From a passion inherited from his grandfather to the choice of living and working in Palazzo Donà Brusa: the journey of a gallerist who reimagines the exhibition space as a place for connection.
Can you tell us the story behind the Tommaso Calabro gallery? When did it begin?
The gallery was founded in 2018. Before that, I spent several years in London, where I directed Helly Nahmad London. Prior to that, I worked at Sotheby’s. At a certain point, I felt the urge to pursue a more personal artistic vision, one primarily focused on Surrealism and figurative art. More importantly, my goal has been to rediscover artists who, despite enjoying moments of great fame during the 20th century, have since been somewhat forgotten.
Why did you decide to open a space in Venice after establishing yourself in Milan?
In 2023, I learned that the space I was renting in Milan was going to be sold. That prompted me to invest in Venice, I purchased Palazzo Donà Brusa and kept a presence in Milan, now located in Corso Italia. We’re also working on opening a new location in Feltre, and on May 1st, we launched a pop-up in New York.
Where in Venice are you located, and what do you like about San Polo?
I’m based in San Polo, which I really love because it’s not the most obvious area for a gallery. Traditionally, the ideal gallery district is between Dorsoduro and Campo Santo Stefano. But San Polo is incredibly accessible, close to the train station and Piazzale Roma, so it’s convenient, which is key in Venice, especially given the logistics of transportation. What really drew me in, though, was the building itself. I was immediately taken by its aesthetic: it has a private entrance, an expansive floor plan, beautiful natural light, and nearly 7-meter-high ceilings that add a striking dimension to the space. It’s divided by a 14th-century staircase, with one section offered to other galleries for exhibitions, while we curate shows on the upper floor. The gallery area is reached via the stairs and includes three rooms arranged in a traditional Venetian layout, with a central corridor and two adjoining rooms. For me, the height of the space is its most impressive feature.
You live in the palazzo as well, is that right?
Yes, the upper level of the gallery includes not only our offices but also my home. It’s a residence that, in many ways, is open to the public. Visitors to the gallery often end up stepping into my home, where I keep my private collection and rotate works from past exhibitions.
What do you enjoy about living in Venice?
What I appreciate most about life in Venice is its slow pace. But even in its slowness, it maintains an international spirit, which creates a balance that’s very important to me. My work relies heavily on personal relationships, on meetings, conversations, coffees, dinners, and Venice is simply perfect for that kind of life. I’ve also always had a connection to the city, as part of my family has lived here for years. So there’s a longstanding bond between me and Venice.
How did your passion for art begin?
It started with a fascination for the art market. My grandfather owned a printing press, and next to it, he had a small studio where he dealt in lithographs and the occasional artwork. I was very close to him as a child, and I spent many afternoons in that studio, surrounded by stacked paintings. I was intrigued by the idea of these works changing hands, even if they weren’t major pieces. That experience sparked my initial interest in the art world. I later developed that passion through my studies, first at Bocconi, where I focused on Economics, Management, and Arts, Culture and Communication; then at the Courtauld Institute of Art, where I studied Art History; and finally at King’s College London, where I specialized in Arts Management.
This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.
