In Italy new spaces for contemporary art are outlined. But can we stay satisfied? Are we really in step with other countries? Some don’t seem to think so. Mambo, MacRo, Mart, Gam, Gnam, are only some of the few kinds or re-modernised spaces to gather modern and contemporary art collections. They are in reality small but often well cared for, to the effect of showing how contemporary they are. It’s such an extremely arduous task that we can’t imagine what goes on in institutions of such modest dimensions.

Effectively, that which is lacking in Italy is the capacity to group, being able to criticise en masse in a way that offers not only spaces to exhibit but also to coordinate new emerging realities in our country, and great public orientation with the typical educational function that has always been carried out by public museums; structures that can therefore show even international excellence.

Often, culture is still intended exclusively as antiquated on a government level; this brings about a scarcity of resources and spaces for new exhibits. Contemporary art thus becomes responsible for local administration, regions, and communes, other than individuals. Museums often work like public administrations in that they are in some way hostile to the intervention of individuals, therefore often they prefer to “do it themselves” and set up their own structures. In such prolonged public inactivity, one should recognise that there is no lack of an individual’s job. The biggest names in fashion are at war to acquire spaces in which to host the most current innovative artists. The Prada Foundation recently acquired a new space in south Milan. The Marmotti Collection from Reggio Emilia collected by the founder of the great fashion house Max Mara, is another example of the passion in the fashion world for art.

And then there’s no lack of initiatives from banking houses and arts colleges which in the last few years have made themselves heard in this field. For example, Unicredit gathered works of contemporary artists from various countries in which they operate in one collection. Or the CRT Foundation that finances the principal modern and contemporary art museums of Turin (The Castello di Rivoli and GAM).

And it is not only Italians who offer our nation a space in which to reflect upon contemporary art. Our nation boasts a culture that still allows us to pull in foreigners who discover idyllic scenes in our countrysides for new artistic projects. The French millionaire Francois Pinault judged the Punta della Dogana in Venice after Palazzo Grassi. Exhibition spaces will be used to show his collection other than being a host for interesting exhibits.

Even the art shark Larry Gagosian has recently chosen Rome to open his new gallery. The choice seems to be due to the millionaire’s love for the Eternal City of surmountable fascination more than for marketing motives. All of this is partly reassuring but we shouldn’t think that we can leave contemporary art in the hands of fate. Central coordination is indispensable, which in Italy however will take off with difficulty. The great new project at stake is that of Maxxi. Already since ‘98, the art world waited for the new work by the architect Zaha Hadid following a concourse elected for the projection of this great new space dedicated to contemporary architecture and art. The Maxxi project is certainly powerful if it confronts numerous Italians but which doesn’t fill the great European or American modern and contemporary art centres. Besides, this governmental phase adds new uncertainties due to already scarcely available resources, especially for acquisitions.