BARBARA FRAGOGNA | AN EXCLUSIVE INTERVIEW | DISCOVERY ART FAIR

An Exclusive Interview With Barbara Fragogna
By Ariel SU

“Exhibiting artists are given the opportunity of a personal curating service ranging from set-up design advice, the selection of featured artworks, I help to create
a harmonious exhibition space with the flavor of a small solo show, guidance on estimating the value of the works of art and strategic suggestions on how to move in the art world and art market.”
– Barbara Fragogna

Barbara Fragogna (b. 1975) is one of the leading curators at one of Germany’s largest Art fairs, the Discovery Art Fair | Frankfurt and Cologne.
She is also known for her unique artistic style as a multidisciplinary artist and is represented by various European galleries, including the NUMA Contemporary, Vicenza, Galleria Alessio Moitre, Turin, and Emerson Gallery, based in Berlin.
Fragogna worked as the art director of KH Tacheles from 2008 to 2012; in 2013, she founded the Independent publishing house Edizioni Inaudite. From 2015 to 2019, she was the Turin Fusion Art Gallery / Inaudita project director, and from 2020 she served as one of the Chief Curators at the Discovery Art Fair. Barbara Fragogna was born in Venice, Italy, and currently lives and works in Padua.
We are pleased to feature this fascinating, exclusive interview with Barbara, focusing on her role as one of the Chief Curators at the Discovery Art Fair events, and hear about her favorite art collection exhibited at the latest event, DAF Cologne, in April 2023.

Artists In The Spotlight | Cologne | April 2023

When it comes to discovering young, up-and-coming art, it’s hard to miss the Discovery Art Fairs.
The popular German art fairs are held annually in Cologne and Frankfurt, two metropolises mainly known for their lively and traditional art scene and home to many art collectors.
The Discovery Art Fair’s unique characteristic: A carefully curated selection of renowned and young galleries, projects, and solo artists present themselves under one roof. In this way, the Fair reflects the spirit of the times and current developments in the international art market.

In addition to established galleries, increasingly innovative projects such as pop-up stores, alternative art spaces, or online platforms are playing an important role, and numerous highly talented artists are choosing the path of self-marketing.
For new buyers as well as experts or experienced collectors, every edition guarantees an exciting art fair experience and, last but not least, an excellent opportunity to discover lots of new and (still) affordable contemporary art.
The visitors enjoy an abundance of paintings, drawings, graphic prints, sculptures, installations, photography, or urban art, from large-scale pieces to miniature editions in pocket-size format. Above all, besides the most recent works, which have just been created in the studios, visitors also experience a lot of surprising, original, and innovative works.
A selection of art that is definitely worth discovering.

In this fantastic special edition, we spotlighted a unique collection of works of art created by outstanding artists, some represented by well-known galleries, and others exhibited their work as private artists.
This issue gives a glimpse into the beautiful selection of art exhibited at the latest Cologne event run by Discovery Art Fair.

“One must never forget to ask oneself what art is and why an artist produces it; it is not easy to keep this debate alive and pure, if I may use a romantic term because contingent motivations often weigh down the spirit. “
– Barbara Fragogna

Art Market Magazine: It’s a pleasure interviewing you, Barbara.
During the past twenty years, you have been in charge of impressive art projects from managing and Chief Director and serving as the Chief Curator. In your remarkable resume, we can find your work as the Director and Chief Curator at Fusion Art Gallery/Inaudita, Turin; the Founder and Director of Edizioni Inaudite and since 2020, you have been one of the Curators at significant art events, Discovery Art Fairs in Frankfurt and Cologne. How did it all start? What drew you to the art field, what is your academic background, and did you focus specifically on art curating in your studies?

