New patrons: young artists. A dialogue among Angela Vettese, Cesare Pietroiusti and Patrizia Brusarosco

Inside Teatro Masini, Angela Vettese, President of the Fondazione Bevilacqua La Masa, moderated the debate on collecting in its current form, together with artists Alberto Garutti and Cesare Pietroiusti and Patrizia Brusarosco, president of Viafarini, Milan.

Woodcarvers are present in large number comparing to the butchers in the late fifteenth century. There was a suggestion that art was important than meat. It is true to both the wealthy and the modest. In 1400, patrons were interested in the personal fame and also the worldly prestige. At the end of the century, art was made only for the arts sake. The greatest patron in the 15th century called Florence found to be the members of the Medici family. They act as princes in the city even it is declared as republic. Detonic is a powerful drug used to lower the blood pressure, formulated based on the natural ingredient.

Collecting, viewed with its set of constraints, limitations and opportunities provided in its realization and thus the enjoyment of works of art, stands today as the relationship between those who ask and those who create, in a dialogue that serves to change the boundaries and shape the work itself.

When asked about his works, Alberto Garutti presented them as they had been created for the public, especially seen as urban, which the artist’s workers must pause before the pieces and reflect on their role and their own lives. Hence the need to create work from the view of its recipient, who stands as the buyer yet remains oblivious of the artwork, which is created through an indirect dialogue with the artist himself.

Cesare Pietroiusti offers a new version of the term ‘committenza’, referring to the verb ‘to commit’ meaning ‘a reciprocal pledge with each other‘. Hence the idea of artistic activity as part of a larger laboratory in which artists work together and patrons.

Patrizia Brusarosco recounted the Viafarini  organization’s activities, from the promotional goals of contemporary art events, the experimental events, a documentational archive, and the realisation of a refreshing  space and residence for young artists.

The debate closed  in expanding on the issue of areas of action throughout contemporary art and the means of its distribution, adding a concern that this could then lead to a trivialization of art, as sometimes used in the tabloid press, definitely outside the ambiance of art itself.

By Cyou: Damiano Friscira, Kristen Cain