The new UNA gallery space in Milan, located in the artistic heart of the city, on the ground floor of a historic building in Porta Venezia (a vibrant area, by the way, next to Clima Gallery) has catalyzed the attention of the media. The space was created in collaboration with Castiglioni, is characterized as straddling the market and research, and plans to promote emerging and young artists, focusing on the quality of research and artistic practice with an exhibition program in which the two galleries will alternate.
Marta Barbieri e Paola Bonino, UNA Galleria, ph credits Samuele Cabrini, courtesy UNA
After a 2024 that was at least complex and critical – characterized by crises and declines – the situation of the Italian art market focuses attention and conversations; in addition to this, the new duties imposed overseas and the failure to amend the new Decreto Legge Cultura that does not facilitate transactions and exchanges of artworks, unlike in other European countries. In spite of the present panorama, the dedication and passion with which many professionals in the field devote themselves to contemporary art is encouraging. UNA fits perfectly not only into this scenario, but also into the Milanese context with its new venue opened just a month before the 29th edition of miart, where UNA and Castiglioni, in a shared exhibition, presented a double solo show of Valentina Furian and Alessandro Carano. In this conversation Marta Barbieri and Paola Bonino, gallery owners and co-founders of UNA, talk about the realities, feelings and hopes behind the new project and venue.
Vasilis Papageorgiou, “Birds!”, installation views, UNA, Milano, ph. credits Daniele Signaroldi, courtesy UNA & the artist
Irene Follador: What prompted you to open a new office in Milan, and what do you think this city can offer you in the contemporary art sector?
Marta Barbieri e Paola Bonino: Our home base is in Piacenza; a location that we opened a few years ago now, a choice we are still convinced and satisfied with. Since its inception, UNA has been carrying out a research work that is also “decentralized” with respect to the great artistic framework offered by Milan. Our decision to place ourselves in an atypical terrain has allowed the public to spend quality time in approaching and getting to know UNA; to be able to carve out a full day out of the city’s rhythms to deepen their relationship with each other, as well as with our space and with the artists’ poetics. That said, despite these elements, the physiological need to move emerged. Market dynamics, distance and “difficulties” in reaching Piacenza – even considering the hectic pace of life we are all subjected to – made it spontaneous and inevitable to move to a wider and easier portal. Milan brings with it the opportunity to be always present satiating that hunger for events and taming that fear of missing pieces.
Vasilis Papageorgiou, “Birds!”, installation views, UNA, Milano, ph. credits Daniele Signaroldi, courtesy UNA & the artist
Did you choose the neighborhood for the space? How important was the neighborhood?
Certainly the idea of proximity to other galleries is very important. The desired change for this new location also consisted of possibilities for new encounters compared to Piacenza, where unfortunately the space is very isolated. We are precisely located in a fertile area, where there are other galleries and activities related to contemporary art, albeit with different research and objectives: we like to think of creating synergies between the various spacesi.
How do you fit into the already established city landscape? What sets you apart?
Our strong point is the search for emerging artists who do not yet have a strong and established presence in the national or international scene. We carry out work that straddles the line between studio and talent scouting; trying to preserve the authenticity of each artist’s research, without indulging in passing fads.
Vasilis Papageorgiou, “Birds!”, installation view, UNA, Milano, ph. credits Daniele Signaroldi, courtesy UNA & the artist
How do your projects come into being? Will it be a space somewhere between a gallery and place for research? And how will you manage the collaboration with Castiglioni?
Despite the shared openness, UNA and Castiglioni remain distinct realities. As far as our gallery is concerned, UNA carries out a research on the practice and careers of artists, with the aim of not only inserting these emerging professionals into the art market, but also contributing to the growth of each one’s work. We therefore try to produce relationships and connections, an exchange that is always mutual. This aspect also affects the relationship of the artists with the space in the Milan office; each exhibition project arises from the deep knowledge that we create and encourage between the gallery and the artists.
What are the upcoming plans for the space? And how do you envision the future of the gallery?
We are currently presenting the solo exhibition of Greek artist Vasilis Papageorgiou (Athens, 1991), who narrates the relationship between human depletion and the depletion of planetary resources, and the dichotomy between rest and production in contemporary times through sculptures made from everyday objects. Regarding upcoming exhibitions, they will continue after the summer: the new Milan location is a real investment that we want to take advantage of in order to expand and consolidate our research of young artists, as well as strengthen relationships with artists we already follow.
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Irene Follador (Venice, 1997) is an emerging critic and curator. She graduated first in Art History at Ca’ Foscari University in Venice, and then she obtained a master’s degree at NABA – Nuova Accademia di Belle Arti in Milan. She has been collaborating with Juliet Art Magazine for a long time and, at the same time, she carries out her independent curatorial practice; her research and interest mainly tends towards works of moving images and new Media within the contemporary art system.
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