Barbara Fragogna: Thank you, it is my pleasure and a privilege to be interviewed by Art Market Magazine.
Considering the current times, the development of my professional career is particularly atypical, not academic at all.
I was born in Venice (right on the island) in the 1970s into a working-class family. My father, a skilled and eclectic craftsman, had a passion for drawing and painting, which, unfortunately, he decided to abandon for reasons of practicality and space in the same years of my birth.
This did not prevent him from passing on his interest to me, instilling the bud of a ‘compensatory’ curiosity that took the form of a spontaneous attitude to grow, believing that art should be as natural as breathing.
So as long as I push back my memory, I don’t remember living without drawing or painting. Furthermore, due to our modest economic condition, my studies were oriented towards something that would allow me to leave home early and support myself, opting for a high school accountancy class.
It had nothing in common with classic art studies, indeed. I finally finished my studies at 19 and moved to Padua, where I started working as an illustrator and ‘creative’ in an advertising studio that was also a hotbed of cultural production.
The following ten years were my real training school, made up of work, experimentation, travel, practice, sharing, and collaboration. In 2000, at 25 years old, I founded a cultural association I directed for the next three years as a small KunstHouse. This was the real beginning of everything, a concretization of my artistic work, which has opened up to the curatorial, organizational, and management aspects since then.

Art Market Magazine: Tell us about your work at the Discovery Art Fair events. What is your role at the event? Do you choose the featured artists or focus on each artist or gallery and give them a personal curating service?

Barbara Fragogna: Discovery Art Fair is characterized by the fact that it is a fair ‘curated’ by a team of curators, usually three people, of which I am a part. Each of us is focused on a particular aspect of the work. We are all democratically involved in selecting both artists and galleries, and the aim is always to ensure a qualitative selection that is both technical and formal. In my specific multidisciplinary role, I mainly deal with artists exhibiting individually or in groups, young artists, experimental projects, and small galleries, focusing on foreign galleries and research projects. After the selection phase, the work’s most exciting part occurs during the fair days. Exhibiting artists are given the opportunity of a personal curating service ranging from set-up design advice, the selection of featured artworks, I help to create a harmonious exhibition space with the flavor of a small solo show, guidance on estimating the value of the works of art and strategic suggestions on how to move in the art world and art market. With this personal approach, it also happens that, after the fair, some of the artists may ask me for advice on exhibitions to participate in, competitions, or other events, and for me, they are always welcome!
Another fundamental aspect of the work is relational care; I try to create, within the limits of time and respecting the private business in the fair, a direct and personal relationship, especially with the artists who, in the exceptionality of an art fair that can put artists and gallerists on the same level, need more support and visibility.
Each curator, on the specific day of the fair and in total selective autonomy, is required to give a tour to visitors who wish to be accompanied for one hour through an arbitrarily chosen itinerary; this is called ‘curator’s choice.’

Art Market Magazine: You are also a gifted artist, represented by various European galleries. Does your curating work and choices of the featured works of art are affected by your personal artistic style? Is it possible to divide the two from one another, or is it naturally combined?

Barbara Fragogna: Thank you for your kindness. It is impossible to think that my personal path cannot influence my choices; everything is connected, and art is so visceral that it is inseparable from everything else. I am very interested in painting and drawing, and on these, I can be much more selective, but we are not talking about a museum exhibition or a personal and private project here, an art fair moves on other motivational level, and I try to implement my choices as objectively as possible. As a matter of fact, I have noticed that this aspect of the curatorial work for the DAF makes me much more flexible; I am a great believer in the personal relationship without filters between the artist and the public; for me, the figure of the curator must be as a zero in principle, a transparent filter that, with respect and kindness, must present the work of its creator without contaminating it with the filter of her/his presence. This I wish as an artist, and this I offer as a curator.

Art Market Magazine:
We saw a collection of many magnificent artists at the latest Discovery Art Fair event in Cologne (April 2023). The work of over 300 artists has been featured. However, if we ask you to choose only a small number of your favorite pieces of art, what would it be? And why do you choose them specifically?

