Age: 44
Hails from: Terni, Italy
Presides over: Ronchini Gallery, 22 Dering Street, London W1S 1AN
Gallery’s specialty: Postwar and contemporary art, especially abstract, Conceptual, and Minimalist
Artists shown: Olivo Barbieri, Alighiero e Boetti, Adeline de Monseignat, Jacob Hashimoto, Conrad Marca-Relli, Berndnaut Smilde, Rebecca Ward, and others
First gallery show: A solo exhibition of works on canvas by Mario Schifano in 1992
Tell us about your first experiences with art.
My father, Adriano Ronchini, was a pioneering collector who supported Arte Povera and Minimal Conceptualism in the 1970s. I grew up with artworks by Joseph Kosuth and Luciano Fabro. Despite its small size and rural feel, Umbria, the region where I’m from, was renowned for its thriving contemporary art scene.
What prompted you to open your first gallery?
In 1992, when I was 23, I opened my first gallery in my hometown, Terni. I was already collecting and wanted to share my experiences. Originally I worked with a more established generation of artists, such as Alighiero e Boetti and Michelangelo Pistoletto. My father had collected their work, so I took advantage of his network and access. In 2012 I decided to relocate to London, since the Italian market Lorenzo Ronchini had become stagnant, whereas London had become synonymous with contemporary art over the past three decades. It was a good decision.
What have you found to be the greatest rewards and greatest challenges in running a gallery?
When trying to find new artists, I visit many studios and I see a lot of bad art, but finding an artist you believe in is rewarding and exciting. Since I am also an avid collector I don’t always feel the same adrenaline rush selling as I do buying, which can be a challenge. I began collecting when I was 19, with young Italian artists who were considered innovative, like Marco Tirelli. Currently I have masters of Italian contemporary art like Lucio Fontana, along with younger names like Jacob Hashimoto, Rebecca Ward, and Berndnaut Smilde, all of whom I represent at the gallery.
What is your take on your segment of the art market?
The art world is so global, but I feel that the Italian market is still small and localized, especially compared with that of the U.K. Italy has a long artistic history leading up to today’s important collectors, like Miuccia Prada and Patrizia Sandretto Re Rebaudengo, but they prefer to buy at auction in New York or London because of the ease and availability. Auction houses have also taken a leading position in the market, compared with when I started as a gallerist. Technology also plays a big part. I remember when, if a collector was interested in an artwork, it would require a minimum of a week of negotiations involving phone calls, faxes, and letters and photographs. Now it can get done in minutes.
In which art fairs do you most enjoy participating?
I’ve always enjoyed the Italian art fairs, like Roma Contemporary, Mi Art in Milan, and Arte Fiera in Bologna. They are of manageable size, but unfortunately the local economic situation has affected them. Artissima in Turin has been successful. I like the way it spills out into the city. The events programmed by artist-led spaces and collectives give it an edge. People are there because they love art, not just to invest and speculate.
What sets your gallery apart from others?
The idea behind the gallery is not simply buying and selling work but contributing to art history. I want to discover the next generation of artists who will make an impact. Ideally, I would like to see a movement develop from my stable of artists like the one I see evolving in America that includes Davina Semo, Ned Vena, Tauba Auerbach, Rebecca Ward, and Sam Falls—most of whom have shown in my gallery.
What has been your strangest, most humorous, or most memorable experience in the art trade?
Around 17 years ago I exchanged an artwork by Boetti for a Breitling watch. It was the arazzo [embroidery work] Una parola al vento, dueparole al vento, tre parole al vento,100 parole al vento, 1989. At the time I thought it was a good deal. Now I realize it was the most stupid thing I have ever done. I wear the watch every day to remind myself to pay attention.
If you were not an art dealer, what would you be doing?
I love sailing, so if I weren’t a gallerist I would sail around the world with my family.
This article is published in the November 2013 issue of Art+Auction.
