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.