One of the main challenges that long-established galleries face is creating a succession structure that allows the gallery to survive and thrive beyond the founder who first defined its vision. In some cases, however, those founders choose to forgo gallery succession in favor of new businesses that prioritize family succession. Take Old Master veteran and modernist Edmondo di Robilant, who, after running 22 years at Robilant + Voena, is starting a new chapter alongside his son Michele di Robilant, with whom he will grow the new program at Robilant. Just in time for the London Gallery weekend, father and son present “Either Here, Or There,” the first exhibition that sets the tone for a globally minded program that includes everything from Old Master works to the creations of modern masters and contemporary names.
Speaking to the Observer before the opening, Michele di Robilant admitted that Robilant+Voena’s energy defines who it is: “That dual expertise was rare, and that’s the magic of the gallery that I really want to preserve.” Under his direction, Robilant + Voena had begun to expand its program to include contemporary voices, such as Pascale Marthine Tayou’s program during Frieze in October. “My vision is to expand the gallery’s focus and support and champion contemporary artists of my generation—talents that I hope will demonstrate the same skills and strengths as the historical masters that the gallery has spent decades representing,” he added. Edmondo di Robilant brings decades of relationships, wisdom and expertise, while bringing what he hopes will be a fresh perspective. Together, according to Michele, they will be in a unique position to identify artists who can stand the test of time.
Michele di Robilant sees the pressure of fixed costs, especially real estate, as the biggest structural challenge facing galleries today. He admires gallerists, especially in London, who have learned to lean and focus on one main area—a model Robilant wants to follow. The gallery’s Dover Street location remains central to its identity, providing a strong base to operate in London while maintaining operational flexibility: “We’ve been around since 2004, and it’s still one of the hearts of London’s art world.”
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“EITHER HERE, OR THERE” |
Although the gallery will present at exhibitions such as TEFAF and Frieze Masters, where Robilant + Voena was a repeat exhibitor, the initial focus of the program will be on building something bigger beyond the trade calendar. “I think what will change is that the money must start building a prominent program in one area before you have something to expand,” he explained. “That was the most important thing for me: firstly, to have a conversation with the people around me, to participate in my community and to see that there is still an amazing base in London.”
That said, Robilant is willing to explore dynamic, carefully selected opportunities elsewhere in the world. Since we already participated in NOMAD St. Moritz and for the first time in Abu Dhabi, the gallery will launch at the new NOMAD Hamptons this month with a booth focused on contemporary works by artists such as Warhol, Picasso, Pistoletto, Fontana and Lalanne—a mix that di Robilant believes makes sense for that country’s collector.
Di Robilant, who is in his 30s, knows exactly what young collectors are looking for. He sees foot traffic, presence and live experience around exhibitions as very important, and believes that kind of engagement should come from being in person and building relationships. “I think there’s a movement back to making seeing art as much of an experience as it is about physical activity,” he said. “I think dealing with new and younger collectors requires moving more into the digital realm, but it also comes from building my own connections to bring them to these new spaces.”
Robilant’s contemporary program will reflect the tastes and concerns of this globally minded generation, with the aim of creating a thoughtful, multicultural and diverse menu over time. Di Robilant’s main criteria for selecting contemporary artists will be their multifaceted practices and institutional support in advance of major trade shows. The first group exhibition is emblematic of that approach, packed as it is with artists he has met at major competitions including Venice, Taipei and the Islamic Arts Biennale in Jeddah. “I want each artist to have a practice that is mature enough to be interested in care and the institution, but feel fresh, new and exciting,” he said.
“Either Here, Or There” brings together artists whose practices operate within a respected field, creating images, bodies and places that feel strangely familiar without bringing any focal point to memory. Their work invites the acceptance of ambiguity and uncertainty as part of the current situation rather than resolving it. The line-up includes artists from diverse geographic and cultural backgrounds, including renowned Cuban artist Yoan Capote, emerging Hong Kong artists Isaac Chong Wai and Hung Fai, Amman-born sculptor Raya Kassisieh (b. 1991) and self-taught Venetian painter Vittorio Marella.
Another advantage of working in all the Old Masters, modern and contemporary art, he says, is that the gallery is not forced to fill the spaces of the list; it can wait until it finds artists whose work sounds undeniable. “When you see a top-class singer, you have to act like you’re famous,” he said. “I really want to wait and see, wait until I find someone incredible before I choose to work with them.” Every artist in the first edition has a mature and compelling practice, and that is the level they want to maintain.
Robilant + Voena has traditionally focused on the West, but di Robilant aims to change that. “I don’t like the idea of limiting myself to one country or one continent. I will take each artist according to each method and focus more on their performance.” And he doesn’t want to rush the process. “We will work with individual artists that we want to inspire.”
Di Robilant is not afraid that the expansion of contemporary art may alienate existing customers. Instead, he sees it as an opportunity to engage collectors who used to associate the gallery only with Old Masters. “I think it’s going to be a serious game of choosing the collectors who we think will work best with each exhibit,” he said. “We started adding contemporary artists, and we’ve done it successfully in the past. So, I see it as an exciting opportunity and a fun challenge, not something I’m afraid of or worried about.”
After “Either Here, Or There” and NOMAD Hamptons, the gallery is planning a major exhibition during Frieze Masters featuring Old Master works and contemporary pieces—the kind of scope few galleries are set to host. Indeed, di Robilant was quick to point out that the dialogue between historical and contemporary works should never be forced. If the artist’s current practice naturally lends itself to a conversation with a Modern or Old Master, the gallery is well placed to help you do that. But if an artist is more experimental and needs space to develop independently, he is equally committed to supporting that on his own terms while consolidating his place within the broader art history spectrum.
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