Luciano Fasciati, a prominent figure in the Swiss art scene, is stepping down after three decades of shaping the cultural landscape of Graubünden and beyond. His approach to art wasn’t confined to the traditional gallery model; instead, he fostered a dynamic ecosystem of exhibitions, public art projects, and creative spaces.
Fasciati’s influence extends to initiatives like Art Public Chur, the Biennale Arte Bregaglia, the innovative Sala Viaggiatori in Castasegna, and the biennal event Aux Losanges in Tschiertschen. He didn’t just present art; he actively created platforms for it to thrive, often in unconventional settings. Alongside these projects, Fasciati and collaborators revitalized areas within Chur, transforming the former Tony Molkerei industrial site and establishing the Marsoel guest and cultural house as vital creative hubs.
In a recent podcast interview, Fasciati reflected on his journey, describing his 1991 entry into the gallery world as “completely naive” – a leap of faith for a newcomer to the art establishment. He spoke of the challenges faced in sustaining the gallery over the years and his eventual decision to conclude his work after 35 years. Crucially, he emphasized that his primary motivation has always been the art itself, rather than its commercial value. “The content of the art has always interested me much more than the commercial aspect,” he stated.
Throughout his career, Fasciati has served as a mentor to numerous artists, recognizing a fundamental distinction between creating art and exhibiting it. “Making art or showing art are two completely different things,” he explained. He attributes his enduring connection to his homeland as a key factor in his success, highlighting the importance of building sustainable art projects within a regional context. The podcast also delves into his future plans, though details remain unspecified.
The announcement coincides with a “Grande Finale” exhibition at his gallery, with further information about this event and other initiatives led by Fasciati available on his website (https://www.luciano-fasciati.ch/).
Fasciati’s departure prompts a broader consideration of the evolving role of the traditional art gallery. He suggests that galleries like his are becoming increasingly obsolete, a sentiment that resonates with ongoing discussions within the art world about alternative models for supporting artists and engaging audiences. This isn’t necessarily a critique of the gallery system itself, but rather an acknowledgement of shifting dynamics and the emergence of new possibilities.
The Swiss art landscape, particularly in regions like Graubünden, often operates outside the major international art centers. This presents unique challenges and opportunities. Building a sustainable art ecosystem in a peripheral location requires a different approach than simply replicating models from larger cities. Fasciati’s success demonstrates the value of deep local roots, strong community engagement, and a willingness to experiment with unconventional spaces and formats.
His work with Art Public Chur, for example, transformed the city’s public spaces into a temporary outdoor gallery, bringing art directly to residents and visitors. The Biennale Arte Bregaglia, held in the remote Bregaglia Valley, leveraged the region’s natural beauty and unique cultural heritage to create a distinctive artistic experience. These projects weren’t simply about displaying art; they were about creating a dialogue between art, place, and people.
The Sala Viaggiatori in Castasegna, a former railway waiting room, exemplifies Fasciati’s talent for repurposing existing structures and imbuing them with new life. The space became a venue for exhibitions, performances, and workshops, fostering a sense of community and artistic exchange. Similarly, the Marsoel guest and cultural house in Chur provided a platform for artists and creatives to live, work, and collaborate.
Fasciati’s emphasis on mentorship underscores the importance of nurturing emerging talent. He recognized that simply providing a space to exhibit work isn’t enough; artists also need guidance, support, and opportunities to develop their skills and build their careers. His willingness to share his knowledge and experience has undoubtedly had a lasting impact on the Swiss art scene.
The podcast interview offers a valuable insight into the mind of a cultural entrepreneur who has consistently challenged conventional norms and embraced innovation. His decision to step down marks the end of an era, but his legacy will continue to inspire artists and cultural organizers for years to come. The question of what comes next for the gallery system, and for the art world more broadly, remains open, but Fasciati’s work provides a compelling example of how to build a vibrant and sustainable art ecosystem rooted in local context and driven by a passion for artistic expression.
