Renowned art dealer Thaddaeus Ropac is set to open his seventh gallery location in Milan on September 20, marking a significant expansion into Italy's cultural capital. The gallerist, who has shaped the international art scene for over four decades, believes that art today wields unprecedented influence in society and culture.
The new Milan location will be housed in the prestigious Palazzo Belgioioso, an 18th-century neoclassical masterpiece situated between the Duomo and La Scala opera house. Despite being the smallest of Ropac's galleries at just 280 square meters across two rooms, plus an outdoor piazza for sculptures, the location represents a strategic move into Italy's vibrant art market.
"Germany and Austria are our creative home, both in terms of the artists we represent and the collectors we serve," Ropac explained during an interview at his Salzburg office, seated beneath a work by Georg Baselitz. "Later came our locations in Paris and London – Italy was missing from this constellation. No country has shaped art history as strongly as Italy."
The timing of the Milan opening coincides with favorable market conditions in Italy. The country recently introduced tax benefits for wealthy foreigners similar to the UK's former Non-Dom program, which was abolished this year. Additionally, Italy's culture minister decided to slash the value-added tax on art from 22 percent to just 5 percent starting in September – dropping from the EU's highest rate to a record low.
"This isn't a trick to disguise prices, but a real advantage for collectors and an enormous boost for Italian galleries on the international stage," Ropac noted. The tax reduction comes just as his gallery opens, creating what he calls a "wonderful coincidence" that should stimulate the entire Italian art market.
The inaugural exhibition will feature works by Lucio Fontana and Georg Baselitz, representing both Italian heritage and the gallery's DNA. "The idea is: one artist who shapes the gallery's DNA, and one from Italy," Ropac explained. The second exhibition will focus on two women artists: Valie Export and Ketty La Rocca, demonstrating the gallery's commitment to diversity.
Ropac's gallery program rests on four equal pillars: young artists like Eva Helene Pade, mid-career talents such as Adrian Ghenie, established masters, and estates. With 76 artists in total, including 17 estates, the gallery presents 35 to 40 exhibitions annually with a staff of 150, including 16 directors across all locations.
When discussing the gender imbalance in his artist roster – 58 men versus 18 women – Ropac acknowledged past shortcomings. "I come from a program rooted in the 80s and 90s, when the art market was heavily dominated by men. That was a mistake, and I must admit, I didn't do much to change it either," he reflected. "The perspective was very one-sided. Only in the 2000s did a rethinking begin, not just regarding women, but also geographically."
Regarding the current state of the art world, Ropac firmly believes we are experiencing art's golden age. "The heyday of art is now," he declared, pushing back against critics who view the current system as overheated or unsustainable. "Globally, diverse, vibrant: art hasn't been this good in 40 years."
He draws historical parallels to illustrate art's enduring diplomatic power, citing how Peter Paul Rubens served as a peace ambassador between warring nations in the 17th century. "Perhaps we need someone like him again today, mediating in politics," Ropac suggested, emphasizing that artists remain unshakeable in their independence.
Despite being smaller than mega-galleries like those run by Larry Gagosian and David Zwirner, each with billion-dollar annual revenues, Ropac sees advantages in his gallery's more intimate scale. "Direct communication, no risk of becoming too corporate, close access to artists," he explained. "We're wonderfully positioned in a way that we can still recognize each other without name tags."
The gallerist remains cautious about expanding into certain markets, particularly where artistic freedom might be compromised. While he considered China before establishing in Seoul, he ultimately found it incompatible with his understanding of democracy and that of his artists. Similar concerns prevented expansion into Istanbul.
Looking toward the future, Ropac acknowledges that he may not understand all contemporary developments in art. When his gallery exhibited works by Hito Steyerl in London, she selected young artists for discussions where Ropac "sat in the audience and often understood only half." He recognizes there's "a completely new use of language, material and techniques in connection with AI" that he prefers to leave to younger staff members.
Regarding succession plans, Ropac indicated he won't close the gallery but expects others will eventually take over under a new name. "Gallery names fade, founders are forgotten, but artists live forever. Their art remains," he philosophized.
The collector and dealer has also built a personal collection over four decades, organized so that parts would go to various museums. While he's considered keeping the collection together, similar to the Fondation Beyeler model, specific plans remain under development.
As for the art market's trajectory, Ropac remains optimistic despite concerns about oversaturation. "Without glamorous events like Art Basel Miami Beach or the Venice Biennale, there would be significantly fewer collectors," he argued, advocating for even more exhibitions at more locations to bring people to art.
Ropac's Milan venture represents more than geographical expansion – it's a testament to his belief that art's influence continues to grow. "The significance of art for the present is greater today than ever before. Art has never been as influential as it is today," he concluded, embodying the confidence of someone who has witnessed and shaped the art world's evolution for over four decades.
