A special summer issue of Modern Painters, which will be published in installments on ARTINFO this month, surveys the world’s best galleries, across six continents and 36 countries. Throughout the issue you’ll hear from 50 of the most influential gallery owners and directors, discussing their achievements and envies, the artists they have their eye on, and the regional trends affecting this increasingly international market. Below you’ll find Q&As with several gallerists based in London and Glasgow. To see other installments from the special issue, click here.
HAUSER & WIRTH |
LONDON AND SOMERSET, U.K.
ARTISTS: Paul McCarthy, Jason Rhoades, Hans Arp, Fabio Mauri, Louise Bourgeois, Phyllida Barlow, Pipilotti Rist
ESTABLISHED: 1992
INTERNATIONAL LOCATIONS: New York and Los Angeles, U.S.; Zurich, Switzerland
CONTACT:
hauserwirth.com london@hauserwirth.com; +44 20 7287 2300
JAMES KOCH, EXECUTIVE DIRECTOR
How did you get your start as a gallerist?
Initially I trained and practiced as a lawyer, but I got involved in the art world profession- ally because art has always been an important element in my life. The transition was a natural one. During my studies, I was lucky enough to work as an assistant to the directors at the Zurich Opera and at Covent Garden in London. In my capacity as a lawyer, I advised private individuals on legal issues relating to the management of their financial portfolios and their art holdings. My first role in the arts was as managing director at Fondation Beyeler, where I was finally able to unite both of my major interests.
How have you generally discovered new artists? Are there any new discoveries for the gallery whom you’re especially excited about?
This is usually a very organic process for
us as a gallery, as well as the result of Iwan and Manuela Wirth developing a personal relationship with an artist. An interesting new artist we have recently taken on is the estate of Fabio Mauri—it’s always exciting when you can take an artist who’s been under the radar for some years and encourage a critical reappraisal of their work today. We were also thrilled earlier this year to begin working with the Mike Kelley Founda- tion for the Arts.
What was your biggest show of the past year?
In Zurich we opened a joint exhibition of works by Alexander Calder and Francis Picabia. It’s the first exhibition to draw a direct comparison between these two legendary artists—we look at the theme
of transparency and how this idea of
positive and negative space manifests itself in the work of both artists. Calder and Picabia both made unpredictable shifts in vocabulary during their careers, and because of this, their work remains relevant and energized today.
What’s one show you loved in the past year at agallery other than your own?
For me, Guillermo Kuitca’s surreal and inventive group presentation “Les Habitants” at the Fondation Cartier in Paris was a real revelation. Kuitca made some surprising connections to artists and projects from the Foundation’s history, and it was brilliantly realized using a concept from David Lynch as a backdrop.
What trends do you see happening in your region right now?
I’m very excited to see the effect that Manifesta 11
will have on the cultural scene in Zurich when it comes here next year.
What might you be doing if you weren’t a gallerist?
My career has already undergone a major change as I started out as a lawyer. I’ve always been open to the
next new challenge and taken opportunities as they come, slipping in through open doors, you might say. I only joined Hauser & Wirth last year and look forward to growing here—taking on the challenges and grand ambitions lying ahead for the gallery.
Name the last great book you read, art-related or otherwise.
I just finished the incredible Over Her Dead Body by Elisabeth Bronfen. It deals with the connections between death and femininity, using examples from art and culture as far-ranging as Snow White and Carmen. It really resonated for me with the work of Marlene Dumas, Gaugin, or our very own Paul McCarthy, who has been exploring the themes and symbolism of the Snow White character through his monumental ongoing WS project for some years.
If cost were no object, what work of art would you have in your bedroom?
No question: a Louise Bourgeois sculpture. Perhaps a late work that deals with some of the psychological impact of her insomnia and the subconscious—it’s just too perfect for a bedroom. Or if I were feeling experimental, I might commission a Zhang Enli Space Painting to cover the entire walls and ceiling of the bedroom!
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SADIE COLES HQ | LONDON, U.K.
ARTISTS: Sarah Lucas, Urs Fischer, John Currin, Elizabeth Peyton, Helen Marten
ESTABLISHED: 1997
CONTACT: sadiecoles.com info@sadiecoles.com; +44 20 7493 8611
SADIE COLES, GALLERIST
How did you get your start as a gallerist?
I worked first for a museum, the Arnolfini in Bristol,
and then for Anthony d’Offay Gallery in London as exhibitions director.
How have you generally discovered new artists? Are there any new discoveries for the gallery whom you’re especially excited about?
I ask artists to recommend other artists, I listen to the curators I admire, I go to as many shows as I can, I trust my instincts. Over the last two years we have taken
on a new group of artists—a refreshing expansion of the program to respond to my interests and also to the new spaces we have.
What was your biggest show of the past year?
Sometimes the smallest gesture has the biggest impact. The most moving has been Sarah Lucas at the British Pavilion in Venice, because it is a significant marker in our long and very special relationship.
What’s one show you loved in the past year at a gallery other than your own?
That would have to be Laura Owens at Capitain Petzel in Berlin. Jealous.
What trends do you see happening in your region right now?
There is much talk of the death of the gallery system in favor of agent or auction house representation—but hey, galleries have always been part agent, so I don’t see things changing too much. Artists still need nonmuseum spaces to debut new work, soundboard conversations, and act as an interface between themselves and clients.
If cost were no object, what work of art would you have in your bedroom?
Gilbert & George’s Singing Sculpture.
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THE MODERN INSTITUTE | GLASGOW, U.K.
ARTISTS: Martin Boyce, Urs Fischer, Luke Fowler, Monika Sosnowska, Cathy Wilkes
ESTABLISHED: 1997
CONTACT: themoderninstitute.com +44 141 248 3711
TOBY WEBSTER, OWNER
How did you get your start as a gallerist?
I found a space for £3,000 a year in the center of Glasgow. A group of artists helped me to renovate the building, and then we started. I didn’t know where
it was going, but I knew it was essential! Andrew Hamilton joined the gallery in 2005 and is now a partner and integral to the business.
How have you generally discovered new artists? Are there any new discoveries for the gallery whom you’re especially excited about?
Through studio visits, art college degree shows, and solo public shows. I’m
really excited about Nicolas Party, whose work is varied and moving on—it’s
very alive. I first met Nicolas through
Jim Lambie.
What was your biggest show of the past year?
They’re all important, from big shows to small shows. Richard Wright at the gallery in summer last year was pretty incredible. He worked with the York Glaziers Trust to produce four intricately designed skylights with handmade blown glass and leading.
What’s one show you loved in the past year at a gallery other than your own?
Martino Gamper’s “Design is a State of Mind” at the Serpentine Sackler Gallery in London in spring of 2014. It shows his ability as a curator and an incredible designer.
What trends do you see happening in your region right now?
It all turns around so quickly, so I’ve always kept my head down and got on with what I feel is great.
What might you be doing if you weren’t a gallerist?
Probably I’d be an architect or a designer.
Name the last great book you read, art-related or otherwise.
Orbital, by Iain Sinclair.
If cost were no object, what work of art would you have in your bedroom?
Paul Thek’s Hippie. Since it’s fantasy.
