{"id":309813,"date":"2025-11-21T23:37:50","date_gmt":"2025-11-21T23:37:50","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/art\/artissima-a-fair-to-discover-politically-minded-artists-we-make-money-not-art\/"},"modified":"2025-11-21T23:37:50","modified_gmt":"2025-11-21T23:37:50","slug":"artissima-a-fair-to-discover-politically-minded-artists-we-make-money-not-art","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=309813","title":{"rendered":"Artissima, a fair to discover politically-minded artists \u2013 We Make Money Not Art"},"content":{"rendered":"


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November is Artissima<\/a> month in Turin. The meanders of the art market are not exactly my area of expertise so i\u2019ll jump straight to what makes Artissima Italy\u2019s most exciting contemporary art fair (in my view): the presence of galleries that work with strong and politically-minded artists. Namely, Mor Charpentier<\/a>, Zilberman Gallery<\/a>, LAVERONICA<\/a>, NOME<\/a> and Prometeo Gallery<\/a>. Here\u2019s a quick selection of some of the artists I loved this year:<\/p>\n

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Carlos Motta, Descubriendo el nuevo mundo, 2024. Mor Charpentier<\/em><\/p>\n

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Carlos Motta, Descubriendo el nuevo mundo, 2024. Mor Charpentier<\/em><\/p>\n

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Carlos Motta<\/a>, Descubriendo el Nuevo Mundo (4), 2024. Mor Charpentier<\/em><\/p>\n

A prehistoric-like bird looks on, tigers walk on water, a pod of dolphins is flying, locals have three arms and random numbers of fingers. The bizare subjects in Carlos Motta<\/a>\u2018s Descubriendo el Nuevo Mundo<\/em> (Discovering the New World) inhabit scenes that look familiar to our Western eyes. Motta\u2019s inkjets are an AI-enhanced take on Theodore de Bry<\/a>\u2019s visual depictions<\/a> of the Americas in the 16th century. De Bry\u2019s representations of early European expeditions to the Americas have greatly influenced the European view of the new continent. Yet, the Walloon engraver and publisher never set foot on the \u201cNew World\u201d. His imagery of landscapes, people and events was based on second-hand information. As a result, his work is packed with errors and whitewashing of colonial violence. <\/p>\n

Motta fed an AI program with texts by de Bry and a horde of imagery to collate a new reality. The result revisits how algorithms can regenerate, or further shape, the way the Americas have been conceived and misconceived since the colonisation. <\/p>\n

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Rosella Biscotti, The Journey<\/a>, 2021. Photo: Alexandra Pace. Mor Charpentier<\/em><\/p>\n

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Rosella Biscotti, The Journey<\/a>, 2021. Photo: Alexandra Pace. Mor Charpentier<\/em><\/p>\n

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Rosella Biscotti, The Journey<\/a>, 2021. Photo: Alexandra Pace. Mor Charpentier<\/em><\/p>\n

In 2010, Rosella Biscotti<\/a> was awarded a 20-tonne block of marble from the Michelangelo Quarry (in Carrara, Italy), the historic quarry of Renaissance sculptors. Eleven years later, the artist loaded the block onto a boat and sailed on a journey between Italy, Malta, Tunisia and Libya. The route was designed to highlight a series of maritime issues that are more or less visible in public discourses: migrant itineraries, nautical borders demarcating oil and gas concessions, areas of military operations, historical commercial routes, or the migration of a sea turtle crossing the patrolling lines of the European Border Agency FRONTEX. She finally dropped the marble block overboard into the Mediterranean sea where it disappeared into the waters. <\/p>\n

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Itamar Gov, Dulce et decorum est<\/a>, 2025. Zilberman gallery<\/em><\/p>\n

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Itamar Gov, Dulce et decorum est<\/a> (detail), 2025. Zilberman gallery<\/em><\/p>\n

Itamar Gov\u2019s balloon sculpture was like a magnet for children at the art fair. The artist attached a cluster of foil balloons to a pink helium container. Sourced from different children\u2019s birthday shops, the balloons look cheerful and innocent from afar but as you approach, you realise that they are shaped like explosions, tanks and jet fighters. <\/p>\n

Dulce et decorum est<\/a>, the title of the work, alludes to a poem<\/a> that Wilfred Owen wrote during World War I. He wrote about the atrocities he witnessed and experienced as a soldier while serving on the front line. The poem ends with a bitter invocation of Horace\u2019s verse, \u201cDulce et decorum est pro patria mori\u201d \u2013 \u201cIt is sweet and proper to die for one\u2019s country\u201d.<\/p>\n

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Heba Y. Amin<\/a>, Encaustic Drawing #7, 2025. Zilberman gallery<\/em><\/p>\n

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Uriel Orlow, Mangoes of Goan Origin (An Archive)<\/a> (Fig. 10: Irmao Xavier), 2024. Mor Charpentier<\/em><\/p>\n

After the Portuguese arrived in Goa in 1510, they deemed mangoes superior fruits to all other fruits. The grafting techniques introduced by the Jesuits led to the creation of over 100 mango varieties, most of them named after Portuguese landowners and politicians. These Goan mango varieties became a key diplomatic tool that significantly boosted the Estado da India\u2019s economy by the late 16th century. The Portuguese names given to the mangoes obscure their Goan origins and the multicultural context in which they were traded. In Uriel Orlow\u2019s prints, the images of the mangoes are superimposed with a serigraphy of the first letters of their names in languages that would have been spoken in the geographical area around Goa at that time. Through this reintroduction of linguistic diversity, the print series reclaims the complex and multi-faceted cultural heritage of the mango. It also shows how plant and human histories are deeply intertwined.<\/p>\n

