Here are all the winning works of miart 2018. And all the photos

by Redazione , published on 17/04/2018
Categories: Events / Disclaimer

As part of the 23rd edition of miart, the international modern and contemporary art fair held in Milan between April 13 and 15, seven prizes worth more than one hundred and fifty thousand euros were awarded. Below are all the prizes and all the winners.

1. Fiera Milano’s “Giampiero Cantoni” Acquisition Fund (one hundred thousand euros worth of acquisitions to enrich Fiera Milano’s collection) awarded eight works, allowing Fondazione Fiera Milano to enrich its artistic heritage: Diego Marcon ’s Il malatino(Ermes-Ermes, Vienna), Jochen Lempert ’s Untitled (Blattschneiderameisen)(PROJECTESD, Barcelona), June Crespo ’s The same heat (poppy)(P420, Bologna), Forging Fears: Fast Lines, Stripes Again and Whatever by Luca Monterastelli (Deweer, Otegem), Untitled (Signs) by Matt Mullican(MAI 36, Zurich), O tzítziras o mítziras o tzitzimitzichótziras anevike sti tzitziriá sti mitziriá sti tzitzimitzichotziriá na pháei ena tzítziro mítziro tzitzimitzichótziro by Lisa Dalfino and Sacha Kanah(Clima, Milan), Golden Leaf by Torbjørn Rødland(Rodolphe Janssen, Brussels) and Untitled by Paolo Icaro(Francesca Minini, Milan). The jury consisted of Giovanni Gorno (President of Fondazione Fiera Milano), Martin Clark (Director of Camden Arts Centre, London), Lorenzo Giusti (Director of GAMeC, Bergamo) and Eva Wittocx (Curator and Head for Contemporary Art at M - Museum Leuven, Leuven).

Diego Marcon, Il malatino (2017; 16mm film, color, silent, looped Edition 3/3 + 1AP). Produced MiBACT and AMACI as part of the project Museo Chiama Artista.

Jochen Lempert, Untitled (Blattschneiderameisen) (2016; Silver Gelatin Print, 36.5 x 29.5 cm each, ed. 1/5)

June Crespo, The same heat (poppy) (2018; Cement, pigments, sweater, 46 x 51.5 x 25 cm)

Luca Monterastelli, Forging Fears: Fast Lines, Stripes Again and Whatever (2017; reinforced concrete, 100 x 60 x 3 cm)

Matt Mullican, Untitled (Signs) (1981; two sheets of acrylic paint on paper, 127 x 96.5 each)

Lisa Dalfino and Sacha Kanah, O tzítziras o mítziras o tzitzimitzichótziras anevike sti tzitziriá sti mitziriá sti tzitzimitzichotziriá na pháei ena tzítziro mítziro tzitzimitzichótziro (2017; iron, 255 x 270 x 30 cm)

Torbjørn Rødland, Golden Leaf (2015-2016; chromogenic print on Kodak Endura paper, 140 x 110 cm)

Paolo Icaro, Untitled (1989; lead and plaster, 94 x 54 x 6 cm)

2. Herno Prize (for the booth with the best exhibition project, ten thousand euros) to Jocelyn Wolff Gallery “for the impeccable presentation of William Anastasi’s work. Moreover, the relationship between the 1970 installation and the two two-dimensional artifacts is as dynamic, thoughtful and poetic as ever.” Awarding the prize was the international jury composed of Michael Darling, James W. Alsdorf (chief curator of the Museum of Contemporary Art, Chicago), Mats Stjernstedt (director of Konsthall Malmö) and Nina Zimmer (director of Kunstmuseum Bern and Zentrum Paul Klee Bern).

Jocelyn Wolff’s booth

3. Fidenza Village Prize for Generations (for the best booth in the Generations section, ten thousand euros) to Lisetta Carmi and Birgit Megerle, presented respectively by the Martini & Ronchetti gallery in Genoa and Galerie Emanuel Layr in Vienna: it was recognized for “the spontaneity of the relationship established between the works of two artists belonging to two distant generations, but close in spirit and in their outlook toward society and issues related to identity.” The jury consisted of Gabriella Belli (director of the Fondazione Musei Civici di Venezia), Pedro Gadanho (director of MAAT | Museum of Art, Architecture and Technology in Lisbon) and Hou Hanru (director of MAXXI in Rome).

