We interviewed Clelia Patella, a journalist known for her commitment to making art accessible to a wider audience, to talk with her about the role of journalism in the art sector and the new trends for contemporary art between NFT and much more.
What were the key moments that defined your career as an art critic and journalist?
I approached the relationship between art and technology in 2009, sensing that it was a field to
explore and to which I wanted to dedicate research and time. But at that time in Italy, there was really little on this topic. In 2012, I started writing about contemporary art for ArtsLife, where I created a photographic column that later became a book. A few years later, I conceived my video format “Walk in Art” for ilGiornale.it, in which I narrate the most important exhibitions.
These were two defining moments in my career as a journalist. In the meantime, I have
always experimented and developed my communication and art dissemination activity on social media.
The comparison with artists and reference figures has always been my greatest stimulus. The
interviews and continuous dialogue with them have been fundamental for building my knowledge in the artistic field and for shaping my personal vision.
In 2021 I experienced a return to my roots, resuming my research on new technologies
applied to art thanks to the advent of NFTs and the evolution of digital art, returning to the
dimension I had explored ten years earlier, but which today, more than ever, stimulates my
interest.
From there I curated and hosted the program “Lo stato dell’arte” on Radio24, where I had the opportunity to engage with the protagonists of this new reality.
This evolution fascinates me because technology offers infinite possibilities, creating a present in constant motion.
I like to observe how, in a few months, something new takes the place of what becomes obsolete. For four years, I have been engaging with artists who explore these new expressive means.
What are, in your opinion, the main trends that are dominating the contemporary art scene today?
I could talk about photography, which remains always in fashion and for which I have a certain fascination, or the return of painting, even if it has never been my passion, except for the great masters, now distant and unrepeatable. But, the real trend today concerns enjoyment and experience.
One cannot ignore the impact of artificial intelligence, which is influencing not only art, but first and foremost our daily life, habits, and perception of reality.
The new technologies offer experiences that go beyond simple contemplation. “Arte digitale” is a term that encompasses multiple practices and does not define a genre but the new tools through which the artist can create, express emotions and concepts in a new and potentially infinite way.
It is a form of expression still difficult to understand and define. But the explanation is simple: the computer, which entered our lives decades ago radically changing them, has today become an artistic tool that is also revolutionizing the world of art. In reality, the intuition of the artist remains the heart of everything.
We simply have at our disposal a much more powerful tool, which amplifies creative capabilities. And, although it may seem a somewhat utopian vision, I believe that in less than a decade, exhibitions with paintings hanging on the walls will become increasingly rare.
What is the role of art criticism in making art more accessible to the general public?
More than critical, I consider myself a journalist. I always try to be objective in my work, telling art for what it is, or how the artist wishes it to be perceived. However, I realize that inevitably the opinion of those who analyze and disseminate art influences the perception of the public. Art is one of the few forms of communication that can be interpreted, precisely because it is made to be felt and experienced.
Today, more than ever, it is essential to bring art to the public, not in a superficial way, but with a vision that respects the evolutions of the sector and society. If once critics addressed a narrow audience, today it is necessary to take into account the new languages and the younger generations.
How do you see the evolution of the art market in recent years and what do you think its future will be?
In recent years, the art market has transformed thanks to new technologies, digitalization, and the emergence of NFTs. Art has become more accessible, global, and fluid. Online platforms and digital auctions have broken down barriers, allowing a wider audience to collect and discover new works. In the future, there could be a growing democratization of the market, with a focus on digital art and the experience it can offer, as well as the physical object.
Probably art will no longer be tied only to museums or traditional galleries, but will increasingly move towards virtual spaces and digital platforms.
What is your opinion on the impact of new technologies, such as NFTs, on art and collecting?
NFTs have opened a new chapter in contemporary art, creating a market and a new way of collecting. The new technologies applied to art allow artists to express themselves in new ways, giving value to digital works. This has expanded the concept of artistic value: the work is no longer just physical, but also immaterial. I believe there is still a bit of skepticism around digital art, and perhaps confusion about how these technologies will integrate into the market.
But I am convinced that, over time, we will see a greater understanding and integration in the artistic ecosystem. Perhaps the challenge will be to maintain the authenticity and value of the work in an increasingly digitized and flexible world.
