Laveronica was founded in 2007 in Modica, Sicily, by Corrado Gugliotta. From its inception, the gallery has worked with artists who investigate the human condition, whether in its public and political dimensions, or with reflections of a more intimate nature, related to the private sphere.
To its credit, Laveronica has an intense schedule of solo and group exhibitions of Italian and international artists, often being presented to the Italian public for the first time. The most important museums in the world have exhibited and acquired works by the gallery’s artists.
At the same time, given the strong territorial bond with its location, the gallery has always been interested in participatory projects for the public space. It strives to go beyond the art system’s boundaries to collaborate with writers, philosophers, sociologists, musicians, theater companies, activists, schools, associations and not-for-profit organizations. Today Laveronica consists of its artists, collaborators, and many friends and supporters who, together with the gallerist, keep this community project in south-eastern Sicily alive.
I figli dei comunisti, Daniela Ortiz
“I have always considered it important to never separate my vision of society from my work.”
In conversation with Corrado Gugliotta, Laveronica arte contemporanea
Why did you choose this city?
Modica is a unique place, with a wealth of history and culture. An open-air theater. Opening the gallery in my city was a natural consequence. Today I am visited by many friends from the art world whom I enjoy helping to discover this baroque jewel that has been declared a UNESCO World Heritage Site. I think that time has rewarded my love for this territory and my combative nature.
What kind of art do you deal with?
To me, the coherence of my program is fundamental. The artists I represent explore the human condition in its most intimate and personal, as well as most public and political aspects. My research evolves through a daily, close dialogue with them. I have always considered it important to never separate my vision of society from my work.
Are there any social, environmental, or educational initiatives related to art that you have recently undertaken or would like to dedicate yourself to in the future?
The use of public space, celebrated in a series of memorable events, and the interaction with the community I live in, also through a series of collaborations with local associations, are elements that have characterized the life of the gallery. The episode I am most proud of is probably Artist Against MUOS, an exhibition that gave space and voice to the artists-activists fighting against the colonization of our territory.
What would be your desert-island work of art?
I don’t like being alone, I love being surrounded by people. The idea of a desert island reminds me of a work by Félix González-Torres, Untitled (Portrait of Ross in L.A.), a pile of 175 pounds of candy. A work that tells of his heartbreaking loneliness, the loss of his loved one, and a love that becomes universal. A work that is consumed, like life.
How do you imagine your gallery ten years from now?
I see it as a community of artists, friends, collectors and art operators sharing with me a love for this project begun more than thirteen years ago. I hope it will continue to be a place of discussion, of confrontation and a place to start from for discovering the world, as it has always been in these years. Finally, I hope that the gallery will continue to inspire in me the passion and commitment I put into my work every day.