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J.P.: Rita, in Lithuania, you are well known in the sports field as a multiple-time European full-contact karate champion and a world championship medalist. How did art become a part of your life?

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Rita Pivoriūnaitė: Art has always been present in my life—I grew up in a home where the walls were adorned with contemporary Lithuanian art. My mother was interested in art and encouraged me to visit exhibitions, and I received my first practical training at the Vienožinskis Art School. However, I truly immersed myself in the art world after meeting Laurent—his passion for art is contagious. He introduced me to the international contemporary art scene, and I am very fortunate to learn from the best. Living among works by Basquiat, Twombly, Picasso, Marden, or Serra is not just a privilege but also a constant source of inspiration to explore, learn, and understand. It’s simply impossible to remain indifferent.

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J.P.: Does your partner Laurent Asscher’s contemporary art collection reflect your artistic taste as well? How do you expand this collection—do you make decisions about new acquisitions together?

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R.P.: Absolutely—our tastes align in most cases, I would say up to 90%. Before acquiring new works, we consult each other, discuss, and present our arguments. Laurent always asks for my opinion. Sometimes, of course, I have to say, “I just don’t get it,” but that’s also part of the process.

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J.P.: Laurent, your collection includes many conceptual art pieces, which are often associated with institutional acquisitions. Did you take a long time to develop the idea of creating your own art institution, like AMA Venezia, to share these works with the public?

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L.A.: At first, I acquired part of a palazzo in Venice that allowed me to display large-scale paintings—the high ceilings and grand salons in Venice are ideal for that. I opened this apartment to the public several times so people could visit. But over time, the space became too small, not flexible enough, and I realized it was only a step toward something more ambitious: creating a true public space, which is what AMA Venezia represents. In a way, it’s the final and most meaningful stage of that journey.

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J.P.: Rita, you have played a significant role in the creation of the soon-to-open contemporary art center AMA Venezia. What challenges and discoveries accompanied the development of this museum in a historic location in Venice?

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R.P.: Setting up any space in Venice is a major challenge due to multiple factors—from logistical issues (since there are no cars in the city) to natural conditions like the threat of rising water levels. AMA Venezia is located in a historic building in the Cannaregio district, on Fondamenta de Ca’ Vendramin, near Scuola Grande della Misericordia. The 1,000-square-meter space was fully restored while preserving its unique character. This building holds deep historical significance—it is marked on Jacopo de Barbari’s famous 1500 map of Venice. Archaeological research revealed several furnaces on-site, suggesting it was part of an industrial complex. Later, it became the Venice Soap Factory.

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AMA Venezia is a unique architectural site that required a complete renovation, but we managed to maintain its authenticity and historical spirit. Now, this space is reborn as a contemporary art center, dedicated to exhibitions, site-specific projects, and international cultural dialogue.

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I am deeply involved in AMA Venezia—not just in its creation and curatorial decisions but also in its day-to-day operations. Both Laurent and I want AMA Venezia to be more than just an exhibition space; we envision it as a vibrant cultural center that inspires, connects, and provokes thought.

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