Tommaso Calabro

Galleria Tommaso Calabro

Tommaso Calabro Galleria d'Arte, Milan. Courtesy Tommaso Calabro Galleria d'Arte, Milan

Tommaso Calabro Gallery was founded by Tommaso Calabro in Milan in 2018. It specialises in international modern and contemporary art, and also engages in interdisciplinary projects, such as exhibitions combining visual arts and design.

The gallery is located on the first floor of Palazzo Marietti, a Neoclassical palace of Renaissance origins in Piazza San Sepolcro, a charming square in the historic center of Milan. An 18th-century staircase with a red marble handrail leads to the exhibition rooms enriched by inlaid wooden floors, stucco decorations and frescoes.

“I like to emphasise the lesser-known aspects of the great masters of the past in my exhibitions, fostering a new and unexpected reading of their work.”
Tommaso Calabro. Courtesy Tommaso Calabro Galleria d'Arte

In conversation with Tommaso Calabro, Tommaso Calabro Galleria d’Arte

How did your career in art begin?

My path began as a child, discovering the prints and graphic works in my grandfather’s little gallery in Feltre. After studying economics and art management as well as art history at the Courtauld Institute, I started my career doing various internships, landing at Sotheby’s in Milan for my first job. Then I returned to London to manage Nahmad Projects, but I already knew that one day I would be opening a gallery of my own.

Talk to us about the space you chose for your gallery and its location.

I chose a Neoclassical building in the old part of Milan, in piazza San Sepolcro: a location packed with history, and just steps away from the courtyard of the Pinacoteca Ambrosiana, the Romanesque church of San Sepolcro and the glorious Torre del Portaluppi. I wanted a space that would be the anti-white-cube par excellence, a place that could enhance the works through the meeting/clash between ancient, modern and contemporary.

What kind of art do you deal with?

Historicised artists and the secondary market have always been my focus. I like to emphasise the lesser-known aspects of the great masters of the past in my exhibitions, fostering a new and unexpected reading of their work. I always pay a lot of attention to interdisciplinarity in order to create connections between different artists and disciplines.

What would be your desert-island work of art?

I would bring a self-portrait by Giorgio de Chirico, perhaps Self-Portrait with the Head of Mercury (1923), so we could at least have a chat.

How do you imagine your gallery ten years from now?

As a place less tied to the traditional concept of gallery and closer to a multipurpose space open to different disciplines and sectors.

Read the full interview


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