Umberta Genta: After Florence and Rome, you are launching a new branch of your gallery on the 8th of April. Why London? And how do you rate London in the international photography market?
Isabella Brancolini: We were among the first to promote contemporary photography in Italy, and that involved some brave choices, as well as producing special projects. We are very satisfied with the public’s response so far. We managed to build up a consistent group of faithful collectors around Italy. However, we went beyond the Italian market by participating in several international fairs, which led us to link with clients in the US as well as Europe. Paris and London are fundamental to us, but London and New York are the contemporary art market. Historically, the UK is more open to the world of photography, and places such as the Tate Modern, the Victoria & AlbertMuseum, the Photographers’ Gallery and the BarbicanArtGallery give it breadth on a regular basis.
UG: Can you describe your program?
Camilla Grimaldi: After careful research, we can now count on an important group of artists who are not represented in London at the moment. For example, Massimo Vitali, who, paradoxically, had his first solo show at the Photographers’ Gallery in 1997. We will have a completely new program, and we will not work with artists who are already represented in London. On the 8th of April we will open with Marie Amar and Pino Pascali. Clare Strand will be on show from July 21, and Sophy Rickett, Peter Piller and Roy Arden will follow.
UG: You are exhibiting an artist who works with photography, Marie Amar, alongside sculptor and Arte Povera artist Pino Pascali. Does this imply a conceptual approach in curating will be a constant in your practice?
IB: Marie Amar made a new series specifically for the opening. Her work is very conceptual and very much based on matter, so it was natural to associate it, conceptually, with Arte Povera. In order to bring a new dimension to the exhibition, we wanted to include an Italian artist whose work is sophisticated, and capable of connecting with Amar’s work, like Pascali’s. We are happy to present photography as a form of art that can span beyond its preexistent borders. The new program will focus on a much more conceptual, installation-oriented context, which will include works from the ’60s and ’70s, from Europe and across South America. Some of our artists are slowly moving to video and installation as their means of expression, and we are extremely interested in showing these evolutions.
UG: Will there be new collaborations?
CG: Yes. with Paul Wombell, former director of the Photographers’ Gallery and prominent figure in the world of contemporary art.
