Miart 2025: discovering the works on display

The twenty-ninth edition of Miart 2025 is a fair in which modern and contemporary art coexist and strengthen between art history and new experiments,this is the exhibition thread of the main Established section. Here one can admire works spanning a wide span of time, from masterpieces of the Early to the Second Twentieth Century to the most recent creations. A journey between past and present that allows us to grasp the evolution of art over time.
A greater focus on contemporary experimentation stands out in Emergent, a section entirely dedicated to young and innovative realities. This space offers visibility to emerging artists and galleries that promote the most experimental languages. Finally, the Portal section unites ten galleries that establish a bridge between different languages, geographies and eras.

Placed at the entrance to the fair is the Emergent section where young talents in contemporary art can be discovered. Among them is ArtNoble, with a personal exhibition project by Aronne Pleuteri in which painting detaches itself from an evasive impulse, opening windows on expressive flocks, in which the sign of the color of the verb merge. Continuing along the path, one encounters the stand of MATTA, among the most recent and promising exhibition realities on the Milanese scene, presents the artistic duo thebackstudio with sculptures that challenge the concept of function, assemblages of industrial constructions, blown glass and use of LED lights. Alongside are the cinematic suggestions of Eva Gold's light boxes and Tasneem Sarkez's paintings at Rose Easton in London and Eliska Konecna's work at the Eastcontemporary booth with works of bas-reliefs on fabric that reflect on the relationship between the physical dimension and spirituality.

We then enter the Established section in Corridor A, where we immediately reach Raffella Cortese's booth with a large-scale neon work by Yael Bartana and some works by Martha Rosler from the famous photomontages series House Beautiful: Bringing the War Home originally created as a denunciation of the Vietnam War in the late 1960s, which the artist has continued to fuel with wars in Afghanistan and Iraq. Next comes the Cardi booth with an exhibition project by Ugo Rondinone, among the most successful artists of his generation and also present with an exhibition at GAM in Milan. In the booth, the artist presents sculptures of stone masks, his favorite material, with archaic forms and dense symbolic metaphors that address the theme of the night.

Halfway down Corridor A one can dwell on the Robert Rauschenberg exhibition organized thanks to the support of Intesa Sanpaolo. The exhibition is dedicated to the painter one hundred years after his birth, using the title among friends, borrowed from the last retrospective dedicated to him.

Continuing on, we cross over into the modern, with works from Galleria Tornabuoni including Lucio Fontana and Giorgio De Chirico, and then arrive at the artists of Forma 1 in Secci's booth. A project that speaks of one of the most significant historical moments for art, gathered around Piazza del Popolo in Rome, with artists who worked on a unique aesthetic in favor of a universal dimension. Protagonist of the booth is a monumental sculpture by Pietro Consagra artist who consolidated a central position in the redefinition of contemporary sculpture.

Continuing to Corridor B, we encounter Dep Art exhibiting Wolfram Ullrich with his scenic geometric-prospective steel modulations. Kaufmann Repetto with a group show in which stand out the works of Atelier dell'Errore, a Visual Arts laboratory born in the center of child neuropsychiatry, where the mistake takes on creative value. Gallery Zero, which presents a minimal set-up in which there are works by Carlo and Fabio Ingrassia with meticulous work, in which the subject is radiated by a light that envelops its recognizability, charging the composition with great atmosphere.

In the same passage, Chertlüdde from Berlin presents a booth with artists from different continents, offering a platform for international dialogue. This is followed by Poggiali Gallery with a selection of works among which the most engaging for visitors are Goldschmied & Chiari's works with mirrored surfaces with transformative, alchemical imagery rich in colorful pigments.

This is followed by Sara Zanin with some works by Alfredo Pirri in which the traces of the enveloping and surreal atmospheres that the artist creates in large environments remain imprinted in every single work; Thomas Berra's canvases with vegetal tones and suspended atmospheres from UNA Galleria; and Ribot's project presenting multiform works in which sign and gesture are the protagonists of creation with a component of works among the most interesting, for the juxtaposition of the verbal and the visual. Finally, Wizard Lab in which artist Sara Ciracì presents a sculpture-like work from ancient Greece, creating an artifact of a visionary universe.

In Corridor C, the Alessandro Albanese Gallery organizes a striking installation that puts in dialogue the sculptures of master Antonio Paradiso together with the young Leilei Wu, an opposition between the former who prefers the spiritual subject of birds hovering in the air and the latter who makes hybrid, synthetic sculptures with three-dimensional printing, with sci-fi atmospheres. Opposite, the works of Amparo Sard, in the Verrengia Gallery booth, express a reflection on contemporary identity and the boundaries of the feminine with an intricate and richly fascinating texture.

Moving on, one encounters the Ncontemporary galleries with works by Ruth Beraha, winner of the Matteo Visconti Modrone Fair Prize, with sculptures depicting ceramic birds in the act of crossing walls, evoking both a fantasy world and the impact of nature on human spaces, between fragility and threat. Photographs by Nan Goldin hosted by Giampaolo Abbondio's booth from the intimate and brutal intensity of a life on the margins that reflect on the concept of identity. Also photography is the medium used by Florence Di Benedetto, for her exhibition in Podbielski's booth that offers a reflection on the power of material culture of objects.

Among the most poetic dialogues is the Viasaterna booth, with works by Marion Baruch who explores the theme of degrees of emptiness among weaves of textile scraps and spatial compositions, along with Guido Guidi whose photography looks at space as an entity also consisting of margins and the invisible.

In the same section, interesting participations include the Minini Gallery with an installation by Flavio Favelli, unpublished sculptures by Ambra Castagnetti, and a wall by Jacopo Benassi in which photography dialogues with sculpture and installation. Monica De Cardenas' booth where drawings by Alex Katz and Emilio Gola dialogue with a reflection on representation, and Gideon Rubin's portrait and photographic works by Linda Fregni Nagler. Finally, Giuseppe Stampone's interiors from Prometeo carry phrases of social statements, such as "The Future is always political."

The Portal section features works by Michael Bauer from Federica Schiavo Gallery, pictorial works that construct anthropomorphic forms with fluid lines and protrusions of abstraction. Several photographs by James Barnor from Apalazzo document Ghana in the transition to independence, along with the spirit of 1960s London and Afro-Western fashion.

Miart 2025 confirms itself as a key appointment for art, capable of offering a level-headed exhibition experience, enhancing tradition, art history and new trends on an international and avant-garde level. The fair presents itself as a journey between eras and visions, a crossroads where art becomes dialogue and discovery.
Between masterpieces of the past and bold experimentation, each booth tells a story, each work invites you to look beyond. This editorial team invites you to curiosity, to get lost in the aisles where languages intertwine and ideas take shape.