Capsule inaugurated its first location outside China with an exhibition program developed in parallel with the Biennale Arte 2024. The opening, which took place on February 24 of last year, marked an important chapter in the gallery’s history, as it complemented the 60th International Art Exhibition with a curatorial proposal designed to engage with contemporary dynamics.Founded in 2016 by gallerist Enrico Polato in the heart of Shanghai, Capsule has established itself as a key platform for emerging Chinese and international artists, fostering a cultural exchange between East and West. The Italian venue represented a significant step in this direction, allowing the gallery to expand its audience and strengthen its connection with the European art scene. A year after its opening, Manuela Lietti, curator of the artistic program, reflects on the gallery’s experience in China and discusses the developments of this new chapter, analyzing the challenges and opportunities that have shaped Capsule’s expansion beyond Asia, in Venice.
View of Capsule Venice, Venice, Italy, courtesy of May
Giovanni Beta: To begin with, I’d like to ask about your experience in China. How did you first engage with the country, and what aspects struck you the most?
Manuela Lietti: Both Enrico Polato, the gallery’s founder, and I have a background in Chinese language and culture, having studied Oriental Languages and Civilizations at the University of Venice. We were classmates and had the opportunity to explore contemporary Chinese art thanks to an exceptionally insightful professor, Monica Dematté. Dematté was one of the first scholars and curators to establish a strong connection with the Chinese art scene as early as the late 1980s and throughout the 1990s. When she arrived at the university in the early 2000s, we had the chance to discover an aspect of Chinese art that had previously been unknown to us, as it was absent from textbooks, which did not extend beyond the early decades of the 20th century. Her lectures opened up an entirely new world for us.
What was your personal journey in China?
My journey in China began as a visiting scholar, followed by a master’s degree at the Academy of Arts and Design at Tsinghua University in Beijing, and ultimately a long-term move to the country from 2003 until 2020, when the Covid-19 pandemic broke out. Enrico, on the other hand, moved to China in 2004 and studied for several months at the Central Academy of Fine Arts in Beijing. We experienced China firsthand, navigating its changes and paradoxes, and closely following the evolution of contemporary Chinese art.
Enrico Polato e Manuela Lietti da Capsule Venice. Photo by Riccardo Banfi
More specifically, how did you enter the world of contemporary Chinese art?
From the very beginning, Enrico chose to work permanently in one of the most significant galleries dedicated to contemporary Chinese art, while I decided to focus on writing and curating independently. Although we took different paths, both of us had the opportunity to integrate into the Chinese art scene—not only professionally but also personally.
How did the idea of opening a venue in Venice come about?The idea of opening a space in Venice stemmed from Enrico’s desire to reconnect, after the years of lockdown, with a broader reality—giving back to the city that shaped us while also exploring new opportunities. Although we had previously worked on other projects here, we had never launched an initiative of this scale. The decision was driven by both emotional and strategic factors: Venice is a crossroads of cultures, professionals, and institutions—a constantly active and ever-evolving place. It brings together different artistic souls, from experimental underground scenes to aristocratic and classical circles, making it the ideal context for a project like ours.
What are the most noticeable differences between Chinese and Italian collectors?
One of the most evident differences between Chinese and Italian collectors primarily concerns their age and approach to collecting. In China, collecting is a relatively recent phenomenon, dominated by a younger demographic, with many collectors in their early twenties. Often, these collectors choose to open museums or foundations not only to share their personal tastes but also to express their cultural commitment, actively contributing to the artistic scene. In Italy, on the other hand, collecting has a long-established tradition. Italian collectors tend to be older and more rooted in historical and artistic knowledge, often driven by a passion that has developed and deepened over time. This temporal difference in the origins of collecting explains many of the distinct dynamics between the two contexts.
Wang Haiyang, LoveDart, Capsule Venice, 2024. Installation view. Courtesy Capsule Venice. Photo Credit Andrea Rossetti
In your opinion, is European artistic influence on China stronger, or is it the other way around?
European art—whether contemporary or ancient—has always had an impact on Chinese art. Although China has managed to develop its own artistic approach based on its unique cultural background, European art history, as well as the Western art system in general, has provided a model for study and development. This influence begins in schools, where European art is taught in a comprehensive and systematic manner. The same cannot be said for Chinese art in Europe, as it remains a niche subject, mostly studied within specialized sinology programs, partly due to language barriers. However, China, thanks to the purchasing power of many of its collectors, has contributed new energy and perspectives to the European art market.
How has this past year of work in Italy been overall, and how have you engaged with the Biennale Arte 2024?
This past year has been incredibly intense: we organized nine exhibitions and eleven cultural events, implementing a program focused primarily on new commissions and numerous original collaborations. The gallery made a tremendous effort to sustain such a fast-paced rhythm, showcasing both Capsule’s established artists and new additions. Venice has rewarded our efforts: from the very beginning, we felt welcomed without prejudice, supported with enthusiasm and curiosity by a diverse range of people.
Info:
Capsule Venice
Sestiere Dorsoduro 2525, Venice
Tuesday to Saturday: 11:00 AM – 6:00 PM
capsuleshanghai.com
I was born in Siena in 2001 and have been living in Milan for a few years now. In addition to research in the field of art history at Università Statale, I work as a curator and author in the field of contemporary art.
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