The Fuksas Cloud is the Fuksas Cloud and there's nothing more to say. A light, bright monument to our time, which is in great need of lightness and brightness. In the middle of the EUR, which is the most beautiful and functional result of the project to extend the eternal city, assuming eternity can actually be extended... Roads, squares, monuments, all with great metaphysics, so much so that at every corner, you feel you see the watchful, inquisitive gaze of Giorgio de Chirico on one side, and of the Futurists, visionaries and accelerants of time and space, on the other. Of the art fair, what can be said... one cannot speak ill, for its distinctiveness and good manners. With European, American and East Asian galleries absent, what remain are the Italian ones, which have done their duty, both the historical ones, Tornabuoni, De Nisi, Cinquantasei, which have brought Boetti, Schifano, Perilli, Castellani, Crippa, Bonalumi, Gastel, Mambor, and the “young” ones which have done their best and could do no more.
Compared to last year's edition, it's a standstill, which can also be seen as a slight step back, but given the current times, that's perhaps understandable. To say that it's what Rome needs, for its artistic history and for its 20th century, no, that cannot be said; we need to be able to do more, have more, otherwise there's a risk of marginalisation, of being inconsequential. Many of the great protagonists who were absent without justification should be recalled to Rome, or if justified, then so be it. The entire expected coverage is absent, in favour of “other” things, which, admittedly, are not without merit. Giving a positive vote to the organisers, however, there remains a sense of a lack of organic structure and personality; no Corrente, no Novecento Italiano, no Scipione, Mafai, no Guttuso, Vespignani, Attardi, but no Gallo, Dessì, no Transavanguardia, no Arte Colta. One might say that a fair is not a museum of yesterday or today.
And yet...
KLESSIDRA | EDITED BY FRANCESCO GALLO MAZZEO
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