Now in its thirty-second edition, Artissima will open its doors from October 31 to November 2, 2025, at the Oval Lingotto in Turin. Under the direction of Luigi Fassi, now in his fourth consecutive year, and with the support of Main Partner Intesa Sanpaolo, the modern and contemporary art fair presents an evocative and futuristic title: “Manuale operativo per Nave Spaziale Terra” (Operating Manual for Spaceship Earth).
As Fassi himself explains, the title “refers to a 1969 pamphlet by Richard Buckminster Fuller, a prescient call addressing many of today’s urgencies, such as ecological and sustainability concerns, and the idea that life should be a collective value—a shared well-being among all living beings, not just humans”—pointing to our presence on Earth.
What to see in Turin this weekend: the best exhibitions during C2C and Artissima
During Turin Art Week, the city once again takes center stage in Italy’s contemporary art scene. From Jeff Wall to Chiharu Shiota and Laure Prouvost, Domus guides you through six unmissable exhibitions.
Jeff Wall, The Drain, 1989. Courtesy of the Artist and White Cube
Laure Prouvost, WE FELT A STAR DYING, 2025. Installation view at Kraftwerk Berlin. Commissioned by LAS Art Foundation and OGR Torino. Photo: Andrea Rossetti
Fiona Banner, Pranayama Organ, 2021. Courtesy the artist and Frith Street Gallery, London © Fiona Banner Studio
Shiota Chiharu, Where Are We Going?, 2017/2019. Installation view: Shiota Chiharu: The Soul Trembles, Mori Art Museum, Tokyo, 2019. Photo: Kioku Keizo. Photo courtesy: Mori Art Museum, Tokyo
You Shouldn't Have to See This, 2024, Yarema Malashchuk & Roman Khimei (still)
Courtesy the artist and Spelonca Project
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- Irene Sofia Comi
- 31 October 2025
The 2025 edition tackles the challenge of rethinking its mission, integrating the commercial dimension into a broader and shared vision of reality. As Fassi states: “I believe that after thirty-two editions, Artissima must continue to interpret the market from multiple perspectives, playing a proactive role for galleries, addressing not only collectors but also museums, institutions, and cultural policy.”
The title of this edition refers to a 1969 pamphlet by Richard Buckminster Fuller, a prescient call addressing many of today’s urgencies, such as (...) the idea that life should be a shared well-being among all living beings, not just humans.
Luigi Fassi
Whereas in Fuller’s time—1969—human perspectives were expanding towards extraterrestrial horizons, buoyed by the moon landing and technological optimism, today the task seems of an entirely different nature: returning to Earth with a more concrete outlook.
Artissima 2025: numbers, sections, and new features
This year, Artissima brings together 176 Italian and international galleries from 33 countries across five continents, including 26 debut participants. The offerings are organized across the fair’s four sections—Main Section, New Entries, Monologue/Dialogue, and Art Spaces & Editions—alongside the “three curated editions, each representing a historical chapter in the fair’s work”: Present Future, dedicated to emerging artists; Back to the Future, focused on rediscovering historically significant figures; and Disegni, centered on works on paper.
The fair’s commitment to supporting the entire art ecosystem is visible on multiple levels. In addition to the awards, including the now-established Illy Present Future Prize—created in 2001 and celebrating its twenty-fifth anniversary—this year also features the official stand of the MiC’s Directorate General for Contemporary Creativity, hosting a panel to detail the reduction of VAT on art purchases to 5%, a tangible signal of attention to the sector’s economic sustainability.
On the international front, Artissima acts “as a catalyst for cultural diplomacy,” explains Fassi. One example is the Vilnius Residency Prize, an internal award offering two artists represented by participating galleries a one-month residency in Lithuania.
Another initiative is the Anonymous Art Project, launched in 2023 by Japanese entrepreneur Hiroyuki Maki. This program promotes Japanese artists, aiming to introduce their works to Europe and foster cultural exchanges between Japan and Italy. The fair will feature selected projects by contemporary Japanese artists.
Artissima beyond Lingotto: Art Week and citywide projects
Artissima’s rich program extends beyond the Lingotto venue, engaging the city through a constellation of exhibitions and dispersed projects. Among the most experimental projects curated by the fair is The Screen is a Muscle, a video and artist film exhibition at Gallerie d’Italia, curated by Luca Lo Pinto and featuring works by artists represented by participating galleries. Among the works on display is Basim Magdy’s New Acid, a video installation projected onto the former zoo building in Parco Michelotti and visible from the outside. The work reflects on animal captivity and continues a format initiated three years ago that brings art out of conventional spaces and into the city.
