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Art News Milan
27/01/2023I have always been fascinated by the figure of the art dealer, intriguing even in the name, a definition that contains the economic and creative side of the matter. Which is exactly what the professionals of the art system come to terms with, in the truest sense of the word, every day.
In a very confused moment like the present one, I would like his figure to be resurrected, which until a few decades ago summed up the characteristics needed to extricate oneself from the quicksand of the art world.
In my career I have tried as much as possible to break down the barriers that could create separations in which I do not recognize myself and trying to overcome, through study, the limits that are sometimes imposed by the system: I find it wonderful and useful to know how to distinguish a mediocre Hartung from a masterpiece (and recommending a fair investment), together with the discovery of a young talent who has the fundamental need to be seen outside his studio, on pain of non-existence for the world.
Attending artist studios and visiting the collections presupposes curiosity, an expert eye and the desire to constantly get involved. A historicized masterpiece brings us back to a moment that we probably didn't experience for reasons of age; contemporary art, when valid, gives priceless keys to understanding the present and perceptive windows on the future. Should I miss all of this because the insurmountable dichotomy dealer/contemporary art gallery owner is only valid if there is incompetence? Quality and talent have neither time nor language: this is comparable to all forms of art, why should visual art be excluded?
I like having a physical place to welcome people, projects and visitors, but I don't want to be a "slave" to opening hours that are the result of a habit that is no longer mine: because time is too precious and quality time must be as much a part of it as possible. of our lives