Barbara Fragogna: Yes, that’s right, we were happy to be able to exhibit so many outstanding projects. I am very proud to say that the quality of the Discovery Art Fair is constantly increasing. And yes, it’s challenging for me to choose between so many amazing artists.
In order not to give in to favoritism and not to leave anyone unsatisfied, I focus here on some of the projects that are most special to me for their peculiarity. Among the independent collectives, the Polish Black Dwarf Foundation stands out;
it is composed of a group of visionary artists with a focus on the production of independent films and visual art (but not only), whose irreverent, light-hearted and not “under” but “over” ground imprint fascinates me. Among the younger galleries, I would give space to Ambidexter from Istanbul, Turkey, which presented, among other international artists, the ceramic works of the young artist Maral Taşkırıcı and to Gallery70 from Tirana, Albania, with works by Martin Stommel and Jon Kraja. Among the established galleries, I appreciated the minimalist set-up elegance of Newinger Art from London, UK, the impactful strength of the setting of galerie143 from Lörrach, Germany, with Dirk Pleyer‘s beautiful textured landscapes, and the choice of Wolfram Völker Fine Art from Berlin, Germany to present a solo show of the exceptional artist Malgosia Jankowska.
I have a particular fondness for small artist collectives that come together to create exhibition spaces or projects with a high professional profile, such as Alte Bäckerei from Greifswald, Germany, which involves the three artists Ramona Czygan, Edvardas Racevicius, and Urs Bumke or Ultraneon from Halle (Saale), Germany founded by the talented Phillip Hiersemann, Jens Günther and Stefan Schwarzer.
Among the artists who exhibited independently, I loved Juliane Hundertmark‘s grotesque and cheerfully disturbing paintings; Oliver Pavic‘s distorted and coloristically fleshed-out portraits set in “relevant” frames; Thomas Hollbach‘s contemporary impressionistic macro-portraits; Unai Extebarria‘s eco-social paintings evoking fragments of dystopian life; the intimist and detailed painting by Manuel Kolip and the silent and still painting by Carola Dewor; the bursting abstraction by Ursula Schregel and the limpid abstraction by Erika Rifinius; the perfect madness of Coco Wasabi’s collages; the technical and ingenious drawing machines invented and built by Robert Balke and the baroque pop digital collages by Flaca. Last but not least, the bursting and challenging human installation ‘Absolvo Te’ by Dennis Josef Maseg, whose complex and evocative work amazed and moved the Cologne audience to discussion.

Art Market Magazine: What are the more significant aspects of your curating work? Do you focus more on the work’s visual aspect or philosophical idea? Is it a combination of the two? Do you examine a work of art from its technical quality level, or are you looking to present innovative art that will create waves of interest?

Barbara Fragogna: It is a combination of the visual and philosophical. Mainly I am interested in ideas; the concept has to be intense, knowledgeable, bursting, and sometimes even disturbing; the “over 35” s mind attracts me because it is more mature and structured, but also the freshness of the youthful sparkle, if honest, captures me.
The idea behind the artist’s philosophy, the movements of her/his thought, and her/his attitude toward life indeed the idea is fundamental; I am not attracted to decorative and superficial beauty at all.
As for the genre of ideas, I do not limit myself to one subject or topic. In my curatorial choices, we are talking about artists I have followed for years between the gallery in Berlin, Turin, and others. One can perceive a common spirit although the variety of styles and techniques. I prefer when the work is ‘personal as political .’One must never forget to ask oneself what art is and why an artist produces it; it is not easy to keep this debate alive and pure, if I may use a romantic term because contingent motivations often weigh down the spirit. Of course, beyond the conceptual aspect, it is fundamental that the technical ‘gesture’ is skillful and talented and of the highest quality. I don’t care if the work is particularly innovative from a technological point of view, but I love voices outside the chorus that can question the status quo.

Art Market Magazine:
The contemporary art world is very diverse, as are the major art events, but these art fairs can still be defined according to the art they choose to present. From art fairs focusing on more classical and traditional art to others exhibiting underground and avant-garde contemporary art for expressing political views and art events showing various styles at different levels. How would you describe the general artistic style of the Discovery Art Fair?

