From November 21 to 23, Arte in Nuvola returns to populate the congress center designed by Massimiliano and Doriana Fuksas in Rome’s EUR district. Launched in 2021 and conceived by Alessandro Nicosia with artistic direction by Adriana Polveroni, the fair this year features around 120 galleries — from the historic Tornabuoni and Forni to the younger Basile Contemporary and Monti8 — within the more than 55,000 square meters of the Nuvola by Fuksas.
Arte in Nuvola 2025: five must-see events at Rome’s contemporary and modern art fair
The Nuvola by Fuksas, in Rome’s EUR district, once again hosts the youngest among Italy’s major art fairs: 120 galleries and a program of special events. Domus has selected five not to be missed.
A prelude to the extensive exhibition set to open by the end of 2025 at the historic headquarters in Via Crispi, the display at the Nuvola presents a selection of works by artists such as Lamberto Pignotti, a pioneer of visual poetry and verbo-visual experimentation in Italy; Elisa Montessori, a central figure in Rome’s graphic arts scene of the 1960s; and Marcello Avenali, one of the leading figures of Italian postwar abstraction.
Marcello Avenali, Angelina, 1953. Courtesy Galleria d'Arte Moderna di Roma
Yuja Kim, Dayoung with Youngjoo, 2025
© Teresa Giannico, I used to look at your photographs, 2023. Courtesy Private Collection
Emilio Vedova, Senza Titolo. Courtesy Wikimedia Commons
Emilio Isgrò, Figura, 2025
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- Marianna Reggiani
- 21 November 2025
As the only major modern and contemporary art fair in Central Italy, Arte in Nuvola celebrates its fifth edition with the clear intention of consolidating its role as a reference platform for galleries from the southern part of the country, often absent from the major fair circuits in Turin and Bologna. “We wanted Rome, which had been without a fair for years, to fill a gap in the market,” explains Alessandro Nicosia, who also curates the event this year. “The goal is to act as a driving force for the South and the entire Mediterranean area.”
In this sense, Arte in Nuvola has undoubtedly filled a void, carving out a recognized space in the national fair landscape on par with its northern counterparts while consolidating its identity as “unpretentious but transversal.”
Among the special events stands out a program curated by the Galleria d’Arte Moderna di Roma, preparing to celebrate its centenary. Collaborations with some of the country’s most important cultural institutions have also been renewed, including the Maxxi, which participates with installations by Giulio Paolini (Tre per Tre (Ognuno è l’altro o nessuno), 1998–99) and Mario Airò (Aurora, 2003), and the Galleria Nazionale di Arte Moderna e Contemporanea, which presents its 2024 Artist of the Year with Isgrò cancella Isgrò (2024). From the Ministry of Foreign Affairs and International Cooperation comes Fausto Melotti’s installation La sequenza (1971), recently acquired by the Farnesina collection.
The guest country for this edition is South Korea, invited in celebration of the 140th anniversary of diplomatic relations with Italy. The exhibition “Fever State” brings together established and emerging artists around the theme of generational differences and the tension between tradition and innovation.
Within the extensive program, here are five projects not to be missed.
In the centenary year of the Galleria d’Arte Moderna (GAM) of Rome, the exhibition aims to highlight the significant growth of the collection: three thousand paintings, sculptures, and graphic works exploring the development of visual arts in Italy from the late 19th century to the 20th century.
A prelude to the extensive exhibition set to open by the end of 2025 at the historic headquarters in Via Crispi, the display at the Nuvola presents a selection of works by artists such as Lamberto Pignotti, a pioneer of visual poetry and verbo-visual experimentation in Italy; Elisa Montessori, a central figure in Rome’s graphic arts scene of the 1960s; and Marcello Avenali, one of the leading figures of Italian postwar abstraction.
As the guest country of the fifth edition of Arte in Nuvola, the Republic of Korea presents an exhibition that focuses on the collective “fever” increasingly affecting younger generations. In a tangle of tradition, digital language, and new cultural sensibilities, six artists give voice to the search for their identity and place in the world. Rope sculptures, photographs, collages, choreographic experiments, and paintings on animal hide convey the diversity and energy of Korean artists, among the most significant voices in international contemporary art.
Moving beyond the documentary function of the photographic medium, the exhibition curated by Arianna Catania explores shadowy zones, liminal spaces, and contemporary photographic experimentation. Between paradoxical visions, marked by ambiguity and altered perspectives, the works of thirty-three international artists — including Adrian Paci, Mimmo Jodice, and Sandy Skoglund — engage in a dialogue within a path designed to challenge the concept of “reality,” undermining the clear and easy distinction between what is true and what is false.
Once again among the most interesting appointments at the fair, the Istituto Centrale per la Grafica renews its commitment to making graphic art increasingly accessible, free, and democratic. The selection of works on display emphasizes the creative exuberance and expressive freedom of the featured artists, from Rä Di Martino’s video art to Emilio Vedova’s graphic experiments, from the inquietudes of Francis Bacon to the artist’s books, installations, and photographs by Alberto Burri, Bruno Munari, and Enzo Cucchi.
Specializing in intaglio printmaking, the studio founded in Udine by Corrado Albicocco in 1994 is a precious space that bridges tradition and graphic experimentation. Numerous collaborations with prominent artists — including Carla Accardi, Sandro Chia, and David Tremlett — public recognitions, and historic exhibitions attest to the meticulous work of this Friulian print studio. Selected for Arte in Nuvola, the works of Emilio Isgrò, Jannis Kounellis, and Piero Pizzi Cannella offer a reflection on the graphic mark, its essentiality, and assertive power.