{"id":9565,"date":"2024-05-21T10:06:02","date_gmt":"2024-05-21T08:06:02","guid":{"rendered":"https:\/\/www.marsilioarte.it\/?post_type=magazine&p=9565"},"modified":"2024-05-21T10:06:02","modified_gmt":"2024-05-21T08:06:02","slug":"book-corporate-art-collections-italy","status":"publish","type":"magazine","link":"https:\/\/www.marsilioarte.it\/en\/magazine\/book-corporate-art-collections-italy\/","title":{"rendered":"A book that maps out the modern and contemporary art collections of Italian companies"},"content":{"rendered":"Corporate collections constitute a very rich heritage and are evidence of a patronage that has positive repercussions not only on the life of the company, but also on the artists involved. The book presented by Confindustria and edited by Ilaria Bonacossa, in collaboration with Marianna Agliottone, Costantino D\u2019Orazio and Marilena Pirrelli, focuses on a nucleus of companies in Italy and their extraordinary collections. We put a few questions to Ilaria Bonacossa.
\r\nCORPORATE ART COLLECTIONS IN ITALY<\/h2>
\r\nThe book offers an overview of corporate collections of modern and contemporary art in Italy. What are the peculiarities that distinguish them and what are the intentions behind them?<\/strong>
\r\n
\r\nThe collections described in the book were founded out of a passion for art, in most cases contemporary, on the part of the company founder\/shareholder. Only later do they become a communication or social corporate responsibility tool. The unusual feature of this publishing project is that the literature on the subject offers statistical or quantitative analyses (how many companies, budgets, how many works), but in this volume for the first time the analysis is qualitative. What works and media do they collections contain, where are they, and how much and when can they be enjoyed by employees and the public. All this is set out in the volume, and a significant link emerges between companies, their territory and the ability of art to create community.
\r\n
\r\nIn the light of this overview, what role does collecting play in defining a company\u2019s identity?<\/strong>
\r\n
\r\nCollecting impacts a company\u2019s ability to innovate and stimulates creative thinking in employees. Moreover, thanks to the collection, the specific identity of each company becomes easier to tell and share. However, it is important to remember that these collections often arise instinctively through encounters and somehow develop organically as if each acquisition influences the next.
\r\nTHE INTERVIEW WITH ILARIA BONACOSSA<\/h2>
\r\nWhat are the positive effects of corporate collecting, not only on the life of the company, but also on the territory in which the company operates, on the community within that territory and on the contemporary artists who come into contact with the businesses?<\/strong>
\r\n
\r\nI believe that this form of collecting is important for the Italian market because of its extension and constancy. It also underlines how the artists chosen by companies are considered by the market as a safe investment and therefore this leads their prices to rise. Furthermore, the fact that other people come to these companies for meetings and business get-togethers leads to a healthy emulation that helps this type of collecting to spread.
\r\n
\r\nIn your text in the book you write that \u201cthere is a female propensity that emerges for site-specific commissions linked to the direct relationship with artists and that anticipates the acquisition of works of art\u201d. Can you tell us more about this?<\/strong>
\r\n
\r\nSome companies that collect contemporary art adopt an interesting procedure: they invite artists to experience the life of the company and develop a work that is produced as site-specific and installed in a specific location. This offers artists, usually emerging artists, the opportunity to work in a specific context and also to develop a relationship with those who work in the company. And on the whole, the decision to operate in this way is in most cases triggered by female entrepreneurs. This might simply be accidental or it might be linked to the desire to \u201ccurate\u201d their collection by commissioning specific productions.
\r\n
\r\nInterview by Arianna Testino<\/strong>","protected":false},"featured_media":0,"template":"","meta":{"inline_featured_image":false,"footnotes":""},"categorie_magazine":[341],"class_list":["post-9565","magazine","type-magazine","status-publish","hentry","categorie_magazine-books-from-marte"],"acf":[],"yoast_head":"\nA book that maps out the modern and contemporary art collections of Italian companies - Marsilio Arte<\/title>\n<meta name=\"description\" content=\"Corporate art collections in Italy are the focus of the book presented by Confindustria and edited by Ilaria Bonacossa\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.marsilioarte.it\/en\/magazine\/book-corporate-art-collections-italy\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A book that maps out the modern and contemporary art collections of Italian companies\" \/>\n<meta property=\"og:description\" content=\"What role and value do company art collections have? 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