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The scientific spirit is back in the Quadrennial

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95 years of the Quadrennial (1927-2022) were celebrated yesterday: the anniversary coincides with a change of pace in the life of the Institution and its activities, in a logic of continuous renewal and expansion of the scope of its action already imprinted in the previous direction. The Foundation’s Board of Directors, chaired by Umberto Croppi and composed of Lorenzo Micheli Gigotti, Fabio Mongelli, Valentina Tanni, has decided to use the current year and the next two up to 2024 to consolidate the identity of Quadriennale as a research on the visual arts in Italy of the XX-XXI century and as a promoting body of Italian artists in our country and abroad.
The work of this three-year period will follow precise guidelines: mapping and promotion of emerging art; training initiatives; stable collaborative relationships with institutions abroad; communication, research and training relating to the world of digital and network technologies. In short, for the next few years the work will not be concentrated on the Quadriennale Arte and the exhibition. In the wake of the choices made for the previous three years, the Board of Directors wanted to equip the Foundation with an artistic director, to give continuity and coherence to the activities in order to build a whole range of tools and services with which to achieve the objectives of the mission of Quadrennial, with the activation of all the levers of its Statute.

The budget

In difficult times, the programming budget of the Quadrennial of Rome 2022-2024 remains stable: $ 1,500,000. It is also receiving (2022 -23) $ 600,000 for its 95 years (with reference to the 150th anniversary of Roma Capitale, from the “Mission structure for national anniversaries and the participatory dimension of the new generations” of the Prime Minister’s office). Another $ 180,000 are resources of the Institution. It involves two years of financial coverage (the ordinary budget is around 800,000). The rest of the necessary funds – President Umberto Croppi reassures – will be found along the way, as has also happened in the past four years. It is already expected that the future exhibition will slide from 2024 to 2025, due to the closure of Covid in 2020, which has made it essential to extend the past 17th edition to 2021, directed by Sarah Cosulich (now Turin in charge of the Pinacoteca Agnelli) and Stefano Collicelli Cagol. The future headquarters of the eighteenth-century Arsenale Clementino will allow offices and part of the activity to be established there only starting from 2025, since during the progress of the works the need for reclamation was discovered (with plan already approved: about 18 months of works, in the of 4000 square meters, between the Porta Portese and the Tiber). It therefore appears unlikely that the traditional headquarters of the Pala Expo in Via Nazionale will not be involved once again for the next exhibition.

Goals and ambitions

For the first time, except for the creator of 1927, the painter Cipriano Efisio Oppo, the artistic director of the Quadriennale is an artist. But not univocally, but in a polymorphic meaning, because Gian Maria Tosatti is also a columnist / journalist and cultural organizer, with an education built between Rome, Warsaw (Grotowsky) and New York. With the caution of the “institutionalized” bottom-up worker, a Tosatti engaged between the setting up of the Italian Pavilion in Venice and the renewal of the Roman institution, tried to present to journalists the possible advances to date. In his mandate, he wanted to emphasize the function of the Quadrennial as a national research body, which does not necessarily coincide with the major exhibition every four years. In the past, the main challenges of the Quadrennial had already been affirmed and, then, recently reaffirmed – by Croppi himself and under the direction of Cosulich Canarutto – as a link, census and survey on national visual arts, in order to better project them into the arena of international competition. , structuring them in networks (called Q-International and Q-Rated). Could this path be a line to which to give clear continuity? Surely the sowing had been rich and it would be nice to know the results (at least on the new site) to start again.

Panorama, Notebooks of Italian Art, between online and paper

The objectives and contents outlined in the previous edition actually seem to return – positively – in filigree in the programming proposed by Tosatti in an extensive way: “mapping and promotion of emerging art, stable relationships of collaboration with institutions abroad”, with a focus perhaps more accentuated on “research and training relating to the world of digital and network technologies” and a “Reconnaissance on Italian digital art” for which a scholarship of 18,000 dolars is announced (deadline 11 April). «Panorama» will be the horizontal mapping of the art scene through 15 curators who will carry out visits to the artists’ ateliers (30, on a monthly basis). For northern Italy there will be Giacinto Di Pietrantonio, Francesca Guerisoli, Paola Nicolin, Roberta Tenconi, Riccardo Venturi; for the center Lara Demori, Nicolas Martino, Angel Moya Garcia, Marco Scotti, Marco Trulli and for the south Daniela Bigi, Marcello Francolini, Lorenzo Madaro, Chiara Pirozzi, Alessandra Troncone. A second scholarship of 18,000 dolars is announced for a survey of the “Panorama of Italian 21st century art” (deadline 11 April).

THE “Notebooks of Italian art” dedicated to the present of the Italian contemporary will be both printed and online. The editorial staff and essays of the quarterly magazine thus entitled, under the aegis of Treccani, will also make use of the rich documentary heritage of the ArBiQ archives directed by Assunta Porciani undergoing advanced digitization. The platform and the site, enhanced, will give space to the artists’ production.