What does it mean to be president of a historic organisation such as FISM in 2026?

It is a role of great responsibility, which derives not only from the historical and cultural heritage of an institution that has been active for 77 years, with 28 editions of the World Championship of Magic already held, but also from the need to be an authoritative institutional and cultural reference point for 110 magic societies in over 50 countries around the world.

My commitment to this role is certainly driven by a deep passion for the art of magic, accompanied by a clear and precise vision, summarised in the speech I gave when I took office as International President of FISM: ‘Study the past, read the present, and design the future.’

This principle expresses the desire to enhance the tradition and history of the Federation, carefully interpret the current dynamics of the international magic scene and, at the same time, build innovative strategies that can guarantee magic a future worthy of its great cultural heritage.

What is the significance of competitions such as the FISM WCM today?

They are an essential element for the growth and evolution of the art of magic. Unlike other artistic disciplines such as music, painting, circus arts, cinema and theatre – which have structured and recognised training paths, such as music conservatories, fine arts academies, circus schools and drama academies – magic does not benefit from an institutionalised and universally accepted educational path.

It is precisely to fill this institutional gap that FISM plays a key role, providing a platform through which the international magic community can meet, exchange innovative ideas and experiment with new approaches to expression. Competitions, therefore, become fundamental tools for stimulating artistic growth, encouraging artists to continually broaden their horizons, explore new possibilities of expression and benefit from exposure to different cultural and technical approaches.

Furthermore, the very mechanism of competition and the presence of precise deadlines exert a strong impulse on artists, encouraging them to continually refine their performances. The opportunity to compete with the best magicians in the world – in the case of the World Championship of Magic (WCM) – or with the best artists on their own continent, in the case of continental championships, is a fundamental stimulus for the continuous improvement of quality and creativity.

Ultimately, FISM competitions not only offer international visibility to participating artists, but also act as decisive catalysts for innovation and the global development of the art of magic.

How important is it for a magician to participate in a FISM WCM?

For every magician, it is much more than just an opportunity: it is the realisation of a dream. If we wanted to make a meaningful comparison, asking how important it is for a magician to participate in a FISM Championship would be like asking an athlete how important it is to participate in the Olympics.

It is a unique experience, capable of crowning the personal and artistic journey of every magic enthusiast who wants not only to observe or superficially savour this art, but to experience it fully firsthand.

Participating in a FISM WCM means coming into direct contact with the stars of magic from the past, the present and even the emerging stars of the future. It means interacting with them, learning from their experiences and feeling part of an international community united by a passion for magic and the joy of amazing and being amazed.

Tell us why magic lovers should not miss FISM.

The World Championship of Magic is an extraordinary event that no magic enthusiast should miss, as it offers a series of unique and unrepeatable experiences, not only from an artistic point of view, but also from a human and cultural one.

First of all, participating in FISM means witnessing a moment that will go down in the history of magic: the presence of a large number of competitors from all over the world guarantees a complete representation of different global magical trends, styles and cultures, allowing participants to explore new perspectives and artistic approaches.

Furthermore, FISM goes beyond the concept of a purely magical event and offers a complete cultural experience, making it particularly attractive even for those who accompany magic enthusiasts but do not necessarily share the same passion.

In short, participating in a FISM means experiencing a historic magic event that brings together international magic and the cultural and artistic excellence of a country under one common denominator, offering an unforgettable experience for every participant and accompanying person.

Would you like to give some advice to those entering a FISM competition?

Participating in a FISM competition is an extraordinary challenge that requires meticulous preparation and a deep understanding of the competitive dynamics. To maximise your chances of success, it is essential to follow a few key principles:

