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Twenty thousand leagues under the sea by Jules Verne (1825-1905). This book is the answer to my thoughts on travel. It certainly anticipated the saga...Read more
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Loading ...In 1990 Lorenzo Fiaschi together with Maurizio Rigillo and Mario Cristiani opened the Galleria Continua (www.galleriacontinua.com) at San Gimignano. The idea behind the Gallery was to get ancient art, which is so pervasive in this city, and contemporary art on speaking terms with each other.
In fifteen years the Gallery has carried on pioneering talent-scouting work, hosting young Italian and international artists otherwise unexhibited in Italy. The Gallery occupies the extensive premises of a former movie theatre of the fifties and as such is an ideal venue for artists to undertake special projects to experiment relationships with the vast space available and its original setting.
What are your reasons for opening an art gallery in Beijing and at this point in time?
The idea of opening the Beijing Gallery came quite naturally during our first visit to the city in April 2004 when we participated in the first international contemporary arts fair. The atmosphere of the city and of the art scene, the keen interest shown in our work and for the artists we presented, all concurred to make us want to be present in China in a very factual and continuous way. And what better place in Beijing than the place where it’s all at and happening, namely Fabbrica 798? At the beginning of the century this former electronics factory was taken over by Chinese artists who started putting up shop on the premises.
Does China, and especially Beijing, represent a new market or does it contribute to the current art debates around the world?
Beijing and China are definitely a challenge, not so much trade- but culture-wise. Or at least that’s the way it is for contemporary art. You see, the Chinese are currently still putting their stakes and money on what’s traditional. It’s their history and roots they’re after, for the moment.
How do the Chinese view contemporary art?
Modern-day Western art, or rather what we showed of it, was met with considerable curiosity and interest. But familiarity with these works is still a long way off. It’s the sort of familiarity we’re hoping Chinese will gain, also thanks to Galleria Continua.
Will you only be taking Western artists into China, or are you planning to get Chinese artists in on your picture as well?
We’re chiefly interested in giving the Chinese the opportunity of seeing Western art. But our presence is sure to pave the way for an exchange, for learning more about each other.
What obstacles, if any, have you had to overcome to set up the Gallery in Beijing?
There’s been no shortage of hitches and hurdles. But our desire to get this project on the road is so strong that we’re not going to let them deter us.
According to you, what does owning a work of Western art mean for a Chinese?
The Chinese are not only learning about Western art, they’re going through a stage of discovery, of coming to terms with other idioms and different ways of doing things. We shouldn’t lose sight of the fact that till now there hasn’t been any regular exchange between China and the rest of the world.
What struck you most about Beijing?
A remarkable merger of past and present. Clashes sometimes occur, especially as the city is undergoing endless changes and the lives of its inhabitants can be turbulent.
What sort of future is there, do you think, for cultural exchanges between Italy, Europe, the West and China?
The horizons widening out alright, and it’s against this backdrop that experiences are being built thanks to the quickened pace of exchange between all parties concerned.
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