Italian Art Criticism and the Ethics of Talent Scouting

Roberto Ago critiques the Italian art system's failure to historicize its artists since the 1990s, attributing it to a non-system that cannot identify, select, or promote the best talents. He argues that Italian international curators often snub Italian art, either out of informed disinterest or generalized prejudice. Ago proposes an 'ethics of talent scouting' with four components: coherence and parsimony, discernment between value and personal taste, fidelity, and unanimity among selectors. He cites Germano Celant and Achille Bonito Oliva as examples of effective mentors. Ago also addresses the question of Italian artistic identity, arguing that a recognizable Italian style persists where local traditions are not obliterated by global influences. He warns against adopting a ready-made international style, which leads to anonymity, and advocates for protecting national canons. He criticizes the exhibition 'That’s IT' at MAMbo for sacrificing the genius loci and promoting impersonal, conceptual works. Ago concludes that young Italian artists must either reinvent traditions like Rudolf Stingel or responsibly assume their heritage.