Interview with Mattia Martinelli
In anticipation of Fuorisalone Milano 2026 and the presentation of Still 1492 | Never Ending Story by Fidia Falaschetti, produced by Angelino Artworks, we sought to explore the meaning and dynamics behind this project through the voice of one of its key protagonists. We spoke with Mattia Martinelli, General Director of Galleria Robertaebasta, a leading institution within the Milanese art scene, founded by Roberta Tagliavini, a prominent figure in the field and Martinelli’s mother.
Within the prestigious international framework of Design Week, the Gallery positions itself as the headquarters of the initiative, assuming a central role in shaping a space for dialogue and exchange. A project strongly envisioned and developed in collaboration with Angelino Artworks, intertwining art, production, and curatorial vision to create a cultural platform capable of generating connections, content, and shared perspectives.
1) Galleria Robertaebasta, founded by Roberta Tagliavini and located in the heart of Brera, is today an authoritative and widely recognized presence in the Milanese landscape, combining research, quality, and curatorial vision. In this context, what motivated you to accept Angelino Artworks’ proposal to designate your gallery as the institutional venue for Still 1492 | Never Ending Story?
I embraced Angelino Artworks’ proposal because it engages with a reflection that is increasingly necessary today. Fuorisalone is progressively shifting toward a predominantly commercial dimension—legitimate, certainly, but sometimes at the expense of research and artistic content. Still 1492 | Never Ending Story convinced me precisely because of its ability to bring the artwork back to the center as a space for thought, offering the public a critical and narrative dimension that only art can generate.
2) Within the context of Fuorisalone Milano, what strategic value does hosting an initiative that integrates artistic expression, cultural content, and a structured network of partners represent for you?
Like any monumental work, this project is the result of a collaborative process, developed in tandem with Francesco Pacchiotti of Angelino Artworks, a figure of strong vision and initiative. For the Gallery, hosting a project of this nature means supporting practices where collaboration is not merely a method, but a constitutive element of the artwork’s meaning. The work, marked by a powerful symbolic impact, stands as a reflection on collective responsibility. The title Never Ending Story evokes the persistence of dynamics such as appropriation and marginalization, still deeply rooted in the present—issues on which we believe it is essential to position ourselves as a critical and conscious space.
3) The work benefits from the fundamental executive contribution of Angelino Artworks. What elements defined this relationship, and how did this synergy enable the translation of the artistic vision into a concrete and coherent presence within the exhibition space?
There is always a complex distance between the conception and the realization of an artwork, one that can put the original project at risk. Relying on Angelino Artworks meant being able to count on an executional expertise capable of translating the vision with coherence and precision. The result is a work of great impact, inviting reflection on memory, identity, and collective responsibility in the heart of Brera.
4) On this occasion, your Gallery presents itself not only as an exhibition space but also as a place for professional exchange and dialogue. How central is this relational dimension for you in events of this kind?
We believe it is essential to move beyond a vision of the Gallery limited solely to its commercial or exhibition function. Robertaebasta also aims to be a place of dialogue and cultural responsibility, capable of fostering discussion and reflection, especially on socially relevant issues. While maintaining a strong relationship with collectors remains fundamental, it is equally important to communicate and support the deeper value of art as a critical and cultural tool.
5) During the event, you have scheduled a series of talks hosted by the Gallery, featuring artist Fidia, Ashley Callingbull—who inspired the deeper meaning of the work—Francesco Pacchiotti, Creative Director of Angelino Artworks, and representatives of key Italian partners. What kind of dialogue do you aim to activate through these encounters?
The talks are designed to reduce the distance that is often perceived between the public and the art world. We want to create an open space for exchange, where artists, professionals, and partners can engage with the central themes of the work. It is a way to make complex issues such as identity, memory, and collective responsibility more accessible, offering the audience interpretative tools and new perspectives, as well as a deeper understanding of the very concept of art and its production processes. In this sense, art becomes the starting point for a broader and shared dialogue.
6)How does the presence of such an articulated network of stakeholders contribute to strengthening the Gallery’s role as a cultural platform during Fuorisalone?
A network of this kind can only generate stimulus, dialogue, and openness. It is precisely through these connections that the Gallery fully activates itself, becoming a living space of exchange and cultural relevance. We are—and intend to remain—a gallery founded to disseminate the quality of art worldwide and the values it is capable of conveying.
7) Hosting a project of this nature, so conceptually rich, also means interpreting and enhancing its vision. Which aspects do you consider essential for it to fully express itself within the exhibition space?
We believe it is crucial to convey the overall vision of the project, avoiding a purely aesthetic reading of the work. Its narrative and symbolic dimensions must emerge, as well as the complexity of the themes it addresses. In this sense, the scheduled talks become an integral part of the project, contributing to deepening its content and making it more accessible. The work stands as a warning that touches on still-relevant issues such as violence and the marginalization of certain populations, as well as humanity’s predatory relationship with the environment. Our role is to create the conditions for this message to be clear and shared, allowing the audience to fully grasp its meaning.
8) Looking ahead, do you believe that experiences like this can help consolidate an evolved model of collaboration between galleries, artists, and production entities such as Angelino Artworks?
I believe this project represents an effective model, capable of bringing together artistic quality, cultural content, and collaboration between different entities. It is not an experience that ends with Fuorisalone: the intention is to continue developing and narrating it over time, keeping the dialogue between the gallery, artists, and partners alive.
Thanks to Mattia Martinelli!
