Marking its thirtieth anniversary, the Milan art fair, miart, has embraced innovation, much like jazz transforming a known standard into fertile ground for new ideas. The fair debuts a new venue, the South Wing of Allianz MiCo, and features a reorganized layout of its sections, a move that has sparked debate. The most accessible level, immediately upon entry, houses the “Emergent” section. This area presents a curated, fresh, and varied selection, highlighting painting’s continued strength, followed by installation and ceramics. Galleries from Istanbul, Farda Art Platform and Merkur, showcase the works of Güneş Terkol and Nilüfer Yıldırım, respectively. Terkol’s external wall installation evokes “The Last Supper” and is complemented by a fragile, intimate space within filled with suspended fabrics exploring memory and distance. Yıldırım’s “Piano Piano” project, a nod to an Italian idiom, features recent works shaped by layering, erasure, and return.
In painting, Katja Farin’s vibrant canvases at GAA Gallery deserve mention. Farin transforms everyday scenes into dreamlike backdrops for dialogues woven with trauma, dreams, and distortions. Equally compelling is the emotional intensity of Łukasz Stokłosa’s paintings at Krupa Gallery. These works depict objects and locations encountered during his travels, their subjects straightforwardly identified by their titles – a Mariano Fortuny dress, a view of Palazzo Grimani, the gardens of Villa d’Este. However, their representation imbues them with a nostalgic, decadent beauty, creating suspended moments in time.
The “Emergent” section also features installation art by Ilenia, performance art by Commune with Frank Wasser’s “A Swift Half,” where he embodies an Irish bartender, and ceramic works from Alice Folker Gallery and Galerie Fleur & Wouter with Red Lab Gallery. Alice Folker Gallery presents Frederik Næblerød’s “The Mirror’s Masque,” a collection of ceramic masks exploring identity and transformation. The shared stand of Galerie Fleur & Wouter and Red Lab Gallery showcases a collaboration between PECORANERA and Carmen Schabracq, resulting in “Gualdrappa,” an outfit inspired by equestrian imagery. Triangolo gallery concludes this section with a standout solo booth by Nicole Colombo, whose abstract characters, drawn from shared imagination, explore duality and represent individuals.
Moving down to the “Established” section, the layout becomes a dense cluster of white walls, with numerous stands. A notable highlight is Salvatore Astore’s drawings, “Martina” and “Alessia” (1997), presented by Mazzoleni gallery, which also features other artists like Marinella Senatore, David Reimondo, and Andrea Francolino. Mazzoleni is commended for offering a discovery of the fair’s more romantic side, going beyond the usual expectations. Thomas Brambilla Gallery also maintains its presence, harmoniously exhibiting works by Maggy Hambling, Robert Feintuch, Bryan Hunt, Joe Zucker, Erik Saglia, Sam Samore, Klaus Rinke, Marco Cingolani, and John Giorno.
Other participating galleries in the “Established” section include Enrico Astuni with Christian Jankowku’s paintings, Gilda Lavia showcasing Petra Feriancová, Carla Grunauer, and Leonardo Petrucci, and Michela Rizzo with an aquatic-themed stand featuring works by Matthew Attard, Enzo and Barbara, Francesco Coccolo, Francesco Jodice, and Antonio Rovaldi. Prometeo Gallery presents a range of artists, from emerging talents like Francesca Perrone to established figures such as Regina José Galindo, Santiago Sierra, and Giuseppe Stampone. P420 highlights a significant sculpture by June Crespo, with Palestinian artist Khaled Jarada’s textile work displayed behind it.
The stand by C+N CANEPANERI, featuring works by Claudio Costa, Shuai Paolo Peng, Taisia Koroktova, Deng Shiqing, and Ginevra Petrozzi, is praised for its habitable and attractive space. Bo Lee Gallery exhibits Alice Kettle, a prominent textile artist, alongside works by Damaris Athene, Rachel Howard, and Aimée Parrott. This gallery celebrates traditional art forms while encouraging artists to explore evolving languages and new futures.
In painting, Walter Robinson and Sang Woo Kim are featured at Sébastien Bertrand, Georgina Gratrix at Monica De Cardenas, and Valerio Adami at Dep Art Gallery. Galleries with a more historical focus include Farsetti, presenting Gino De Dominicis among other significant artists, and Maurizio Nobile, with an exhibition dedicated to 19th and 20th-century portraits and self-portraits by artists like Giovanni Colacicchi, Giulio Vito Musitelli, Paolo Troubezkoy, and Augusto Gadea. The “Established” section concludes with Gabriele Picco’s striking installation at Ex-Elettrofonica, where the walls are covered with savoiardi biscuits and a 1938 Chevrolet hearse, which had previously paraded through Milan, holds one of his soft clouds.
On the second floor, Joseph Kosuth’s imposing work “The Question (G.S.II)” is prominently displayed in Lia Rumma’s stand. This level offers ample space for viewing. Galerie Lelong presents a remarkable selection of Kiki Smith’s works, while Peter Kilchmann showcases artists including Francis Alys, Monica Bonvicini, Yael Bartana, Marion Baruch, and Adrian Paci. APALAZZO Gallery stands out with works by Sonia Boyce, Raul De Nieves, and Francesco Vezzoli.
As visitors depart, there’s a mix of enthusiasm and a sense of disorientation. The fair’s message, “All great things are simple,” resonates as a thought-provoking reflection, much like Kosuth’s work itself.
