What are your predictions for the future of the art world in your field? What is the biggest challenge that you will have to face?

I think that everyone sees that the toughest challenge is accepting that we have to deal with the new technologies. In a world where everything can be purchased with a click, we need be more efficient without perverting the nature of our work. It isn’t easy to think about speed and professionalism in the same breath. The two seem irreconcilable, but it would be unrealistically idealistic to go back and mourn the past.

What is your background?

I started out in the history of painting, studying in Pavia and Florence and then specialising at the Fondazione Longhi of Florence. At first, I wanted to be an academic, but then fate shifted me towards the art market and I worked first at Finarte and then at Christie’s, in modern art. I consider myself to be for all practical purposes an art historian. I don’t think that this is incompatible with being a gallerist – quite the opposite.

When and how did you first set up your gallery?

I opened my gallery in Milan in 2007, after working for almost ten years in auction houses. I realised that it’s one thing to sell and another thing to plan and carry out a project. In 2015, I decided to open another gallery in London. I felt the need to get outside Italy and put myself to the test in a broader horizon. I am glad that I did this, even though with Brexit things are changing quite rapidly.

What kind of art do you deal with?

I am especially interested in postwar Italian art. I think that there are still artists from that period that are little known and appreciated. The gallery needs to be a step ahead. That’s what I tried to do with the Tancredi, Savelli, Calderara, Scarpitta, Accardi, Schifano and Prini exhibitions: all artists who were already known, but we wanted to dig deeper into a few themes. I think that that right there is the gallerist’s job.