Atlante Dell’arte Contemporanea

De Agostini Edition

curated by Stefania Pieralice and Daniele Radini Tedeschi


Pages: 1000
Measures: 21,5 X 29,5 Cm


On 15th February 2019, the Atlante dell’Arte Contemporanea, published by De Agostini, the first publishing company in Italy, arrives in all bookstores. It is a monumental volume of one thousand pages containing a complete mapping of the Italian artistic context. A text that finds its place in the international framework as the only instrument of art economy, dedicated to the relationship between art and finance, collecting and marketplace, system and industry.

The volume is structured in different sections: these range from the files on the main Italian artists operating between 1950 and 2019, with their related photographs, to a selection of the most important Italian art galleries; from the “Conversations” with the most notable collectors and personalities of the world of art and architecture, to the analysis of the artistic system based on the Market Indexes – a section which is divided into the parameters of unsold, extension, range, capital gains and trends.

It is important to note that the 160,000 international auction results – expressed in USD, GBP, CHF, JPY, HKD, RUB, CNY, BTC – have been converted into EURO thus generating, together with the prices recorded by the galleries, the richest specific database concerning the period analysed (1950/2019).

The scientific coordination, entrusted to Daniele Radini Tedeschi and Stefania Pieralice, lasted three years; such was the timespan needed for the research, drafting and classification of more than 800 names, divided by region, including: Giorgio De Chirico, Emilio Vedova, Giacomo Balla, Paolo Scheggi, Alberto Burri, Carol Rama, Lucio Fontana, Domenico Gnoli, Piero Manzoni, Enrico Castellani, Pino Pascali, Giulio Paolini, Giorgio Morandi, Marino Marini, Afro, Agostino Bonalumi, Massimo Campigli, Mimmo Paladino, Stingel, Michelangelo Pistoletto, Gilberto Zorio, Maurizio Cattelan, Ettore Spalletti, Vanessa Beecroft, Paola Pivi, Marzia Miglior, Francesco Vezzoli, Roberto Cuoghi. The volume also contains the unpublished interview with Hermann Nitsch, the international exponent of Viennese Actionism, regarding the value of theatricality and representation in relation to body art.

In the “Conversations” section, with regard to the auction market, the following contributions are included: Giovanna Bertazzoni, Co-Chairman of the Department of Impressionist and Modern Art and International Director of Christie’s in London; Raphaelle Blanga, Senior Director, Head of Contemporary Art at Sotheby’s Italy, who spoke about the most interesting artists across the national borders; Georgia Bava, responsible for Modern and Contemporary Art by Minerva Auctions.

Other poles of critical and historical interest are the great public and private institutions, such as the Sandretto Re Rebaudengo Foundation, presided over by Patrizia Sandretto Re Rebaudengo, who described her career as a passionate art collector, recalling Maurizio Cattelan’s personal exhibition in 1996. Moreover, Marcella Beccaria, Head Curator and Curator of the Collections of the Castello di Rivoli Museum of Contemporary Art, offered a reflection on the movement of Arte Povera, on the curatorial role and on the meaning of the museum through the permanent collection and temporary exhibitions. Finally, Franco Marrocco, Director of the Brera Academy, illustrated the relationship between academic art and “spontaneous” art.

The link between art and architecture, disciplines that are growing increasingly closer, has been explored by Doriana and Massimiliano Fuksas – for the “Studio Fuksas” – a couple of international Archistar whose main interests have always lain in art and design; Stefano Boeri, for “Stefano Boeri Architetti”, the new President of the Milan Triennale, talked about his eco-sustainable and environmentally-friendly projects. The world of art fairs has been investigated through contributions, interviews and reflections by Angela Vettese, former director of Arte Fiera (Bologna); Ilaria Bonacossa for Artissima (Turin); Alessandro Rabottini for Miart (Milan).

A special place is reserved to the most authoritative Italian private collectors: the Maramotti Collection of Reggio Emilia, the Casamonti Collection of Florence and Giorgio Fasol’s AGIVERONA Collection.

Lastly, Roberto Albergoni, Director of Manifesta12, provided the report of one of the most important itinerant exhibitions in the world, held in Palermo in 2018.

The publishing project is supported and promoted by Start, a leading company in publishing and temporary exhibitions.

This important publication confirms itself as an indispensable investment for artists, collectors, gallery owners, auction houses and institutions, but also for all the enthusiasts who aim to understand the dynamics and developments of Italian contemporary art.

The cover: Mimmo Paladino, Solitary Sun, 1986, Oil, metallic paint, and tar on burlap, wood, and linen attached to a gilded and charred plywood panel, 280.7 x 181 cm
© 2017 Mimmo Paladino / Artists Rights Society (ARS), New York / SIAE- Rome; “DIGITAL IMAGE © data, The Museum of Modern Art/Scala, Florence”