How did you choose the gallery locations?

The gallery’s historic headquarters were established in Florence in 2013 — a tribute to the native city of its founder, Eduardo Secci. A complex city for contemporary art, yet one that has allowed us to adopt a freer and, in many ways, more courageous approach. The opening in Milan, by contrast, has allowed us to expand our vocation for hybrid programming. Located in Via Olmetto 1 and overlooking Piazza Sant’Alessandro, the gallery is divided into two expansive spaces. This layout offers greater flexibility and room for experimentation, reflecting a desire to become deeply rooted in the cultural fabric of Milan — the epicenter of contemporary art.

What are the selection criteria for the artists you represent?

Following the 2021 retrospective dedicated to the great Titina Maselli, our focus has naturally shifted toward both the continued advancement of the artists we represent and collaborations with significant artist estates, such as those of Giò Pomodoro, Concetto Pozzati, and Joan Witek. We select artists with the aim of fostering meaningful, unexpected dialogues between emerging voices and established figures whose work hasn’t necessarily received the recognition it deserves from the market.

What is your outlook on the future of the art system within your specific field?

The art system is moving toward a more stable and reflective phase, one that is less vulnerable to market volatility and to the instability of short-term relationships. There is a growing sense of saturation around ultra-contemporary art, particularly due to pricing mechanisms that have often proven unsustainable and, at times, ethically problematic.
What is taking shape is a more grounded and serious market. Collectors are increasingly distancing themselves from urgency-driven decisions and speculative dynamics, allowing more time for evaluation and engagement with the work. In practical terms, this shift points to a decrease in speculation and a renewed focus on consistency, artistic depth, and long-term cultural relevance rather than immediate trends or rapid financial returns.

Is there an Italian institution you feel particularly connected to? Perhaps a project you’d like to highlight?

At Triennale Milano, we discovered a space dedicated to the development of complex research. Upon our arrival in the city, we were delighted to participate in the institution’s pivotal 23rd International Exhibition, Unknown Unknowns. The show sought to address a series of questions regarding what we “don’t know we don’t know,” exploring the concept of the unknown across diverse fields — from urban evolution and the oceans to genetics and astrophysics.

Choose a work that you’d take to a desert island.

The first artwork I truly fell in love with was the Crucifix by Giotto, located in Santa Maria Novella in Florence. In this Christus patiens, Giotto offers a clear visual and theological response to Cathar doctrine, which denied any positive value to matter, regarded as inherently corrupt in opposition to the spirit. The emphasis on Christ’s physical suffering affirms instead the reality of the Incarnation. This marks a decisive shift, allowing for a vision of the human being as a meaningful and legitimate site of experience, and laying the groundwork for a form of humanism that is both Christian and civic.
However, if I had to choose just one work, also for its connection to my professional background, I would bring a Fine di Dio by Lucio Fontana — for its radical conceptual synthesis, and because whenever I look at a Fine di Dio, I am inevitably moved.