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Daniela Ortiz, Decolonized Museums<\/a> \u2013 Guggenheim Museum, 2024. LAVERONICA gallery <\/em><\/p>\n

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Daniela Ortiz, Israel Independence Hall. LAVERONICA gallery<\/em><\/p>\n

Daniela Ortiz\u2019s small paintings of Decolonized Museums<\/a> are inspired by several instances of censorship she faced in Germany<\/a> following her expression of solidarity with the victims of war crimes in Palestine. <\/p>\n

The series shows different Western cultural institutions that have been exercising censorship and coercion in the face of the genocide against the Palestinian people while organising exhibitions, talks and events where they claim to want to decolonise themselves as museums. Ortiz denounces the museums\u2019 hypocrisy by presenting what these spaces could look like if they were to act as true platforms for reparative justice, where Indigenous agency and cultural memory are prioritised. <\/p>\n

The Guggenheim Museum, like many other cultural institutions, was a driver of gentrification and expulsion of working-class neighbourhoods. Ortiz repurposed its building and turned it into the headquarters of the Popular Committee for Housing.<\/p>\n

Israel Independence Hall It is shown in ruins and with the Palestinian flag raised as a symbol of Palestinian victory.<\/p>\n

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Felix Shumba<\/a>, Act II, A Leap, 2024. Fonti gallery<\/em><\/p>\n

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Zehra Do\u011fan<\/a>, Portrait, 2025. Prometeo gallery<\/em><\/p>\n

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Cian Dayrit, A Muse To Abuse, 2017-2022. Photo by Marjorie Brunet Plaza. NOME gallery<\/em><\/p>\n

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Cian Dayrit, Valley of Dispossession, 2021. Gallery NOME<\/em><\/p>\n

Cian Dayrit<\/a>\u2018s handsewn counter-cartography of geographic regions examines and subverts power structures. Often working with members of overlooked communities (farmworkers, fishermen and the indigenous minority), the artist uncovers neglected spatial, temporal and personal narratives of the oppressed, challenging the perspectives that continue to dominate the framing of history and heritage.<\/p>\n

In Valley of Dispossession<\/em>, for example, the artist ties together the histories of land grabs and workers\u2019 struggles for agricultural revolution, revealing how imperial practices of extraction are destroying the land. The textile is a map of the Philippines region of Central Luzon, where people have faced centuries of oppression that started with Spanish colonialism in the 16th century. <\/p>\n

\"\"
Silvia Capuzzo<\/a>. Vin Vin gallery<\/em><\/p>\n

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Karine Rougier<\/a>, Transformer le silence en parole et en acte (Audrey Lorde), 2025. Les filles du calvaire<\/em><\/p>\n

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Jetelov\u00e1 Magdalena<\/a>, DoYouHereMeMoon 07, 2018. Lohaus Sominsky gallery<\/em><\/p>\n

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Leonardo Petrucci<\/a>, Prevoluzione (Cosmo), 2025. Gilda Lavia gallery. Photo: Giorgio Benni<\/em><\/p>\n

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Leonardo Petrucci, Prevoluzione (Cometa), 2025. Gilda Lavia gallery. Photo: Giorgio Benni<\/em><\/p>\n

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Adelita Husni-Bey,<\/a> Parable #5, 2023. LAVERONICA gallery<\/em><\/p>\n

\"\"
Claudia Comte<\/a>, Nearly a third of World\u2019s Cacti face Extinction, says IUCN, 2023. Vistamare<\/em><\/p>\n

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Moira Ricci<\/a>, 20.12.53 \u2013 10.08.04 (in viaggio di nozze a Milano), 2004. LAVERONICA gallery<\/em><\/p>\n

\"\"
Pedro A.H. Paix\u00e3o<\/a>, Tiny Nuclear, 2025. Galeria 111<\/em><\/p>\n

\"\"
Paul Pfeiffer<\/a>, Incarnator (Pampanga), 2024. Dane Gallery<\/em><\/p>\n

Paul Pfeiffer collaborated with encarnadores<\/em> (from the Latin word meaning \u201cto make into flesh\u201d), craftsmen celebrated for having the power to apparently breathe life into inanimate sculptures of Catholic saints. Pfeiffer\u2019s sculptures, however, do not represent Mary nor Saint Thomas. They were modelled after Justin Bieber and transform the pop star (a self-declared born-again Christian) into a contemporary embodiment of Jesus Christ. <\/p>\n<\/p><\/div>\n\n","protected":false},"excerpt":{"rendered":"

November is Artissima month in Turin. The meanders of the art market are not exactly my area of expertise so i\u2019ll jump straight to what makes Artissima Italy\u2019s most exciting contemporary art fair (in my view): the presence of galleries that work with strong and politically-minded artists. Namely, Mor Charpentier, Zilberman Gallery, LAVERONICA, NOME and […]<\/p>\n","protected":false},"author":1,"featured_media":309815,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[1885,140084,7742,5736,4365,832,140085],"dealstore":[],"offerexpiration":[],"class_list":["post-309813","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","tag-art","tag-artissima","tag-artists","tag-discover","tag-fair","tag-money","tag-politicallyminded"],"yoast_head":"\nArtissima, a fair to discover politically-minded artists \u2013 We Make Money Not Art - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=309813\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Artissima, a fair to discover politically-minded artists \u2013 We Make Money Not Art - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"November is Artissima month in Turin. 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