Arturo Galansino

As the dunhill x Frieze Masters partnership enters its 2025 edition, the collaboration once again brings together two worlds united by a shared respect for heritage and innovation. Central to this year’s programme is the series of dunhill Talks at Frieze Masters, curated by Arturo Galansino - Director General of the Fondazione Palazzo Strozzi in Florence. 

A distinguished curator and museum leader, Galansino has built his career on bringing the classical and the contemporary into conversation, transforming historic spaces into dynamic stages for today’s most celebrated artists. Palazzo Strozzi has become a site where centuries of history meet the vitality of the present, creating exhibitions that are both trailblazing and rooted in tradition.

This profile forms part of our ongoing exploration of the figures shaping culture today. In conversation, Galansino reflects on his journey from academic scholarship to international leadership, his curatorial vision for this year’s dunhill x Frieze Masters talks, and the enduring interplay between history, modernity, and style.

Since I was a child, I’ve always been passionate about history and visiting museums - for me it was a special experience because behind all these objects there were a lot of stories to tell, especially around archaeology or the ancient world. As an Italian it was easy to have access to this heritage. I gradually became passionate about art history, paintings, culture and the objects themselves. I started studying art history. After my academic career, PHD and two post-PHDs I started working in the Louvre in Paris. I realised that this was my career. Museums became my life, it’s the only work I can do, honestly.

How did you first become involved in the Fondazione Palazzo Strozzi?

I worked in London for about five years at the National Gallery, then at the Royal Academy. I didn’t imagine I would go back to Italy, I was very happy where I was. I saw potential, especially Florence - it’s such a special place. It was a dream come true. We were able to develop an ambitious and unique programme of exhibitions bringing Florence into the present and future of art. Before our work at Pallazzo Strozzi no one dared bring contemporary art to such a historical place. Since the beginning of this experiment, we broke all the records of attendance at contemporary art exhibitions in Italy.

The foundation works around the idea of both classical and contemporary art informing each other. Why is that interesting to you?



[After] speaking with the important living artists in our programme - I realised how [Palazzo Strozzi’s] heritage could be inspirational for them. Contemporary artists normally work in modern buildings or white cubes so to be able to display their work in a different environment with so many layers of history and culture was a challenge. We invited these artists to create a dialogue with our past which…is still relevant to the main topics we are confronted with today. We think that history and contemporary art reflect each other in a new light.

We invited many museum professionals, art historians and great artists. One of the talks at the fair will be a very clear example of what we do at Palazzo – it will be with [TK] - one of the most important art historians specialising in 15th century paintings. He is going to curate the biggest exhibition devoted to Fra Angelico, a great father of the Renaissance. And Chris Roktho who is the son of Mark Rothko. Rothko was inspired by Florence. The Convent of San Marco, where Angelico worked and painted his beautiful frescoes. The San Lorenzo library. Angelico before and Rothko after are linked together with this connection between modernity and history.

What are your two favourite things to do in Florence and London?

I used to live in Knightsbridge. Every time I come back to London I like to go back to that neighbourhood to see what’s changed. I like to walk in the park and immerse myself in the beautiful oasis in the centre of the city. When the weather is beautiful the green is so green, it’s an experience I can’t have in Italy and Florence. Of course we have parks but it’s not the same sensation.

In Florence I live in my office, but it is very nice to walk in Oltrano which is on the other side of the river Arno. We have a strong tradition of artisans and craftsmanship – tailors, restorers of stone, carvers of wood. It's slightly disappearing with time but it is still a strong asset. You can watch these people. We are trying to preserve [this practice]. You will find many nice antique shops here.

Do you collect?

I do collect a bit. My curse is that I have very good taste and with good taste you need to have money – which I am missing. I collect contemporary art. Young artists and more established. Some Old Master things. And some radical design from Florence. This is what is special about Florence, the radical design movement in the 60s after the flood in 1966. We have this generation of architects and designers who wanted to invent a new city. These architects invented a utopia. It remains on paper. They produced some furniture and some photos, collage and paintings.

I always go back [to] the Royal Academy and National Gallery…as an expert of Old Master paintings I can tell you it’s the best place to shape your taste because the quality of this collection is unbelievable. It’s surprising to know this collection wasn’t owned by an aristocrat or a king. Another museum in my heart is the Wallace Collection. It is an old house with art objects, furniture and one of the major painting collections in the UK.

In Florence I know a lot of the old families who still live in beautiful old palaces. They belong to another era and time. It’s a privilege to enter a house of an old Florentine family. I always suggest to my guests to have a look at the Bargello museum which is the most important sculpture museum in the world. Another special place is the Convent of San Marco – the place where Fra Angelico lived and worked. It looks like it did at the time - the architecture is very minimal and almost conceptual, structured around the light, silence and spirituality of the place. It was a hub for humanist culture in the 15th Century.

Where do you find style inspiration?

I have uniforms. The uniform for working is my suit – blue, navy. Then I have another kind of uniform. My sports clothes. I am a show jumper. I’ve been competing since I was 8. My life is between art and horses. I like old Italian movies from the 60s and 70s – the male elegance is amazing. Art historians are either very static - they stay next to a table reading and writing - or very dynamic. You have to walk a lot to see monuments, museums, you have to go see a dealer or a restorer. So, very comfortable clothes are great. I don’t like fashion when it’s too stiff.

What are the key look items for an art fair vernissage?

I collect vintage ties. I go around buying in the vintage shops in Florence and in London. I have a big collection…[and some] from my father and grandfather. Ties are always part of my look. And I would suggest very comfortable shoes. The fair can be a nightmare without comfy shoes.