His interest in the various art trends, cultivated in visits to art exhibits in Italy and abroad, as well as his personal reflection on the ideals and principles of the artists he had always socialized with undoubtedly spurred him to open a gallery dedicated to the visual arts. The initiative was inaugurated in his laboratory (atelier) in 1960. He had an ulterior motive as well for the initiative. Based on the question regarding how art was effectively presented and how it could be disseminated and how to get people to speak about it, he realized that exhibit inaugurations are the key moment for the production of an artist.
He or she is so happy that friends and family come to render their due, ma it is only for that one night. The day after galleries are generally empty except for the rare visit of a tardy friend or the occasional curious straggler. But an atelier is not.
Its frequentation varies from moment to moment, however, people come to an atelier every day and what is more important is that they form a heterogeneous group which probably is not in the habit of frequenting art galleries. But there in the atelier, it becomes impossible not to observe, to have one’s curiosity sparked, to ask questions, to pick something up and leave. The goal could be reached with very little effort.
On that thought, I eventually asked Mario Ciarletta, Enrico Crispolti and Bruno Corà for help. The studio in reality created a series of retrospectives of art from the 50s to the 70s with works by Pupino Samonà, Enrico Baj, Nino Franchina, Nuvolo, Salvatore Meo, Corrado Cagli, Fabio de Sanctis, Umberto Mariani, Frbrizio Plessi, Mimmo Rotella, Loreno Squanci, Edgardo Mannucci, Rocco Genovese, Giorgio Facchini, Riccardo Mantero, and Marco Gastini, alternating famous names with up and coming young artists. It became a meeting point with heated discussions in which the neighbors in nearby streets could hear the creative bursts of art and fashion.