Meet the Jurors - TIPS on How to step out - Nicoletta Boschiero


Meet the Jurors - TIPS on How to step out - Nicoletta Boschiero

Date: March 17, 2015 Tags: Tips For Artists Step Out Believe In Yourself Interview Nicoletta Boschiero Museo Mart Rovereto

Meet one of our Jurors, Nicoletta Boschiero, chief curator of Mart Museum! Some interesting tips on how to step out and be a professional artists! Enjoy

  •  The art world keeps changing and the art market appears to be the only judge. Are there any constant values in this scenario?

For people like me, who work in cultural institutions, the art market is carefully taken into consideration but it isn't overwhelming, it doesn't prevail on our choices. In a museum the values taken into consideration are the collective wealth, ethics, sobriety and, broadly speaking, research, experimentation, contamination. We are interested mostly in artists that deal with the reclamation and re-use of certain objects, for example I think about the work of Martino Gamper. Otherwise artists that reflect on specific circumstances, that are able to move the people. 

  •  Contemporary art has a tough life in Italy, a country with such a rich cultural tradition? What would you suggest in order to make the Italian public closer to the contemporary art production.

At present day, I strongly believe in the role of the cultural mediator, a person who can tell a story, the story of the artist and his work. I think this is a way of grate care for the public, the artist, the institution (either gallery or museum) that is configured in order to motivate its artistic choices. Many people ignore the work of professionals, curators, tagging it as merely didactic but I am certain of its utility and interest.

  • How much do you think local values still worth in a culturally globalized world? Is it important to be linked to the International art scene?

Globalization can refer to a reassuring situation. I can ask for a hamburger or a hot dog everywhere and I am sure I can be understood, or I can taste, without moving away from my own town Chinese or Japanese cuisine. In a different but also exciting situation, being able to taste a gastronomic specialty, you can find it only in a certain place. i truly think that it is fundamental to be part of an international circuit, without forgetting who you are and where you come from!

  •  International Art Prizes like the Donkey Art Prize give a lot of visibility to young artist. Once you've got the attention of the public what is the next step?

Every artist has to be aware of the fact that this is a tough job: it is better to understand the same qualities that are required if you want to be a curator are basically convenient also to an artist: mediation, the capacity together with others, expecting effort, frustration, sacrifice, time. Most of all it is important to take into account an exemplary life, a substantial aspect for this job.

  •  What are the things you mostly appreciate in a young artist, let alone the style or technique?

Well, form and substance are coincident, so it is difficult to disregard style and technique. I like photographers, their reflections on landscapes, environments, which are never predictable. I would like bring as an example the work of Petri Paselli. The capacity of developing the study of the archive and to elaborate the past of Rossella Biscotti, but also Christian Fogarolli and Leone Contini. In other words the artist has to surprise, intrigue, excite.

  •  There are many brilliant young artist that find it hard to emerge on the art scene. Could you give them an advise? How can one become a great artist?

I don't believe emerging is synonymous to being a grate artist, and I don't believe that being young means being innovative. The reality is much more complex. It is as if you claimed that an artist is more valuable just because he/she was chosen by a greater number of people. He/she might be more popular but it doesn't mean that he/she is better.

  • The curator's job is sometimes synonymous to dialogue and mediation. Are you professionally more stimulated by difficult exhibitions, for example artists believed to be cryptic, or do you think it is more interesting to be a catalytic element for events that show fresh aspects of an artist?

Exhibitions that are hard to make can be faced only if someone sustains your idea, first of all, an essential condition in order to face complex and laborious themes, because it's necessary to have energy, have fun and have the others' help. There is no winning formula and I would say that the cryptic side and the complexity are simply parts of a whole and I would face them consciously!

by Laura Nicolae