Founded in 2021 by Massimiliano Lorenzelli in the heart of Porta Venezia, Milan, L.U.P.O. is a point of reference for the emerging contemporary art scene thanks to a pioneering integrated approach. In a conversation with art-frame, he discusses his cultural background and his work as a gallerist.
Massimiliano Lorenzelli represents the fourth generation of an illustrious family of gallery owners. His apprenticeship in the family business has provided him with the tools to understand and nimbly navigate the turbulent waters of the art world; his innate boldness has allowed him to embark on an ambitious personal project, backed up by skilled and trusted collaborators. L.U.P.O. operates as a platform for aggregation that facilitates relationships and collaborations that go beyond the simple art trading; among its prominent artists are talents such as Giuditta Branconi, Giuseppe Mulas and Aniela Preston, whose careers have also blossomed thanks to the commitment of Massimiliano and the whole gallery staff. In this interview he tells us about his first steps in the art world, what he likes and what he would like to change, to make the market more inclusive and accessible for both young artists and collectors.
You come from a historic family of gallery owners, what did you learn from them?
I grew up among artists and artworks. Art was everywhere. During high school, I used to hang out with artist friends and started working in my grandfather’s antiques gallery. I loved it right away. This space was born from the desire to have a direct relationship with artists. With my grandfather I learned the tricks of the trade, selling and buying, but I missed that human aspect. During Covid I came to my parents’ gallery, on the ground floor of this building, and I met the owner of this space that now houses the gallery, who was looking for a buyer, and so I bought it. At the same time, because of Covid, many galleries were cutting staff, and a friend of mine, who worked in a gallery in Milan, decided to follow me in this project. We had good success right away, also because I believe that in Italy there are not many competitors.
You decided, indeed, to specialize in emerging artists of the 90s generation.
Yes, my work focuses on super contemporary art. There is a lot of interest in this sector and the prices are more accessible. Another aspect that interested me was to get young people passionate not only about art, but also about collecting. Unfortunately, established galleries are inaccessible to most people. Since I chose this sector I do a lot of research and travel a lot, I visit international art academies, but I also rely a lot on social media.
From what I understand, your gallery adopts an integrated approach in the relationship with artists, it does not simply represent them but accompanies and supports them in the early stages of their careers.
Exactly! For example, we met Aniela Preston, a young British artist, on Instagram and we immediately appreciated her talent. Then we invited her here to Milan for a month, we gave her the materials to paint; our relationship started like that. The human relationship, the friendship, is the most interesting thing about this job. In these years we have worked with many English artists, certainly because it is the closest international market to us, but also with Italians and other nationalities. For instance, Giuditta Branconi will soon have an exhibition with Victoria Miro.
What do you seek in the artists you represent? What are the characteristics that strike you when you meet a new artist?
There is no point in getting lost in complex discussions. I choose what I like, because if you appreciate something you can also communicate it to others.
I see you are mainly oriented towards figurative art. Are there other media that you particularly appreciate?
I like figurative art because I grew up with my father and grandfather who always traded in abstract art; even at home I was surrounded by abstract art, not a single figure anywhere. I had to get away from that world. I am also very interested in sculpture, but it is a complex medium and much more expensive. We occasionally host performances, but it is a marginal part of our activity.
In your opinion, how has the concept of art galleries changed? Both considering your long family experience and your personal project.
In my opinion, with the advent of digitalization and platforms like Artsy, Artnet, but also social media like Instagram, many galleries, while remaining points of reference, are stuck in the past. Before, there was no such accessibility to information, nowadays it is easier to discover valid proposals. Another limitation of Italian galleries concerns collecting, they create a real barrier to entry for new collectors, but also for simple art enthusiasts. But this problem concerns the entire world of contemporary art, the lack of dedicated public institutions is alarming. At school, history of art as a subject is completely disregarded by students and teachers. In other countries, like England, it is not like this. Taking a walk to the Tate on a Sunday afternoon is a normal thing, here there are people who live in the historic center and have never been to the Pinacoteca di Brera.
And what about collecting?
One thing I noticed is that collectors of the past were big super wealthy industrialists who bought art as a whim or for pure aesthetic pleasure. Our generation instead is much more interested in the investment part, it’s not romantic or anything, but it’s reality and we have to take it into account. When a young person invests even a few thousand euros, not only his aesthetic taste should be repaid but he also must know that one day he will be able to have an economic return. This is how new collectors begin to believe in your project and continue to buy art. Economically, many of our artists have had great success in just a few years.
Tell me about your participation in Artissima with Giuseppe Mulas.
Giuseppe is a Sardinian artist who lives in Turin. He is very close to the issues of mental health and at Artissima he brought a series of paintings and a large sculpture made with some psychiatric patients, supported by the social cooperative Anteo of Turin in honor of the Basaglia law. Artissima went quite well, but the following week we went to Shanghai and there we realized that Italy is struggling to compete with the big capitals of the international market.
It seems like a common feeling in the Italian market, doesn’t it?
Sure, Milan has a lot of potential, but the institutions seem to have lost touch with the territory and local communities. The Turin basin is very local, which is not necessarily a bad thing. The ambition to be super international at all costs makes no sense, it comes from the fear of being provincial. We must first support Italian galleries that invest in the territory, employ a local workforce, and create wealth here. For example, Paris+ fair has in its statute that something like 50% of the galleries must be French, but it’s the same in the USA or in London.
Would you tell me about your upcoming projects?
At the end of November, we open the Marina Woisky exhibition Through the garden bars, and right after that we leave for Miami where we will participate in Untitled with Giuseppe Mulas and the South Korean sculptor Seongjin Jeong. He works with 3D printing mixing elements of his culture with Western pop culture. I think he’s perfect for the theme of this year’s fair: East Meets West.
LINK
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