When and how did you found your gallery? 

My formative early encounter with artist Joseph Beuys led to an introduction to Andy Warhol and Jean Michel-Basquiat in New York. I wanted to bring their work and the work of other American artists to new audiences where I was starting my career in Europe.

I launched the Salzburg gallery in 1983. I felt that Salzburg was a place where culture was concentrated – the Summer Academy founded by Kokoschka, the best singers, the best musicians, directors, actors were there – although I didn’t realise at the time that outside of the summer music festival, Salzburg is just a small town. That is why in 1990 I decided to open a second space in Paris, in the Marais. Today, the gallery has six distinctive venues in London, Paris, Salzburg and Seoul, with Milan becoming the seventh.  

Why did you choose Milan for the Italian venue of the gallery?

Ultimately, the exciting art scene convinced us to come to Milan. Milan is, culturally speaking, the heartbeat of Italy. It has outstanding academies, and historically, important art movements emerged in northern Italy in the last century, which still characterise the art scene today. In Italy, Milan is still the most active in terms of cultural production, and many of our artists have exhibited there over the years. And if you look at where in Italy there’s a concentration of great collectors, it’s in the areas of Turin, Milan and Bologna. 

Now, it feels like Milan is really having its moment. It has become so much more international, and the museum scene has significantly developed. It feels like since we started thinking about opening a gallery here it has become more attractive for a number of reasons, and it is an opportunity to be part of the evolution of the city’s art scene. 

What are the criteria for selecting the artists you represent? 

For me, it always begins with a deep, personal resonance with the work – something intuitive. I need to feel a strong connection, a sense that the artist is speaking with authenticity and urgency. I’ve never believed in chasing market trends. Instead, I look for artists whose vision is singular and whose practice is intellectually and emotionally rigorous. 

Of course, it’s not a solitary decision. I work closely with our curatorial team, who bring forward proposals based on long-term research and dialogue. But even with that structure, it always comes down to whether the work genuinely moves us. We also think long-term. When we take on an artist, it’s with the intention of growing together over decades, not just seasons. It’s important that the artist’s work can evolve within and beyond our spaces, and that there’s a sense of mutual commitment.  

What is the value offered to contemporary society by the art on display in galleries? What is the role played by a gallery owner today? 

I feel that the art world is still driven by passion and innovation. Ultimately, all artists describe human existence in their own unique way. Supporting an artist means understanding how their work lives in a space, how it speaks to history, and how it can continue to challenge us.

The role of a gallery owner today extends far beyond selling art. We are advocates and partners for artists, curators of meaningful exhibitions, and act as a connector between artists, collectors, institutions and the public. 

How has the art market changed since you opened your gallery? 

In the past four decades, the art market has transformed significantly in scale, accessibility and influence – I’ve seen art move from an ivory tower to the centre of life.

The rise of globalisation and new platforms has opened the market to a much broader and more diverse collector base. We have also become much more aware of those artists from previously underrepresented positions, reshaping the canon and enriching the global art narrative.