The coming of age of Artissima

1. CULTURAL CLUSTERS AND CONTEMPORARY ART FAIRS
The coming of age of Artissima_
Supervisor
Professor CRISTINA BOARI
Managing Networks in the Arts
Candidate
ALESSANDRA SPERI
LM GIOCA - Gestione e Innovazione delle
Organizzazioni Culturali e Artistiche
ALMA MATER STUDIORUM
Università di Bologna
Facoltà di ECONOMIA
III Graduation Session 2009/2010
March 28, 2011

2. Industrial Clusters_ Cultural Clusters_
Hans Mommaas (2004) argues they are set up
Michael Porter describes them as geographic for the revitalisation of a urban space, tourism,
concentration of unusually competitive firms the stimulation of a more entrepreneurial
in a certain field. approach to culture, of creativity, of cultural
• REDUCTION OF TRANSACTION COSTS diversity and democratization (quality of life)
• PROMPT SERVICES or to find a new use for buildings
• INTENSE INFORMAL INTERACTION • hybrid/multisectorial OR focused
• TRUST • monofunctional OR multifunctional
• INFLUENCE LOCAL AUTHORITIES • centrally managed OR informally managed
• EMPLOYMENT cluster
• ATTRACTION OF WORKFORCE • public OR private/independent support
• PEER PRESSURE (INNOVATION) • openness/adaptability OR closeness/solidity in
• POSSIBLE COMPLEMENTARITY term of use of the spaces and communication
• REPUTATION LEAKS • top-down OR bottom-up developmental path
• SELF REINFORCING LOOP • margin OR centre
Santagata cultural districts_
I N D U S T R I A L INSTITUTIONAL MUSEUM METROPOLITAN
CULTURAL DISTRICTS CULTURAL DISTRICTS CULTURAL DISTRICTS CULTURAL DISTRICTS

3. Cluster Timeline_
Strategic Plan 2000/10 Legge Finanziaria (art. W i n t e r O l y m p i c s
1.Integrate the metropolitan 35) of 2002 2006 in Turin
area in the international system Turin was the first Italian town The Olympic event helped
2.Construct the metropolitan to apply the law: on July 26, in the realization of
government 2002 Fondazione Torino numerous infrastructural
3. Develop training and Musei is founded by the works thanks to the
research as strategic resources Municipality with the coordination of public and
4. Promote enterprise and partecipation of Regione private initiatives and
employment Piemonte, Compagnia di resources. It fostered the
5. Promote Torino as city of San Paolo and Fondazione development of national and
culture, tourism, commerce CRT. It manages Palazzo international links and
and sport Madama, Borgo Medioevale, aimed to promote the
6. Improve urban quality MAO and GAM. whole local system.

4. Governance_
ARTISSIMA s.r.l
[formerly Rebus s.r.l,
Revolution s.r.l. and
Associazione Artissima]

5. Uncertainty in the segment_
Contemporary art fairs are key actors in the
system. They are occasions of face-to-face interaction
between gatekkepers and influencers that provide a
shared interpretation is often established.
Contemporary art system
ACTORS Time 3:
• Artists NEXT
• Contemporary art galleries EDITION
• Collectors Time I:
• Public and private museums CHOICES
• Gatekeepers (curators and critics)
• Contemporary art fairs
• Auction houses
• The civil society Time 2:
IN ITALY THE FAIR
• public sector
• bank foundations
Both egocentric and altercentric uncertainty are very
strong in the emerging contemporary art fairs segment.
The trade-off (status/structural holes) is more difficult
for not established fairs.

6. Artissima life cycle_
1994 123
1994_A1 15.000 123
1996 106
1995_A2 12.000 95
1998 95
120
1996_A3 20.000 2000 137
149
2002 181
1997_A4 20.000 185
2004 160
1998_A5 22.000 152
2006 172
131
1999_A6 20.000 2008 126
127
2010 153
2000_A7 25.000
Number of galleries
0
20
40
60
80
0
0
0
0
0
0
10
12
14
16
18
20
2001_A8 30.000
2002_A9 40.000 120 Italian International
108
2003_A10 30.000 96
84
2004_A11 30.000 72
60
2005A_12 32.500 48
36
2006_A13 37.500 24
12
2007_A14 42.500
0
2008_A15 45.000
AT2_1995
ART11_2004
ART1_1994
ART3_1996
ART4_1997
ART5_1998
ART6_1999
ART7_2000
ART8_2001
ART9_2002
ART10_2003
ART12_2005
ART13_2006
ART14_2007
ART15_2008
ART16_2009
ART17_2010
2009_A16 45.000
2010_A17 48.000
Visitors
0
00
00
00
00
Italian/International ratio
.5
.0
.5
.0
12
25
37
50

7. EU Benchmarking_
Others Non-EU Others
12% US Netherlands
21%
24% 3%
Switzerland
Others EU USA 3%
13% Italy
19%
6%
Austria
Italy 3%
7% Germany France
17% 3%
Great Britain
9% Germany
France
Other GB
22% 15% Brazil 24%
9% Switzerland
Switzerland
ArtBasel (2010) 11%
5%
3% Frieze, London
Belgium
6%
(2010)
Italy
7%
France
US 38%
11%
Germany
11%
FIAC, Paris (2010)