The collateral events during Artissima compose an extensive Art Week: exhibitions, installations, music festivals such as C2C, sport events like ATP Finals, and other unmissable appointments. Domus has selected six highlights for you.
The ambitious exhibition “Photographs” by Jeff Wall offers a unique opportunity to trace the career of the Canadian photographer, from his works of the 1980s to his most recent projects. Renowned for his large-scale, life-size images, Wall explores political and social themes—ranging from conflicts to gender rights, from class inequalities to racial dynamics—interweaving references to painting, photography, and cinema, particularly Italian neorealism. The artist’s practice combines the visual impact of staged imagery with a careful analysis of reality, transforming everyday situations into images suspended between recognizability and estrangement. Curated by David Campany, Creative Director of the International Center of Photography in New York, the exhibition is on view until February 1, 2026.
“We Felt a Star Dying” is the new immersive project by French artist Laure Prouvost, already known for the French Pavilion at the 2019 Biennale. The installation explores the mysteries of quantum computing and the relationship between technology and the perception of reality. Commissioned by LAS Art Foundation and co-commissioned by OGR Torino, the work was created in collaboration with philosopher Tobias Rees and scientist Hartmut Neven, founder of Google Quantum AI. Curated by Samuele Piazza, the exhibition opens on October 31 and is on view until May 10, 2026. It complements the group exhibition “Electric Dreams. Art & Technology Before the Internet,” confirming OGR Torino as an international hub dedicated to the intersections between art and technology.
The group exhibition “PUSH THE LIMITS 2 culture strips to reveal war” brings together twenty international artists, including Rossella Biscotti, Monica Bonvicini, Dominique Gonzalez-Foerster, Nora Turato, Cécile B. Evans, Teresa Margolles, and Mona Hatoum. Curated by Beatrice Merz and Claudia Gioia, the exhibition reflects on the difficult, contested, and contradictory role of art today. With diverse nationalities, cultures, and generations, the artists’ works explore the ideas of action, freedom, and execution, attempting to offer responses—albeit on a poetic level—to the crisis of the present. Among the works, Sour Things: the Paintry (2024) by Mirna Bamieh depicts an emptied pantry prior to the flight from Ramallah, during the bombings in Gaza. The exhibition is on view until February 1, 2026.
The major solo exhibition of Chiharu Shiota, curated by Mami Kataoka, Director of the Mori Art Museum, and Davide Quadrio, Director of MAO, represents the artist’s first-ever museum show in an Asian art institution. The exhibition traces Shiota’s entire production, from her early works to her most famous installations composed of intertwined red and black threads: drawings, photographs, sculptures, and large interactive and environmental installations—sometimes of monumental scale—coexist with site-specific interventions and new works created especially for the Turin show. The exhibition follows in continuity with the solo show dedicated to the Japanese artist at the Grand Palais in Paris and is realized in collaboration with the Mori Art Museum in Tokyo. It is on view until June 28, 2026.
Until November 8, Recontemporary hosts an exhibition by two Ukrainian artists, Yarema Malashchuk and Roman Khimei, who have made political activism the focus of their practice. The video installation “You Shouldn’t Have To See This” presents moving images that unfold in unison across six LED walls. The project, previously shown at the 2024 Venice Biennale, combines documentary, testimony, and visual experimentation, raising awareness of the devastating effects of the war in Ukraine.
For the first time, Spelonca Project opens its doors with Segreto, a new installation by painter Roberto de Pinto, who inhabits and transforms a historically significant space, “renamed” by the artist Edoardo Piermattei, turning it into an exhibition venue. Located near the Balon iron bridge, the former nightclub—later a Lefebvrian church and also featured in Open House Torino 2024—becomes today a laboratory for artistic and collective experimentation, where visual, sound, and performative practices intertwine with the space and the audience. De Pinto recreates, using objects and materials that accompany him daily in his Milan studio, an exploded environment composed of papers, posters, photographs, and fetish objects. These fragments invade the space, generating an atmosphere suspended between chaos and unity, bodily experience and memory, three-dimensional composition and voyeuristic gesture. The opening is on Friday, November 1, at 6:00 PM.