When and where did it all begin?
It all started in San Gimignano in 1990, together with two friends, Mario Cristiani and Lorenzo Fiaschi. At the time, we were still university students. We rented a garage, transformed it into an exhibition space for contemporary art, and from there began an adventure that has now lasted for over 30 years. In 1994, we revitalized a cultural venue, the Cinema Teatro Nuovo. Since the 1950s, it had been a gathering place for locals, but it had remained closed for many years. We brought it back to life by inviting international artists to create site-specific exhibitions. A defining feature of every show is the site-specific work conceived by the artist specifically for the theater’s audience. Some of these works, due to the effort required for their creation and their experimental nature, have become truly unforgettable: in 2013, we presented Ascension for the first time, followed by Descension by Anish Kapoor in 2015. We reimagined the space through Una cosa tira l’altra, a major in-situ work created by Daniel Buren; then came LOST HORIZON II by Antony Gormley, and Vessel, a monumental steel sculpture by the same British artist made up of 39 parallelepipeds. These are just a few of the works—I could go on for hours recalling exhibitions by Pistoletto, Tayou, Berlinde De Bruyckere, Sassolino, Cecchini, Ai Wei Wei, and many others.
What’s been the “secret” to your success?
We are three very different people, both in character and in background, but what has always united us is our passion for art and the belief that the art of our time can leave a mark—just as the great artists of the past did. We try to contribute to that by engaging in projects that go beyond traditional gallery exhibitions. The secret to our success, perhaps, is that we've remained true to an evolving dynamic. This has allowed us to pursue important goals, like making art a place of encounter and improving the communities where we work by creating relationships and synergies.
How did the first big names come to you?
The first major international name was Panamarenko in 1996. That was something of a turning point. In that same year, as the Arte Continua Association, we launched the first edition of Arte all’Arte, a project that brought national and international artists and curators to engage with the Tuscan landscape. We carried the project forward for 10 years, and it enriched the artistic heritage of the region with over 40 permanent works donated by the artists.
What is Galleria Continua’s relationship with the different cities where it operates? How can contemporary art engage with a place and its community?
We are open to discovery and sharing, which has always led us to promote contemporary creativity in places where no one expects it—beyond the spatial and temporal boundaries of the classic centers of contemporary art. We believe art is an ideal terrain for expression, for inspiring and generating change, for growing together—respecting differences and understanding that multiculturalism is a source of enrichment for everyone. From this mindset, our international locations have emerged over the years: Beijing was the first, followed by Les Moulins in the French countryside, Havana, São Paulo, Rome, and the most recent additions in the heart of Paris. Our decisions weren’t based on strategic planning—these places came to us, often through our artists or due to circumstances related to the gallery itself. In China, for example, it was Chen Zhen who brought us there. He was our bridge to that fascinating, ancient culture. When we first visited the space in the 798 Art District (then a former factory), we knew a new chapter of our story could begin there. This year marks 20 years of Galleria Continua Beijing, and we’re proud to have helped promote international contemporary art in a country where it was still relatively unknown.
The work chosen by Ravagnan for his Venice space is by Marta Spagnoli, who is represented by you. How did your relationship begin? If I’m not mistaken, she was still a student at the time...
The first time we saw a work by Marta Spagnoli was in 2019, during her graduation exhibition at the Accademia di Belle Arti in Venice. Even though she was very young, we were struck by the maturity of her work—a gestural and intuitive painting style constantly balancing between order and chaos. That same year, we presented her work in a group show, Immersione Libera, at the Palazzina dei Bagni Misteriosi in Milan. We believe Marta is one of the most interesting and innovative emerging voices in the contemporary Italian art scene, and we’re confident that her research will continue to evolve with coherence and consistency in the years to come.
What is your relationship with Venice?
We have a deep connection with Venice. It’s where we first met Chen Zhen—an artist and a person who profoundly influenced both our personal and professional journey. Venice is also the site of the Art Biennale, an international crossroads of people, projects, ideas, perspectives, and proposals. It’s an unmissable occasion to see works by artists from around the world and a global platform for the entire contemporary art system. Venice isn’t just an open-air museum chronicling centuries of art—it also has the potential to once again become one of the world’s cultural capitals. Its museums, foundations (both historic and recently established), and prestigious collections—housed in ancient palaces or renovated spaces—form a unique heritage. Art is a powerful tool for action, capable of sparking cultural regeneration, and we hope it increasingly becomes a cornerstone for building and opening up new perspectives.
Do you have a favorite place in the city?
To me, Venice is a true aesthetic experience. At night, when the city is empty and silent, I love to turn off the GPS and wander aimlessly—getting lost in alleyways and little squares, letting chance guide me to new and unexpected places.
Maurizio Rigillo, Co-founder of Galleria Continua
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