The interviews of Art Rights Prize
Interview with Denis Curti, Artistic Director of the Casa dei Tre Oci – Head of the Photography Jury of the Art Rights Prize
Art Rights Magazine, Media Partner of Art Rights Prize, the first International Digital Prize for Artists 3.0, presents every week the Judges that make up the Jury of Experts of the Art System and the Art Market.
In the perspective of comparison and meeting between Artists and Art Professionals, the Jury of Art Rights Prize boasts the participation of 15 Judges who offer a personal and professional preview of the importance of Art Awards, advice on the best way to submit their candidacy together with the motivations that should push an artist to participate in an art award
The Art world constantly confronts Artists with challenges and obstacles to overcome in order to bring out their artistic research in an increasingly global perspective.
According to Denis Curti, Artistic Director of the Casa dei Tre Oci in Venice, a leading international voice for photography, who has collaborated and curated the exhibitions of great authors including David Lachapelle, Maurizio Galimberti, Letizia Battaglia, Luigi Ghirri, Ferdinando Scianna and many others, thinks that the best advice to young photographers is to “put themselves to the test” also and above all thanks to festivals and art prizes.
If in his latest manual, “Understanding contemporary photography. Practical guide to the art of the future” (Marsilio, 2020), Denis Curti, thanks to his thirty years of experience as a curator, has drawn a map to orient himself in the panorama of contemporary photography and understand the most concrete aspects of an expanding market, in this interview as Head of Jury of Photography for Art Rights Prize tells what he expects to find in the nominations of artists and much more…
Artistic director of the Casa dei Tre Oci in Venice, consultant to the Venice Foundation for the management of photographic heritage.
In 2015 he founded Still, in Milan, a multifunctional space with a specific focus on photography. From 2005 to 2014 he directed the Contrasto-Milan agency. Between 2002 and 2003 he curated photographic auctions for Sotheby’s in Italy.
For over fifteen years he was a photo critic for Vivimilano and Corriere della Sera. He directed the monthly magazine Il Fotografo and is currently editing the digital publication Black Camera by Rolling Stone.it.
He has edited several publications for Marsilio, the most recent is “Understanding contemporary photography. Practical guide to the art of the future”.
1.For you, what importance does an Art Prize have in an artist’s career?
It is now a really important stage, so much so that when I myself am asked the question of what a young photographer should do to emerge and put himself to the test, I answer that without a doubt participation in art awards, along with participation in photography festivals become essential.
On these occasions one comes into direct contact with experts, one reads one’s portfolio, one receives external feedback that allows one to grow and receive another perspective, thus receiving the attention of professionals in the field.
Participating in the Art Awards, especially for emerging artists, can become a springboard and give great visibility to your work; I had the proof just recently as Artistic Director of SI Fest – Savignano Immagini Festival, where two very young and promising photographers were awarded, but still unknown until their participation.
Moreover, the mention of an art award in your portfolio makes all the difference.
2.What would you recommend to an artist who wants to participate in an Art Prize?
Not to stop at your own territorial borders, but to research the opportunities offered and always have a global view.
I always advise young photographers to present their candidatures in a sincere way: too often I happen to look at portfolios and works that follow the fashions and trends of the moment, instead of thinking outside the box and be honest with their research.
It’s impossible to stop art and creativity as it becomes difficult and counterproductive to follow fashions. Always being oneself, that’s what makes the difference in the eyes of the judges of an art prize jury: the works and research cannot deviate from the artist himself, because this distance would still be perceived in the eyes of experts.
3.What factors do you take into consideration when judging a nomination for an Art Award?
The coherence of the candidate works, the attention to planning and the harmony of all the elements inserted with the presentation of the work.
The aesthetic dimension certainly makes the difference too, but if you don’t add an element of awareness to this in your work, you are halfway through your application. It is always good to seek harmonious development in the presentation.
If you are an artist, what are you waiting for?
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