8. ITALY Benchmarking_
Germany Germany
6%France 9%Extra-EU
4% GB 3% US
4% 6%
Others GB
8% 7%
Italy Italy
79% Swiss
UK 5% Other EU 76%
ArteFiera (2011) USA
11%
13% ROMA -Road to
5%
Other extra-EU
Contemporary art
6% (2010)
Germany
12%
Italy
38% France
11%
Artissima (2010)

9. Artissima 17_
COSTS % TOTAL
Rent
Booth set-up and Special settings
Surveillance and Ticket Office
Foundations Region Other costs (SIAE, cleanings)
7% 16% Insurance
Venue, booth setting and related
35%
Tickets sold costs
20% Municipality Hospitality, travels and
10%
11% transportations
Province Communication and Advertising and
10%
1% external Press Office
Private sponsorship Curatorial and special projects 15%
9%
Chamber of Commerce Secretary and Accounting
3% Legal and Administrative consultancy
Galleries
34% Collaborations and additional fees
Levies and Taxes( + IVA su contributi)
Income Bank expenses and additional fees
Runnin costs
Running costs, organization and
30%
management
TOTAL 100% 2 479 700 !
Expenditure

10. Turin contemporary art cluster_
PRIVATE FOR PROFIT Paratissima RESo’ MIAAO Torino Internazionale PPP
Galliano Habitat ArtKey 5 roles for actors: GiornoxGiorno Castello di Rivoli
(Museo del Design) GAM°* Museo di Arte GAI
•Incubator Venaria Reale Contemporanea
Contempor
ary Art •Hub MAO*
Palazzo Museo
Cavour
Galleries •Showcase Nazionale del Palazzo PAV
Cinema
Camera di Il Giornale •Cultural Memory Madama*
Commercio di dell’Arte Site
Chiara Torino ZonArte Borgo Torino Città
Capitale
Figone Palazzo Birago •Patronage Medioevale* Europea
Artissima s.r.l.
Circolo dei Compagnia di Fond. Merz
Lettori San Paolo fills a Contemporary
Cittadellarte/ Torino
CRAA Fond.Pistoletto Fond. Guido e structural
Ettore de
Piemonte Notte delle Arti Fornaris° Regione Piemonte:
Share
Festival Contemporanee Castello di
hole direz. Cultura,
Turismo e Sport Luci
Fond.107 Fond. Fond.Spinola Rivara in the contemp. d’Artista
Palazzo Banna Fond.CRT
Fondo Bricherasio Fond.CRT art cluster of Città di Torino:
div. Cultura,
GiovAnna arte M. e C. Barriera Comunicazione e
Piras Turin Promozione
CeSAC Filatoio
ClubtoClub Caraglio Arte
Giovane
FRAC
Piemonte
Fond. Sandretto Pinacoteca PROMOTION Accademia
Re Rebaudengo G. e M. Albertina di Belle
Agnelli Coll. La Gaia Arti
PRIVATE Diogene Turn design ARCA
Arte ArsCaptiva PUBLIC
community Vercelli
NON-PROFIT FitzLAB a.titolo

11. theFair&theCluster SWOT_
STRENGTH WEAKNESSES
• Arte Povera Movement in Turin, collector basis
•Recent growth of contemporary art cluster •Italian system lacks appropriate artistic educational system,
• Until now galleries need the contemporary art fairs to promote institutional and corporate collectros and strategic promotion
their artists, gain legitimation and status through their admission and abroad
the presence of gatekeepers •Status of the fair is high but not established
•Private behaviour, Public funding (STRATEGIC PLAN) & •No collaboration with local non-institutional organizations
Promotional role of the fair
•Presence of 2 committed bank foundations (e.g. Paratissima)
•Acquisitions inside the fair (FRAC and for GAM and Rivoli) •In the last edition Lingotto Fiere imposed its suppliers
•International canon, only actually international fair •Emerging galleries have less financial resources
•Established collaborations with public sector
•Relatively low price of spaces for the galleries
•Located in lively cultural district, process of cultural addiction
(lower transaction costs) • Constant reduction of public funding
•Italian and foreign partners of private and public museums • New city government in 2011
(e.g. Fondazione Sandretto Re Rebaudengo) • Reputation leaks: if the cultural sector and the
•Success of 17th edition of the fair contemporary art cluster lose their competiveness also
•Paratissima the fair status is affected
•Main asset is know-how of employees and possible supliers, • Possible birth of new fairs with similar target
the fair can be held anywhere (availability of infrastructures) • High egocentric and altercentric uncertainty in the
•Celebrations for 150th anniversary of unification of the Italian segment
nation
OPPORTUNITIES THREATS
SHOULD THE PUBLIC SECTOR STOP FINANCING THE FAIR AND CULTURE?

12. Thank you for
your attention!