OliveArt | Exclusive Interview with Capsule Founder Enrico: When an Italian Sinology Scholar Built a Time Capsule in a Shanghai Alley

In 2016, before the tranquil and sycamore tree shadowcasted Anfu Road in Shanghai was swept up by the wave of internet fame, Italian curator Enrico Polato pushed open an unassuming door at the end of a quiet alley. Behind it, he transformed an old lilong building into a "time capsule" for contemporary art. Hidden in the depths of the city's backstreets, Capsule became a discreet yet experimental space, quietly weaving a dialogue between Eastern and Western art.

 

In this gallery interview, Capsule's founder, Enrico Polato, reflects on his journey from studying Sinology to establishing the gallery. He shares how he has upheld the philosophy of "experiment first, cultivate deeply" amidst the ever-changing art world and reveals how Capsule has shaped its own distinct language.

 

Q&A

 

As a young and newly graduated student, I was fortunate to gain experience in Beijing at Galerie Urs Meile, one of the leading galleries representing Chinese contemporary artists. At the time, in the early 2000s, the gallery was just establishing its presence in Beijing. Over my eight years working there, I had the opportunity to witness the rising international interest in Chinese contemporary art during a period of market boom and peak experimentation.

 

Those were extraordinary years. Beijing, propelled by its rapid transformation in the lead-up to the 2008 Olympics, felt like the center of the world. It was common to encounter some of the most influential figures in both the local and international art scenes in the streets of Caochangdi and the 798 Art District. Above all, there was a strong sense of community. The local gallery system was still in its early stages, leaving more room for artistic freedom and fostering a less competitive, more collaborative environment. There was an undeniable spirit of innovation. However, over time, while this creative energy thrived, I felt it was the right moment to explore a new environment and embrace a fresh chapter in my journey after nearly a decade in Beijing.

 

I knew I wanted to stay in China and continue my engagement with contemporary art. The 2010s were a transformative decade for Shanghai’s art scene, marked by the opening of the Power Station of Art (PSA), the Shanghai Biennale’s permanent move to its premises, and the rise of the West Bund Cultural Corridor with institutions like the Yuz Museum and the Long Museum. Art fairs such as ART021 and West Bund Art & Design also played a key role in establishing Shanghai as a global art market hub. Inspired by these developments, I decided to move to Shanghai.

 

From the beginning, I knew I wanted to open my own space, but I was determined to find a location that carried a distinct Shanghai flavor rather than settling for a traditional industrial white cube. It took nearly two years of searching to find the right spot. By chance, I was already living in the same lane where Capsule is now located, and it was a stroke of luck that I discovered the building just as the previous tenant was moving out. 

 

For me, the identity of a gallery is deeply tied to its space and location. I prefer places that leave an impression or evoke a memory, and this building felt perfect. From the front gate, the gallery is quite unassuming, which I love— and it transforms into an experience once you step inside. 

 

Ten years ago, Anfu Road was a quiet street in the heart of the city, a stark contrast to the bustling hub it has become today. I enjoy being tucked deep into the lane, hidden within one of Shanghai’s busiest streets. It requires a little effort to find us, which adds to the sense of discovery. To ensure a personal and intimate experience for our visitors, we limit the number of guests at a time and operate primarily by appointment. This approach allows us to create a more meaningful connection with our audience.

 

 

In 2014, while searching for a venue to establish the gallery, I also dedicated time to researching portfolios, visiting artists’ studios, and connecting with curators, friends, and artist communities. I was moving in two parallel directions—scouting for local artists to promote them both domestically and internationally while also exploring the global art scene to introduce emerging talents to China. At times, artists represented by Capsule—as well as curators and other professionals—have introduced me to their peers; at other times, my own research remains a continuous and essential part of the process.

 

I have always believed in building long-term professional relationships rather than taking a quick, transactional approach. Building trust and truly understanding an artist’s practice takes time and I believe that a gallery growing alongside its artists creates a more meaningful and organic evolution, ultimately building a stronger and more distinct identity. Working with emerging artists is also a gradual process that demands patience, especially during periods when the market is less favorable. The energy and resources invested in shaping an artist’s career rarely bring immediate financial returns for the gallery, often taking years before yielding tangible results. Therefore, I value commitment and loyalty in these collaborations.

 

The qualities I seek in an artist are deeply personal and instinctive—I am drawn to works with a strong narrative, ones that are bold, original, and transcend passing trends. The name Capsule came to me while reflecting on the concept of a time capsule—a space that acts as both a container and a laboratory, where ideas about contemporaneity are developed as tools for understanding our present and preserved to offer future generations insight into this moment in time. With this vision, I strive to collaborate with artists who are keen observers of the world around them, attuned to contemporary issues, and poised to leave a lasting historical impact.

 

Over the past eight years, Capsule has played a pivotal role in launching the careers of numerous artists. In many cases, the gallery has provided them with their first platform to enter the art scene and market. It is incredibly rewarding to witness their growth, as some have gone on to achieve market success and international recognition—milestones made possible through our shared efforts and commitment.

 

 

This is a fascinating question, one that could easily fill an entire chapter. Over the past 20 years in China, I’ve witnessed countless transformations. I’ve seen the birth of a local art market, driven by the growing influence of dedicated collectors and the rise of institutions building their own collections over time. These collections are now showcased in new public spaces, such as private museums and foundations, which have become integral to the cultural landscape.