How cultural journalism can help promote emerging artists and new artistic movements?
Cultural journalism can make a difference if it captures what is truly emerging. Unfortunately, often not enough is said about the new, which in a rapidly changing world becomes old in a short time. This also applies to art, especially in Italy, where the novelties are already outdated by the time they are finally discussed.
I don’t believe that there is a true emerging artistic movement, but I think this is a good thing, because it means that the new is widespread and not confined to a single genre or trend.
Today I believe that there is a sort of “total movement” in art, which concerns not only the work itself, but also the approach to creation, enjoyment, and communication of art. It is increasingly difficult, and perhaps it has been for some time, to define a dominant trend, as it was with Arte Povera. Today art has many directions that coexist in parallel. The journalist must recognize this change and talk about it, even if it deviates from traditional narratives.
Social media and the internet are also fundamental tools for discovering new things, but the real problem is finding what is worth discovering, because not everyone talks about it. I hope that one day art will no longer be just a niche, thanks also to journalism that has followed the evolution of the times and given visibility to the insights that will shape the projects of tomorrow.
You have collaborated with many institutions and artists. Which experiences have left an indelible mark on you?
There are many experiences that have left a mark on me. The first was perhaps the extraordinary reception at the Getty Museum in Los Angeles in 2017, where I was fortunate to experience a unique moment in my journey. But it is often the encounter with people that leaves a mark. Unforgettable was the one with Philippe Daverio, a figure whom I believe was the only true communicator in the field of art, for his extraordinary ability to narrate in a profound yet accessible way.
And then the incredible magnetism of Marina Abramović. The interview with her was definitely the most exciting of my career up to today. It was not a simple interview, but a true and proper performance.
I remember the meeting as if it were now, during a Venice Film Festival where she had been invited to present one of her short films. Sitting in front of her, I began to ask her questions, she looked me in the eyes, impossible to look away even for a moment. Despite there being other journalists, it seemed that she had chosen me as her interlocutor.
That conversation, intimate and intense, created a suspended, almost surreal atmosphere. I can’t help but wonder if my colleagues hated me at that moment, or if they managed to perceive the enormous gift she gave us.
Another experience that profoundly impacted me was my first curatorship during the Digital Week in Milan two years ago. Over the years, I have often been asked to curate physical art exhibitions, but I had never found the right motivation.
Then came the turning point with digital. Of course, the place was institutional, the Triennale di Milano, but the satisfaction of seeing the project take shape far exceeded the responsibility that comes with working in such a prestigious context. I will always be grateful for this experience.
What advice would you give to a young collector approaching the world of art for the first time?
I don’t think there is a single piece of valid advice. Of course, the market has its rules, but a young collector should start from their own taste and financial possibilities. The first few times, mistakes can be made, but if you follow your instinct and choose a piece that touches you, the first purchase will never be a mistake. It’s important to attend exhibitions, stay informed, and immerse yourself in the art world, because this helps to understand the evolutions of the sector.
There are many books that can help to understand the dynamics of the market. I recommend reading “Lo squalo da 12 milioni di dollari. La bizzarra e sorprendente economia dell’arte contemporanea” by Donald Thompson and “Le tue prime cinque opere d’arte contemporanea” by Deodato Salafia.
How much do you think art should reflect the social and political issues of our time?
Art has always been a reflection of its time, capable of conveying not only beauty but also the tensions, urgencies, and contradictions that mark social and political reality. It is precisely during moments of great crisis that its social function emerges strongly, drawing attention to themes such as ecological devastation and inequalities that risk compromising our future.
But art is not just denunciation. Its strength lies in being a direct and immediate means to awaken emotions and deep reflections. Unlike words, which often remain distant, art is able to touch the deepest chords of the human soul, capable of changing a vision, of shaking the conscience in an instant.
As expert in digital marketing, Amelia began working in the fintech sector in 2014 after writing her thesis on Bitcoin technology. Previously author for several international crypto-related magazines and CMO at Eidoo. She is now the co-founder and editor-in-chief of The Cryptonomist and Econique.
She is also a marketing teacher at Digital Coach in Milan and she published a book about NFTs for the Italian publishing house Mondadori, while she is also helping artists and company to entering in the sector. As advisor, Amelia is also involved in metaverse-related project such as The Nemesis and OVER.
