Artissima’s Expansion: Ushering a New Era for Italy’s Art Scene
In the world of contemporary art, Artissima stands out as Italy’s sole fair solely devoted to this genre. As it wrapped up its 32nd edition on November 2, 2025, in Turin, the event once again underscored the city’s pivotal role as a center for research-driven art and international collecting. Held at the Oval Lingotto Fiere from October 30 to November 2, and directed by Luigi Fassi for the fourth consecutive year, the fair continues to attract global attention and local enthusiasm.
This year, Artissima was a bustling hub for art enthusiasts, drawing in an impressive 34,500 visitors. The exhibition showcased the works of 176 galleries originating from 36 different countries across five continents, with 26 galleries making their debut appearance. The 2025 edition reaffirmed Artissima’s reputation as a platform for exploration and innovation, with 63 solo presentations and a notable increase in participation from international collectors, curators, and art professionals.
The fair’s layout seamlessly combined market diversity with a structured curatorial approach. It was divided into four main sectors: Main Section, New Entries, Monologue/Dialogue, and Art Spaces & Editions. These were further enhanced by three curated segments: Present Future, Back to the Future, and Disegni. This arrangement provided a comprehensive view that fluidly transitioned from emerging talents to well-established practices, while also highlighting works on paper and editioned projects within the broader marketplace.
The theme “Operating Manual for Spaceship Earth,” inspired by Buckminster Fuller’s 1969 book, infused the program with discussions about responsibility. As Luigi Fassi explained, “Visionaries—like artists—pave new roads to help us understand our roles as stewards of Spaceship Earth.” Instead of enforcing a singular interpretation, this framework served as an invitation for galleries to link formal experimentation with systems, resources, and the imaginative task of navigating uncertainty.
On the commercial front, the event marked a significant moment as Italy’s new 5 percent VAT rate on artworks was put to test in a European setting with an unusually diverse international audience. This policy shift is seen as a potential game-changer, realigning Italy’s position in the broader European art market.
Artissima also maintained its focus on institutional engagement through various prizes, grants, and acquisitions. This year, the fair awarded 13 prizes, including the newly introduced Vilnius Residency Prize curated by CAC Vilnius director Valentinas Klimašauskas. The prize granted Rodrigo Hernandez and Pietro Moretti month-long residencies in 2026. Additionally, the Fondazione Arte CRT Acquisition Fund, celebrating its 25th year, increased its budget to facilitate museum acquisitions, securing 26 works by 11 artists for GAM Torino and Castello di Rivoli. Over the years, this fund has helped acquire over 950 pieces by 380 artists, thus strengthening the link between the fair’s market activities and Turin’s public collections.
Special projects extended beyond the main exhibition space, notably with “From Japan: Anonymous Art Project,” which showcased works by artists Aki Inomata, Yuki Hasegawa, Junya Kataoka, and Rie Iwatake, emphasizing a collaborative patronage model. Meanwhile, Basim Magdy’s film “New Acid” (2019) was featured at Parco Michelotti, the site of the former zoo, accompanied by a specially curated soundscape by C2C Festival.
Ultimately, the 2025 event highlighted a consolidation rather than a transformation: a fair with increasing professional engagement, robust institutional purchasing power, and a structure that champions in-depth exploration. As Turin’s museums, foundations, and offsite projects aligned with the Oval’s international audience, Artissima concluded by solidifying its dual nature as both a marketplace and cultural institution. Learn more about Artissima here.
