Gloria Maria Cappelletti
Photo by Tanya Jones
May 01 2015
Gloria Maria Cappelletti is a Raider of the Lost Data.
Not many people know that in the future, everyone will want to be invisible and unknown for 15 minutes.
Failure is the state of mind of people that try to hold back transformation. When you believe in critical change and respect ethical relations there is no failure, only desire to succeed.
Tomorrow, I will keep searching for new talents that are capable of surprising me. I strongly believe in transformative encounters that open the possibility of new visions.
If the seismic shifts in art over the past decade have shown us one thing, it is that no culture nor institution can resist the forward march of digital. Gloria Maria Cappelletti has built a reputation as a pioneer in digital art, and through her well-regarded namesake gallery, has shown and supported some of the most influential digital artists of our generation, often quite early in their careers. Now, she’s going full-on cyber by moving Gloria Maria Gallery out of its former home in a handsome cube of concrete geometry on Milan’s Via Watt (a good, gritty neighborhood you’d be hard-pressed to believe is in the same city as La Scala and Via Montenapoleone), and entirely onto the boundless infinity of the web.
In its physical incarnation, the gallery played home to seminal exhibitions by the likes of Rafaël Rozendaal (page 116), Bouke de Vries, Travess Smalley and BFFA3AE. But all things change, and in its diaphanous new form—coded by another distinguished Gloria Maria Gallery alumnus, Paul Flannery—the gallery looks to remain well ahead of the curve. Its first series, Proust Projects, is currently testing the waters with immersive installations best experienced on large screens.
The all-in platform shift makes for a strong statement, but a shrewd and sensitive one. According to Gloria Maria, “the need for a physical space in which to organize exhibitions seems to be dictated by business needs, rather than expressive and communicative ones.” And the undeniable lightness of the new format, which opens up its curatorial ambitions to fresh audiences and interpretations, feels eminently more contemporary.
“To me, contemporary means nomadic thinking, preparedness, flexibility and erasing paradigmatic rules,” she told us. And by any estimation, she walks the walk: in addition to her eponymous work, she serves as i-D Magazine’s Italy editor and is a mainstay at influential Management+Artists, where she represents the likes of Jeff Bark and Daniel Sannwald. She is also behind The Collector Tribune, a HuffPost-style daily for art collectors, and is curating the inaugural annual Fashion Film Festival Milano this autumn.