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Francesca Lombardi

arturo galansino
tomas sarraceno palazzo strozzi florence palazzo strozzi strozzi
July 1, 2020

Arturo Galansino. A whole new world

The director of Palazzo Strozzi tells us about their new art projects

arturo galansino

You’ve just reopened the gallery. What’s new?

In order to reopen, we put in place the requisite security measures for visitors: a limited number of people entering, discounts on online bookings - not obligatory but highly recommended - an App instead of the audioguide...

What changes do you see on the back of this emergency?

As far as the art world goes, the pandemic has completely changed the cards on the table. After the Maastricht Festival in March, big events throughout the year were immediately cancelled. It was nice to see how all the institutions of the art world rallied together in order to survive, especially through online initiatives. What is certain - and I say this in full awareness that Palazzo Strozzi has invested in the digital channel of communication for some time, and that during the lockdown our digital venture In Contatto was hailed as one of the best - the internet cannot be a replacement for the physical experience. Thanks to the internet, we can come to a work of art better prepared, but that’s as far as it goes.

How’s it shaping up for Autumn?

Autumn at Palazzo Strozzi will be dedicated to Saraceno, and after him we’ve got two extremely important things lined up. Spring 2021 we’ll have the American Art 1961-2001 exhibition, a journey from Warhol and Pop Art up to Matthew Barney; and in Autumn 2021 there will be a retrospective on Jeff Koons.

The image that for you best represents the months we’ve just lived through?

The fact that throughout lockdown the doors onto the Palazzo Strozzi courtyard remained open, leaving access free to Tomás Saraceno’s great installation. It was a symbol of hope and rebirth.

tomas sarraceno palazzo strozzi florence palazzo strozzi strozzi

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