Barbara Fragogna:
Discovery Art Fair focuses, as it defines itself by its very name, on the discovery of young art, fresh positions, and new trends in the contemporary art world. The idea is to present the public with a selection of artists and galleries that, despite their high professional profile, can also be accessible to a broader audience.

An opportunity for the visitors to come into contact with that slice of the art world which, despite not belonging strictly to the more elitist mainstream, shows itself publicly in a direct expontaneous approach. The entire organizing team is made up of sociable people who are attentive to the needs of the exhibitors and the public, and the result is a serene and cheerful atmosphere despite the stress of the business involved.
For me, however, the stylistic hallmark of Discovery Art Fair is its ability to fairly, equally, and sensitively represent the work of independent artists and galleries.
This aspect is by no means taken for granted since, in most accessible fairs, the work of individual artists is often marginalized or relegated to the fringe areas of the fair map. In fact, one of my most heartfelt leitmotifs is to explain to the audience what an enormous privilege it is to meet artists in front of their work; I encourage them to interact, ask questions, don’t be shy because artists speak very little about themselves, but they are always very excited when they have the opportunity to do so without intermediaries or external interpretations. As an artist and curator, I am very proud and happy that this does not happen at Discovery Art Fair.

Art Market Magazine: The number of attendees and visitors reaches dozens of thousands in each of the Discovery Art Fair’s events. What can you tell us about the importance of this exposure for the artists? What “doors” can this exposure open? How the presentation at the art fair develops the exhibiting artists and influences their career in the contemporary art world.

Barbara Fragogna: As I mentioned in the previous answer, at the Discovery Art Fair, we give significant space to the representation of independent artists. The artists having the opportunity to exhibit their work in front of such a large audience is very positive in many ways.
First of all, they have the possibility of confronting what matters most to them, i.e., the impact of their work, the perception of the concept, and the quality of the discourse, with different individualities (the public, other artists, gallerists, collectors, the press!) who question them and interpret their work, allowing them to question and enrich by coming out of their own creative solipsism.
Then, of course, there is the economic aspect; the artist becomes their own entrepreneur, invests their own means and risks, and at the fair, s/he meets new collectors and patrons, and what
s/he earns stays entirely in her/his pocket. In this way, the artists learn what it means to be on the gallery owner’s side and thus improve their relationship with them. Plus, at the fair, the artists can meet gallerists who offer them a collaboration, so, thanks to this self-management experience, they can consciously select their future collaborations by weighing up the pros and cons. Finally, exhibiting at a fair also teaches one artist to refine the aesthetic presentation of the work (frames, supports) and to take care of all aspects of their business: from transport to the fair, packaging, communication, relations with the public, to possible delivery to the collector’s home. Indeed, all these factors, and many others, influence the artist’s career and recognition in the art world.

Art Market Magazine: The upcoming event of Discovery Art Fair will take place in Frankfurt, where you will be one of the fair’s Chief Curators. What awaits us? Which unique artists and galleries will be exhibiting?

Barbara Fragogna: At the moment, I am not allowed to make any announcements about the fair, we are going through the selection process, and until the end of July, galleries, artists, and projects can apply to participate in Frankfurt, don’t miss the opportunity as the more requests we receive, the more refined the selection of participants will be!

Art Market Magazine: From years of experience in the field, What advice can you give to artists aiming to exhibit their work most effectively?

Barbara Fragogna: I advise artists to think of the display of their exhibition space as the setting up of a personal exhibition, not exaggerating in quantity (the work of art must breathe!), with coherence in the juxtaposition of works, preferably belonging to a work session or a certain period; to have a concept and to learn to explain it without shyness; not to underestimate or neglect details such as packaging and communication; to learn autonomy by observing and listening to the professional point of view of their colleagues. And I recommend joining together to be stronger and less stressed by the pressure of selling and, most importantly, the attitude, the display of one’s work at an art fair or an exhibition, however tiring it may be, must be a fulfilling and happy moment, try to keep your spirits high, no one likes to get close to the grumpy cat!

Visit: Discovery Art Fair
On Instagram: @discoveryartfair

See the full article in Art Market Magazine Issue #81