1. Know the World Championship rules inside out – Every competitor must master the official rules to avoid formal errors that could compromise the evaluation of their performance. Understanding the rules also means knowing how to use them to your advantage.
2. Participate in at least one FISM Qualified Contest – The experience gained in FISM-qualified competitions is essential for refining your act and understanding the competitive level required.
3. Compete in a Continental Championship – Competing at the continental level allows you to test your performance in a high-level context before taking on the world stage.
4. Study the winning acts from previous World Championships Not only in the category in which you intend to compete, but in all categories. This helps you understand the trends, the level of excellence required and the elements that characterised the winning performances.
5. Experience FISM as a congress participant at least once Understanding the context in which the World Championships take place, breathing in the atmosphere and observing the dynamics of the competitions up close is an essential experience for anyone who aspires to compete successfully.
6. Rehearse not only the act, but also the technical aspects of it Performance is not limited to the execution of the act, but also includes all the stages of preparation and adaptation to the conditions of the stage.
7. Work with a support team – Being supported by a team helps to improve performance, receive constructive feedback and manage both the preparation phase and the competition itself with greater peace of mind.
8. Be not only original, but unique and flawless – To win a FISM competition, originality is essential, but not enough. Competitors must aim for uniqueness in their proposal, achieve perfection in execution and know how to surprise the jury with an innovative idea that leaves its mark. By following these tips, competitors can approach a FISM Championship with greater confidence, awareness and chance of success.

Are there any competition rules you would like to change?

Revising and updating the FISM competition rules is a complex process that requires time, attention and a deep understanding of the evolution of the art of magic. The main objective is to adapt the rules to the changing times without compromising their fundamental purpose: to identify trends and the most deserving ambassadors of world magic for the future.

Proposed changes are always carefully evaluated. While some may be interesting, it is essential to ensure that they do not alter the very nature of the competition and its artistic value. FISM competitions are not simply technical competitions, but represent a platform for recognising and promoting magical excellence on a global scale.

It is important to emphasise that FISM championships are not mere exhibitions, nor should they be confused with television talent shows, which pursue completely different goals.

The balance between tradition and innovation is therefore crucial. The adaptation of the rules must allow artists to express themselves to the best of their ability, while ensuring fairness and consistency in the evaluation criteria. The process of updating the rules will continue to be guided by in-depth discussions with the magic community, ensuring that the rules always keep pace with the evolution of magic, without ever distorting its essence.

More generally, is there anything you would like to change in the current structure of the FISM?

The organisational structure of the FISM is a constantly evolving system that requires constant improvement and adaptation to meet the needs of the international magic community. Although on paper the division into continental divisions was conceived as a step forward in the growth of the federation, in practice its impact has been uneven.

Some continents, such as Europe, already had a solid structure with a consolidated organisational and qualitative level. In these cases, the implementation of the continental division did not introduce any significant changes compared to the previous situation. However, in other geographical areas, where the FISM culture is less deeply rooted, there is still a lot of work to be done.

It is essential to identify, engage and bring together local associations that can bring new energy and development to the continental divisions, strengthening the link between the various magic communities and the international organisation. Only through this process of structured growth will it be possible to ensure the balanced expansion of FISM and consolidate its role as a global reference point for the art of magic.

The main objective remains to create a more inclusive and efficient structure, capable of responding more uniformly to the needs of magicians around the world, ensuring that each continental division can actively contribute to the growth of the entire federation. Let’s talk about you: tell us about your FISM experiences.

My first FISM was supposed to be in Rome in 1991, but due to a series of unfortunate circumstances, I was unable to attend. Italian magic enthusiasts are well aware of the story: Italy was forced to give up organising the event due to the untimely death of the president of the Italian Magic Club, Alberto Sitta, who was head of the organising committee. This episode marked a moment of great difficulty for the Italian magic community, and my dream of attending my first World Championship was postponed for almost a decade. Finally, my first FISM was in Lisbon in 2000. Since then, I have been fortunate enough to attend almost every edition, missing only the 2012 event in Blackpool for personal reasons.

Since 2009, I have had the honour of being a member of the jury at the World Championships in which I have participated, as well as serving as a judge at numerous Continental Championships, including those in Europe, North America, Latin America and Asia.

The work of a judge has always been an intense and stimulating experience, allowing me to closely observe the evolution of the art of magic and to contribute, through the evaluation of performances, to the growth and promotion of emerging talents.

There are many anecdotes I could recount, as there have been numerous complex, amusing and sometimes even surreal situations over the years, both as a judge and as a FISM executive.

However, what I cherish most are the trips and moments shared with friends and my wife. The long journeys to reach the World Championship venues, often characterised by unlikely itineraries and exhausting schedules, have created unforgettable memories.

