One of the major challenges that established galleries face is building a succession structure that allows the gallery to survive and thrive beyond the founder who first outlined its vision. However, in some cases, these founders choose to forgo gallery succession in favor of new ventures that prioritize family succession. Take for example the veteran old master and modern trader Edmondo di Robilant, who, after 22 years of work at Robilant + Voena, is starting a new chapter together with his son Michele di Robilant, with whom he will develop a new program at Robilant. Just in time for London’s gallery weekend, father and son launch ‘Neither Here Nor There’, an opening show that sets the tone for a globally minded program that includes everything from old master works to contemporary artists and contemporary names.
Speaking to the Observer before the opening, Michel de Robilant admitted that the distinctive strength of Robilant+Voena was its hybrid identity: “This double specialization was very rare, and that is the magic of the exhibition that I really want to keep.” Under his direction, Robilant + Voena began expanding their program to include contemporary sounds, as with Pascale Marthine Tayou’s show during Frieze in October. He added, “My vision is to broaden the gallery’s focus and champion and support contemporary artists of my generation — talents who I hope will demonstrate the same skills and strengths as the historical masters the gallery has spent decades representing.” Edmundo de Robilán brings decades of relationships, wisdom and experience, while bringing what he hopes is a fresh perspective. Together, according to Michele, they will be in a unique position to identify artists who can stand the test of time.
Michel de Robilan sees the pressure of fixed costs, especially real estate, as the biggest structural challenge facing galleries today. He admires gallery owners, especially in London, who have learned to stay nimble and focus on one main venue – a model he wants Robillant to follow. The gallery’s Dover Street space remains central to its identity, providing a strong base for operations in London while maintaining the flexibility of the operation: “We’ve been there since 2004, and it’s definitely still one of the hearts of the London art world.”
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“Neither here nor there“ |
While the gallery will present at shows such as TEFAF and Frieze Masters, where Robilant + Voena has been a frequent exhibitor, the initial focus of the program will be on building something substantial beyond the trade calendar. “I think what will change is that money definitely has to be spent on building great software in one place before you have something to expand on,” he explained. “That was my absolute priority: first and foremost, talking to the people around me, being inclusive of my local community, and realizing that there is still an amazing base in London.”
However, Robilant is ready to explore flexible and carefully curated opportunities elsewhere in the world. Having already participated in NOMAD St. Moritz and for its inaugural edition in Abu Dhabi, the gallery at NOMAD Hamptons this month will present a pavilion focusing on recent works by artists such as Warhol, Picasso, Pistoletto, Fontana and Lalanne, a mix that Robilan believes makes sense for the collector base in that geographic region.
De Robilan, who is in his 30s, understands exactly what young collectors are looking for. He sees traffic, attendance and the lived experience around exhibitions as being of key importance, and believes this kind of engagement should come from being there in person and building relationships. “I think there is some return to making seeing art an experience as much as the physical action is concerned,” he said. “I think engaging with new and younger collectors definitely requires moving more into the digital realm, but it also comes from building my own connections and getting them into these new spaces.”
Robilant’s contemporary program will reflect the tastes and interests of this globally minded generation, with the aim of building a thoughtful, multicultural and time-diverse menu. De Robelin’s main criteria in selecting contemporary artists will be their multifaceted practice and early institutional support before major commercial exhibitions. The inaugural group show is emblematic of this approach, as it is filled with artists he has encountered during major biennales including Venice, Taipei and the Islamic Arts Biennale in Jeddah. “I want every artist to have a practice that is mature enough to really have a curatorial and institutional interest, but still feel young and fresh and exciting,” he said.
Neither Here nor There brings together artists whose practice operates within a liminal field of recognition, creating images, bodies and landscapes that seem strangely familiar without yielding any fixed point in memory. Their work calls for embracing ambiguity and uncertainty as part of the current contemporary situation rather than resolving it. The roster includes artists from diverse geographical and cultural backgrounds, including acclaimed Cuban artist Yuan Capote, emerging Hong Kong artists Isaac Chung-wai and Hong Fei, Amman-born sculptor Raya Kassisieh (b. 1991) and self-taught Venetian painter Vittorio Marella.
One advantage of working across ancient artists and modern and contemporary art, he says, is that the gallery doesn’t have to fill roster boxes; She can wait until she finds artists whose work is undeniable. “When you see a good artist, it should hit you like a thunderbolt,” he said. “I really want to wait and see, wait until I find someone great before I choose to work with them.” Each Premiere artist has a mature and compelling practice, and this is the standard he wants to maintain.
Robilant + Voena has traditionally been Western-centric, but de Robilant aims to change that. “I don’t like the idea of limiting myself too much to one country or one continent. I’ll deal with each individual artist on a case-by-case basis and really focus on their practice.” He also does not want to rush this process. “We will work with solo artists that we want to promote.”
De Robilan is not afraid that the expansion of contemporary art will alienate existing clients. Instead, he sees it as an opportunity to engage art collectors who previously associated the gallery only with older artists. “I think it will be a very delicate game to choose which collectors we think will engage best with each individual gallery,” he says. “We’re starting to add contemporary artists, and we’ve done that with great success in the past. So, I see it as a fun opportunity and a fun challenge, not something I’m afraid or anxious about.”
After Neither Here nor There and NOMAD Hamptons, the gallery is planning a major exhibition during Frieze Masters featuring older works and contemporary pieces — the kind of breadth that galleries can’t handle. Indeed, de Robilan is quick to point out that the dialogue between historical and contemporary works should never be forced. If a contemporary artist’s practice naturally lends itself to conversation with a modern or ancient master, the gallery is well placed to facilitate this. But if an artist has a more experimental practice and needs space to develop independently, they are equally committed to supporting this on their own terms while placing their place in the context of the broader art historical canon.
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