Deux Meus > The Most Challenging Exhibition: My Experience with Artemida Gallery

The exhibition When They See Us, organized in Milan by Artemida Gallery, turned out to be the most challenging and disappointing event in my artistic journey so far. The problems began even before anything was displayed on the walls. Despite having agreed on a specific day and time for the gallery to receive the shipment with my artworks, no one was there to accept it. According to the courier, the gallery owner kept missing the pickup by just a few minutes, as if it didn’t matter whether the delivery would arrive on time. As a result, my works were hung only a few hours before the opening and the vernissage, which automatically excluded them from the curatorial competition. This was particularly upsetting because I had fulfilled all the requirements and expected the gallery to do the same.

When I finally arrived at the gallery, my first impression was surprisingly positive — there were many more people than at my previous exhibitions, and the space was full of movement and conversation. However, the conditions of the display quickly overshadowed that initial excitement. The lighting was average and did little to enhance the artworks. The black walls, on the other hand, worked well, as the dark background brought out the colors and depth of the paintings. Still, traces of past exhibitions were clearly visible — unevenly repainted patches and numerous holes left by nails. The hanging method itself was disappointing, as all works were mounted directly on nails instead of using a professional hanging system.

The atmosphere was further affected by a complete lack of English communication. Everything — from the introduction to the organizational announcements — was delivered exclusively in Italian. At an international exhibition, where many artists do not speak Italian, this lack of inclusivity was difficult to understand. The opening ceremony was short and somewhat chaotic, and ironically, the wait for the distribution of participation certificates took much longer than the official part of the event.

The most difficult aspect, however, was the human interaction. After the formal segment, I had more time to talk to other artists, but this quickly turned into a disappointing and hurtful experience. Every time I began a conversation in English, another person would join us, and within seconds the discussion shifted into Italian, completely excluding me. This happened repeatedly — and, unfortunately, the gallery owner and staff behaved in the same way. The lack of basic courtesy and respect was striking, and for the first time I genuinely felt unwelcome in a place that should bring artists together, not divide them.

The promotion of the event was minimal. Only a few photos from the opening were shared, along with one or two short videos and a single Instagram post. The promised curatorial evaluation never arrived; I received no feedback, no comments, and no explanation.

Just as the beginning of the collaboration was difficult, so was the ending. A few days before the planned conclusion of the exhibition, I received an email stating that my works had already been taken down and prepared for pickup. This meant that the exhibition had ended early, without any notice or clarification. When the package finally reached me, I discovered that the works had been shipped back in my original packaging but without the protective filling I had included. The true shock came when I unwrapped one of the paintings and found black paint splatters on its surface. It looked exactly like what happens when a wall is repainted with a roller and someone forgets to remove the artwork. I recognized those marks immediately.

I sent photos to the gallery right away, but their response was simply that it was “not their fault.” After sending another email with additional evidence, I received an even more astonishing explanation — that it was my responsibility because I did not collect the artworks in person. Instead of admitting their mistake, they shifted the blame onto me. I had asked only for an apology. Nothing more. I did not receive it. Because of this, I sent a formal demand for compensation for failing to fulfill the agreement, excluding me from the curatorial competition, and damaging my artwork. I have received no reply, no apology, and no acknowledgment to this day.

The greatest irony is a statement in the gallery’s own regulations, which emphasizes the importance of “respect for the gallery’s work” and warns that artists who fail to report a sale will be excluded from future events. After everything that happened, I can’t help but ask: if they demand such respect for themselves, where is the respect for me as an artist who entrusted them with my work?

This exhibition taught me a lesson I will not forget. It showed me how crucial honest communication, professionalism, and respect for the artist’s work truly are. When They See Us was meant to be another step in my artistic path, but instead it became a moment of learning to set boundaries and protect my own creative efforts. Still, I do not regret the experience — now I know what I must demand in the future and where I will never again choose to send my art.

When They See Us – My Fourth Exhibition with Artemida Gallery and the Most Difficult Experience So Far

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