It is the spirit of the research art dealer that makes a difference: he believes in the strength of the artists and takes risks which reward him in the long run.
What is the difference between the activities of a “research” gallery and those of a commercial gallery?
As compared to a commercial gallery, the activities of a research gallery are based primarily on the idea of following one’s own line, a specific path which reflects the spirit of the art dealer, looking for artists whose work he is going to exhibit not to fulfil some commercial criteria but rather because he believes in their strength. This exposes the art dealer to some underlying risks which, however, reward him in the long run.
How is a young artist supposed to build his own career? Is there a mini handbook that you could suggest? Is there anything that should be avoided altogether?
In my opinion, the most important things are: intellectual honesty, persistence, and resilience. If the work is really good, sooner or later it is bound to stand out. Whether it be sooner rather than later depends on several factors, including the luck an artist may have to meet the right people. I would say that it is essential to identify a gallery which is interested in that type of art work, contact it, and then deal with it on a regular basis. But above all, one should not be in a hurry.
How much does it cost, in terms of time and energy, to plan and set up an exhibit?
It depends on the exhibit. Some exhibits are exhausting and perhaps you do not sell anything; others are very easy and it happens that you sell everything. At times the work of an artist can only be exhibited after years and years.
How do you prepare a program?
By making contact with artists who are considered interesting based on a specific choice.
…and so, what’s your exhibition line?
The Trisorio Studio celebrates its 35th Anniversary these days. Our policy is to be always rigorous and coherent and not give in to passing fads.
Are you in contact with international art galleries? If so, how do you build a good network?
We certainly are in contact with international galleries. I believe that a good network can be established by participating in fairs, following exhibitions and working with international artists.
Trisorio Studio
Inaugurated in 1974 by Pasquale and Lucia Trisorio with an exhibit by Dan Flavin, the Trisorio Studio covers various sectors of contemporary art to show the various trends. It proposes the most significant artists in the international art world. Among the Italian artists who have exhibited their work in the past few years are Ettore Spalletti, Marco Bagnoli, Remo Salvadori, Marco Tirelli and Fabrizio Corneli. Exhibits by foreign artists are also frequently held. The gallery has in fact presented a number of French artists among whom Robert Combas, Jean-Michel Alberola, François Boisrond, the Swiss Felice Varini, the Dutch Maurice Joosten, the German Rebecca Horn, Herbert Hamak and Gisela Kleinlein and the Belgian Jan Vercruysse. Among the exhibits held by American artists are those by Dennis Oppenheim, Mel Ramos, Tom Wesselmann, Ed Ruscha, Bill Beckley, Allan McCollum, Kenny Scharf, Lawrence Carroll, John Millei and Mark Sheinkman.
2009-10-07
