Italian Painting's Serie A, B, and C: A Critical Taxonomy

In a critical essay published on Artribune, Roberto Ago proposes a hierarchical classification of Italian painting at the turn of the millennium, borrowing football's Serie A, B, and C system. He argues that in today's globalized art world, only art present in international critical anthologies and collections qualifies as Serie A. Italian painting's Serie A is led by Rudolf Stingel, described as the planet's best 'brush' and a stylistic stateless artist who fused tradition with innovation. Three younger painters—Enrico David, Alessandro Pessoli, and Pietro Roccasalva—are placed between Serie B and A, with Roccasalva praised for reviving a conceptual approach. Serie B is otherwise deserted, with Luca Bertolo and Alberto Di Fabio in a grey zone between C and B. Ago laments Italy's non-system, where a handful of global stars contrast with a vast local scene, and criticizes the lack of institutional support until the Italian Council. The essay is part of a series titled 'Lezioni di critica' and reflects on the structural weaknesses of the Italian art ecosystem.