Martini & Ronchetti and Galerie Emanuel Layr’s booth.

4. On Dem and by Snaporazverein Prize (for the best presentation in the On Demand section, ten thousand euros) awarded to Admire Kam udzengerere’s work presented by Tyburn Gallery, London, for “Admire Kamudzengerere’s ability to transpose complex economic, political and symbolic systems into a rich material language. The prize will go to support the artist’s project at a crucial moment in her career, and for this reason the jury is confident that its award will have a significant impact on Admire Kamudzengerere’s artistic journey.” The jury consisted of Ben Borthwick (Artistic Director of the Plymouth Arts Centre in Plymouth), Marta Gili (Director of the Jeu de Paume in Paris), and Zoë Gray (Chief Curator of WIELS, Center for Contemporary Art in Brussels).

Tyburn Gallery’s booth.

5. LCA Prize for Emergent (for the best gallery in the Emergent section, four thousand euros) to Sophie Tappeiner Gallery, Vienna, with the following motivation: “It was a difficult decision, as all the booths are of a very good standard. but we decided to award the LCA Prize for Emergent to the ambitious project presented by Sophie Tappeiner Gallery, which presents a single show by artist Angelika Loderer. The booth is a precise and challenging selection of works specifically conceived for miart 2018.” The jury consisted of Valérie Knoll (director, Kunsthalle Bern), Roberta Tenconi (curator, Pirelli HangarBicocca, Milan) and Lydia Yee (Head Curator, Whitechapel Galleri, London).

Sophie Tappeiner’s booth

6. CEDIT Prize for Object (for the best work presented in the Object section, which will be acquired and donated to the permanent collection of the Triennale Design Museum) awarded to the work Souvenir of the Last Century Stool 05 by Studio Nucleo, represented by ammann//gallery in Cologne, with the following motivation: “We were impressed by the diversity of the proposals presented, which suggests how vital and vibrant the Italian design scene is. We all agree that Studio Nucleo is one of the most important and exciting contemporary design studios in Italy. The piece to which we decided to award the CEDIT prize for Object is a particularly poetic representation of their work and for this reason deserves a place in the permanent collection of the Triennale and consequently in the history of Italian design.” The jury consisted of Silvana Annicchiarico (director of the Triennale Design Museum in Milan), Stefano Torrenti (ad of Florim Ceramiche) and Christopher Turner (curator of the Design, Architecture and Digital Collections sections of the Victoria and Albert Museum in London).

Studio Nucleo, Souvenir of the Last Century Stool 05 (2015; epodissic resin and antique wood, 40.5 x 45 x 36 cm; Courtesy ammann//gallery, Cologne). Ph. Paolo Valentini

7. Rotary Club Milano Brera Prize for Contemporary Art and Young Artists (a prize-purchase worth ten thousand euros for the work of a young talent, which will be destined for a museum institution in Milan) awarded to Alfredo Aceto, represented by the Levy Delval Gallery in Brussels. The motivation: “in view of the intention assumed for this edition to award the prize to a very young artist under 30, we are pleased to have identified in the figure of Alfredo Aceto an unprecedented combination of talent, formal quality and research rarely found in the panorama of a fair. Using different artistic languages Aceto explores the relationship between interior and exterior, between natural and technological environment, transforming the cockpit of a car into a screen where an imaginary landscape breaks through. From the vehicle, the artist extrapolates components of the interior that become real sculptures cast in the traditional bronze technique. In this sense his operation has affinities with the construction of digital narrative.” The jury was composed of Laura Cherubini (professor of contemporary art history at the Brera Academy of Fine Arts), Christian Marinotti (creator of the prize, editor and professor of art history at the Milan Polytechnic) and Paola Nicolin (editor at large of Domus, curator and professor of art history at Bocconi University in Milan).

Here are all the winning works of miart 2018. And all the photos

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