Gaby Ramsperger intervieuw

Daniela Basadelli Delegà, holder of the ANANCHE office printing, has interviewed Gaby Ramsperger in the Gloria cinema foyer, Milan.


Daniela Basadelli Delegà: How was the idea of an art gallery in the hall of the Cinema Gloria born?


Gaby Ramsperger: I think that all this was born more from a concept than an idea. Or for dynamics. I don’t know, I prefer to leave it to the judgement of others.

Gustavo Bonora. The artisti will be soon at the Cinema Gloria for the “In Corso D’Opera” event, Milan.

However, the first name – “Testimony of Contemporary Art” – has become “In Corso D’Opera” (“Work in progess”), which is less static than the previous one, and we know that the cinema, as a place for the mind, is the best. However, things should happen also physically. I will explain myself. Before entering cinema halls, there is that great passage area everyone knows, “the foyer”. Here the public meets, have a break, speak, wait; in one year, the movement is of more than 170 000 people.

One day I asked myself if it would be possible to catch a little of that vivacity for something that involves everyone, in addition to the pleasure of waiting for entertainment. Of course, the passage from “saying” to “doing” things is not so simple, but to be brief I can say the proposal was in the end accepted by the direction. Now, four big and selected art works inform and testify to (I am saying this because nothing is selled) the work and the intelligence of painters, sculptors, photographers that I personally know. Then…that desire of dynamics again. I thought that putting a continuos cycle video about the exposed artists’ work near each painting and a “corto” (abstract) of 3mn during film breaks in halls, would give more integrity and completeness to all. Each exhibition is of three months. The Gallery was born in this way and now it is also on Cinema Gloria official site.


D.B.: When was the inauguration and with what artist?


G.R.: Actually, five years ago. The Tecnic Manifesto about Spatialism written by Lucio Fontana starts in this way: “All things rise for necessity and exploit the needs of their own time”. So, the answer to your question is: everything started from the Space paintings of Ellenia Zagni, my mother, a painter of The Space Group here in Milan during the precious and infinity inspired ‘60s.. Even though I was born in the art world, I don’t have a sacral or exclusive thinking about it. I have never appreciated the aristocratic tone which characterises sometimes the artistic field. To come back to your question, at some point, looking at those walls, I felt a need of not standing still doing nothing. The first artist was the scene and modern dance photographer, Angelo Radaelli; pure dinamism, body, performance, colour. Later, I found the overflowing, luxurious and iper-pop fantasy of Carla Tolomeo who exposed with “Non Sedersi Sugli Allori” (“Don’t sit on laurels”). Then the evocative and disturbing iron sculptures of Francesco Di Luca with “Il Senso Dell’Assenza” (“The absence sense”). The second photographer guest was the young photographer and reportager Giò Biondi with her

Angelo Radaelli, “In Corso D’Opera”, Cinema Gloria, Milan.

black and white portaits of Milanese artists. Shortly we will present the works of a sculpturer and ceramist from Albisola , Sandro Soravia: his bronze armies, theatres and terracotta pieces, which are shown in a salable abstract on Youtube.


D.B.: You have rightly thought that an art work would be more complete if it was showed with a film in the foyer and also on the big screen. What is the public reaction?


G.R.: I have imagined of reaching the public attention notwithstanding the typical state of mind of whom is prepared to entertaiment. Contrary to what one might imagine, the public is never totally distracted, the big foyer paintings don’t escape attention, many people are really interested in the short written page about the artists, and the abstracts in the hall are also noticed. This is information. Paradoxically my discovery was that when the public is preparing for “distraction”, the receptivity is higher than expected. Then there is the repetition, too. Every exhibition is three months long. Names and images remain in our sensibility. In my opinion, the quality of the initiative is in its being slight, indirect and pleasant. It doesn’t seem to me to be an anomaly and, to the contrary, artists really appreciate it.


D.B.: How will you open the next season and with whom?


Gustavo Bonora. The artist will be soon at the Cinema Gloria for the “In Corso D’Opera” event, Milan.

G.R.: In October (the new cinema season), I invited the sculptor Velasco Vitali. He will present his “Foresta Rossa” (“The Red Forest”), “Sbarchi” (“The landings”) and his iron-made natural size dogs. In January, there will be the refined work of the informal and metaphisic painter Gustavo Bonora, well-known Milanese psychoanalyst. And then…then we will see…we have the company of the seventh Art, right?


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