The sleepless nights spent on flights, trains and animated discussions about magic remain among the most significant and precious experiences of my time with FISM.

What is the art of magic for you?

An extraordinary synthesis of rationality and wonder, a balance between logic and imagination that allows you to explore the boundaries of what is possible. It is both discipline and creativity, a form of knowledge that feeds on study, ingenuity and the ability to transform perceived reality through illusion and surprise.

Magic is not just a set of techniques, but an art form in constant evolution. Those who practise it must develop their creativity and artistic personality, always seeking new ways to engage and amaze their audience. In addition to technical aspects, magic uses psychological and narrative elements to guide the viewer’s attention and create convincing illusions.

A fundamental aspect of magic is its interaction with the audience. It is not an isolated act, but a shared experience that is realised through the participation and reaction of the spectators. The magician does not simply perform a trick, but creates an atmosphere in which the boundary between reality and illusion becomes blurred, providing an engaging and immersive experience.

In conclusion, the art of magic is much more than just a technical skill: it is an expressive language that combines science, creativity and psychology. Through magic, we can explore new ways of perceiving reality, reminding us that often what we believe to be impossible is only a matter of perspective.

What image do people have of magic today?

The public’s perception of magic is a complex and layered issue, influenced by numerous cultural and artistic factors. As with all performing arts, there are different levels of enjoyment and evaluation by spectators. An emblematic example can be drawn from music: the difference between attending a karaoke evening and attending a concert by a symphony orchestra conducted by Maestro Muti is obvious, as is the level of audience involvement and expectation.

Similarly, in the world of magic, it is not possible to generalise a single collective perception. There are different types of spectators, each with a different approach and sensitivity towards the art of magic. This diversity of audience is not only inevitable, but also essential to ensuring the visibility and evolution of magic itself. The variety of experiences on offer – from light entertainment shows to more artistically elaborate performances – allows magic to reach a wide range of spectators, contributing to its dissemination and appreciation.

What emerges positively is that audiences who appreciate the performing arts and recognise their value are increasingly able to distinguish and reward high-quality magic. The growing presence of high-level magic shows around the world is a clear sign of a process of artistic maturation, which translates into greater sensitivity and awareness of this art form. In this context, magic continues to evolve, finding new languages and forms of expression capable of fascinating and engaging modern audiences.

What is the biggest problem with magic today?

I don’t like to talk about “problems” in magic, but rather, it is important torecognise the challenges it faces in order to continue to excite and amaze audiences. Today, as in the past, the real  challenge is to keep the artist at the centre, ensuring that it is always the artist who creates the excitement and surprise.

With the rapid development of technology, some effects that were once considered impossible now seem normal. Artificial intelligence and other digital innovations make technology increasingly surprising, sometimes risking to overlap with the effects of magic.

For this reason, illusionists must find ways to use technology without losing their identity, transforming it into an opportunity rather than a threat. Throughout history, magic has always been able to adapt to technological changes, using new discoveries to make shows even more fascinating. Even today, it is essential to follow this path: artists must use modern tools creatively, without letting themselves be dominated by them. Only in this way can magic continue to surprise and fascinate audiences in the future.

How do you see the magic of the future?

This is a question I am often asked, but I believe that talking about a single future for the art of magic means minimising its complexity and evolutionary richness. Throughout history, magic has taken on different roles: it has been entertainment for the few, a tool for deception and fraud, an element of contamination and a support for the evolution of other arts, such as cinema. It has also been used as an investigative method in pseudo-sciences, a basis for neuroscience studies and a training tool. For this reason, I believe that many of its traditional applications will continue to exist, while at the same time new directions will emerge that are yet to be imagined.

If we focus exclusively on entertainment – which is only the tip of the iceberg of magic – we can predict that the relationship between artist and media will continue to be essential. The growing virtualisation of social relationships, rather than distancing the public from live experiences, could paradoxically reinforce the value of magic as an experiential performing art. The need for authentic and direct interaction with the audience will push magic towards new forms of live performance, where participation and immersive experience will become increasingly central elements.

The future of magic, therefore, will not be singular, but will develop along multiple paths: some in continuity with the past, others still unexplored, in which the creativity and adaptability of artists will play a fundamental role.