Alessandro Vicario

The talented photographer from the middle generation, now in his forties, recounts his experience of going it alone.

Tell us about your decision to take part in Proposte MIA without a gallery.

About four years ago, when I took part in the first edition of MIA, I received the invitation directly from Fabio Castelli. Exhibiting without a gallery as an intermediary was completely new at the time. So, out of a love of novelty and a desire to try paths I had never taken, I spontaneously decided to participate. I had galleries in Italy and Switzerland, but I wanted to commit myself personally. Everything seemed very serious. Of course, the financial investment was considerable, but I decided to try, partly because I thought that without the gallery’s mediation, even though I would have to make a substantial initial investment, the chances of commercial success could, at least potentially, repay my efforts. To put hypocrisy aside, I want to stress that the financial aspect of a fair is very important: although I do not sell shoes or pullovers, I do offer works of art, prints, for sale. Certainly, one is there to show work, to arouse interest, to make one’s practice known, but above all to sell.

So the format itself seems interesting for someone wishing to present their work?

As I said, when Castelli made me the offer at that time, I accepted enthusiastically, to try a new format. First you try it, then you take stock. For me, the outcome was neither entirely positive nor entirely negative. I remember selling three works, which was already something compared with others. Afterwards, calculating expenditure and income, I had gained nothing financially from the experience. In fact, I did not even cover my costs.

Apart from the financial result, were there any other benefits?

Visibility is the other advantage that participation in this event can offer, and I always kept it clearly in mind. At the time, I felt I had attracted some attention, especially because, beyond a general interest, I had aroused the curiosity of a few gallery owners whose sensibilities I felt were close to mine. I was happy about that. I received several visits during those days, with expressions of appreciation for my work, to the point that a collaboration seemed possible with some of them, although it never came about. I have not taken part in subsequent editions of MIA, and I do not intend to participate as an artist without a gallery. I have no regrets and am glad I had the experience, but I would not repeat it. The next time I take part, it will be with a gallery. But not with one of those galleries—and there are some—that ask the artist to contribute to the cost of the stand or, worse, to cover it entirely.

Above: Alessandro Vicario, Pressi di Schwäbisch Hall, 4 January 2011, 3.35 p.m. Two true giclée prints, 60 × 60 cm. Edition of 4.

Left: Alessandro Vicario, Cap Arkona (Ruegen), 1 October 2009, 7.21 p.m. True giclée print on baryta paper, mounted on 2 mm Dibond, with black aluminium frame, 60 × 60 cm.