 

China moves at a pace that is incomparable to most other countries, making the art scene here both exhilarating and complex to navigate. One of the most striking shifts I’ve observed is the evolution of collecting practices. Initially, there was a strong focus on domestic artists, but over time, the market has become more open and globalized. Today, it reflects the broader geopolitical narratives of our times, showcasing a diverse range of voices and perspectives.

 

Nevertheless, Chinese artists today have far more opportunities than they did just a few years ago. They can choose from a wider range of galleries and take advantage of powerful yet inexpensive tools like social media, which significantly enhance their visibility and accessibility. As both their artistic language and educational background have become increasingly international, I am observing a renewed interest in Chinese contemporary artists from international galleries, collectors and institutions. 

 

 

We have been participating in West Bund Art & Design for many years, and I believe it is important to maintain a presence at the fair during art week. I always trust the fair’s commitment to maintaining high-quality standards. However, given the market’s instability in 2024, I approached last year’s edition with measured expectations. 

 

 

Beyond meeting new contacts, it was also a pleasure to reconnect with longtime clients, leading to meaningful discussions about the works of artists already collaborating with the gallery. Collectors and audiences were highly engaged with the pieces we presented at our booth, showing a deep connection to the practices of the artists they are familiar with. At the same time, I have observed a growing sense of selectivity in acquisitions. While there remains an openness to discovering new talents and trends, the process is more considered than in the past. Collectors are still curious and receptive, but they are approaching acquisitions with greater thoughtfulness, reflecting an evolving and more deliberate approach to collecting.

 

 

Our Capsule Venice chapter has been, to date, the most demanding and intense project we’ve undertaken. First and foremost, I want to highlight that this initiative was conceived as a one-year pop-up for 2024. We temporarily rented and were hosted within the premises of an existing foundation supporting social inclusion and accessibility.

 

I also want to frame this project within the broader context of Capsule’s strategy—particularly in the aftermath of the pandemic, when China reopened to international travel in early 2023. Driven by an urgent desire to reconnect with the global art scene after years of hibernation, I initially pursued an ambitious and intensive approach, participating in 12 international fairs throughout 2023. My philosophy has always been to experiment before defining a long-term strategy, testing different approaches to determine the right path for us.

 

Following this exhausting marathon, I felt compelled to take a different direction in 2024—one that prioritized depth over breadth. Instead of dispersing our efforts across multiple markets, we chose to focus on a single key location with a semi-permanent venue that would allow us to build deeper, more enduring relationships with our audience. Unlike the common trend of launching a short-term Venice Biennale project that lasts only for the duration of the event, we envisioned a space that would function as a local gallery, maintaining a regular program of nine exhibitions alongside numerous talks and cultural events.

 

Capsule Venice operated in parallel to our Shanghai gallery, offering an extensive survey and introduction of our artists and program to the local audience. It also served as a platform for research-driven exhibitions, fostering new collaborations. The effort required to establish Capsule Venice was monumental—managing an 800 sqm space with multiple exhibition areas often felt akin to running a museum program. However, the year was also filled with rewarding moments, as the project allowed us to deeply engage with audiences in Italy, forging lasting and meaningful relationships. 

 

Although the 2024 Venice project is completed, we are already exploring new venues with the goal of establishing a more permanent presence and resuming activities when the time is right.

 

Considering the volatility of the global market, the uncertainties caused by geopolitical tensions, and the challenges of 2024, I have decided to take a more measured approach—slowing down and continuing my strategy of refocusing the gallery’s objectives. Under the current circumstances, I no longer see an urgent need to rush or put ourselves under financial strain.

 

For 2025, I plan to concentrate on fewer exhibitions at the gallery, allowing our existing program to mature and deepen. We will present four solo exhibitions featuring artists we have been in dialogue with for years - Rudy Cremonini, Daniel Chen, Tao Siqi, and Miranda Fengyuan Zhang. To ensure greater engagement, these exhibitions will run for an extended period, giving the public more time to experience and reflect on the works. This shift will also allow me to be more present in China, where our primary focus remains.

 

I also intend to prioritize fairs that have proven most effective in fostering meaningful connections with local audiences. In addition to the typical fairs we attend, I am exploring a more localized and less mainstream approach. For instance, in line with our commitment to expanding in Italy and Europe, we will begin our 2025 program with the participation in Arte Fiera in Bologna - where we will be the only Asia-based gallery participating - and an off-site project supported by one of the leading collectors in Italy.

 

A particularly exciting project for Capsule in 2025 will take place in March in Hong Kong. Recognizing the importance of strengthening our presence in key regions and nurturing our network of supporters and clients in Hong Kong, we have secured a venue in the city for a month-long pop-up. The choice of location—just steps away from the Tai Kwun complex—felt instinctive after thorough research of the urban landscape. Given its unique setting, we envision an exhibition with a highly experimental approach, focusing on sculpture and installation-based works.

 

The past year has also been instrumental in establishing new institutional connections. While some of these projects are still in early stages and not yet ready to announce, they will take shape in 2025–2026, further reinforcing our long-term vision.