to the two summits. The names of those present in Rome are the very well-known David Hockney, M. Craig-Martin, Sean Scully, Tony Cragg, Anish Kapoor, Julian Opie, J. and D. Chapman, Damien Hirst, Matt Collishaw, G. Perry, Y. Shonibare, I. Khan, Annie Morris.
What else can be said, other than that we are in the midst of eclecticism, where everyone does everything, because there is no dominant language, but a flourishing in which there are as many rules as there are geniuses who invent them, without paying heed to grammars and orthodoxies, because they are the ones who determine them. Then, it is clear, that in the world there are many originalities (rich and poor, original or repetitive) with the illusion of being able to hold their own, but there is no doubt that the game is tough, and these, even these, are the tough ones who, along with charming dealers, gallerists, collectors, museum directors, foundations, auction houses, determine the tides, the ebbs and flows. This “London,” is not everything, but it is an aleph.
KLESSIDRA | EDITED BY FRANCESCO GALLO MAZZEO
Italiano 
English (UK)