Let’s go to Köln, Germany, and open the door of the amazing Berthold Pott Gallery…
How you define your gallery?
My gallery program revolves around a group of young artists with a focus on process, materiality and “minimal gestures”. The gallery strives to present and support a young, internationally relevant avant-garde that reflects the key aspects of the gallery’s philosophy and attitude.
I feel a sense of responsibility towards my artists, that we become successful together; it is my goal that we both grow, i.e. the gallery and the artists. In my view, a good gallery only functions when there is a sense of trust between the artists and the gallery owner – trust that creates a bond and provides support. I always want to be able to express my own opinions, but the artists should remain free and uninhibited in what they do.
Which is the moment that you like most about your job?
On those days when new works for the next exhibition are delivered to the gallery, I usually spend nearly half the night in the space alone with the works. For me, this is a very special, almost sacred moment. In these hours, I learn a great deal about the works; I experience them in very personal way.
Do you detect changes in the profile of the current buyer compared to a few years ago?
What has changed the most is probably the way we communicate with buyers. This takes place and especially begins more and more frequently detached from any real encounter; more and more takes place via online media.
What do you look closely at when choosing an artist?
Since I exhibit predominantly younger artists in my gallery, the oeuvre that one can look back on is usually not that extensive. This is why the person is just as important as his or her work, since, based on the person, I can judge much more easily how the work might develop in the future. A radical nature, autonomy, charisma, energy, self-confidence, self-reflection and a personal rapport with each other are all very important for me. One has to develop trust, as well as a sense of genuine partnership.
What advice would you give to someone who wants to open a gallery today?
Only do it if it is the only thing you can imagine yourself doing!
How do you judge the future of art galleries?
It’s important to combine new technological developments and possibilities with traditional values, since these are in no way mutually exclusive. We will soon see that not only large gallery networks will be able to survive on the market, but that smaller galleries will also be successful again. They can react quicker, are more flexible and are often closer to the artists. On the part of the younger artists, I also experience a certain willingness to forego the anonymity of some larger galleries in favor of personality and the close relationships possible in a smaller gallery, which works, thinks and develops in terms of long-term strategies. What is more, with the help of online media, smaller galleries can also build up good relationships with collectors; in general, collectors today are much more accessible than they used to be.
In your opinion, how has the Internet in general influenced the direction of the art world?
Massively! As I just mentioned: Accessibility, speed, transparency and internationality – to name just a few aspects – have increased considerably as a result of the Internet.
In your opinion, why are so many gallery owners wary of adapting to e-Commerce and solid online promotion?
I think that many are afraid that this will lead to greater anonymity. This can happen – but it doesn’t have to. It’s much more a question of what the gallery owner does with these initially virtual, anonymous contacts, since there is no reason why highly personal contacts cannot develop out of these, often leading to personal encounters, for example, at art fairs and exhibitions.
Do you think that, in the future, art dealers will conduct most of their business online rather than in “brick & mortar” spaces?
Yes, I’m actually quite convinced of this. But, for me, this does not mean that the exhibition space and the opening will become superfluous. They are very important for the gallery culture, as well as, of course, for business; but, at the same time, they are not the sole factors.
What advice do you have for artists who have yet to find gallery representation? Should they sit back, create and wait for that day to come; or should they focus on self-marketing their art work?
Focusing on self-marketing sounds a bit too extreme. Artists should focus on their work in the studio, but they should also go to openings in galleries, museums and off-spaces; they should meet the art crowd: fellow artists, as well as collectors, curators, journalists, visitors, art lovers, gallery owners – everyone who plays a role in the art world. Out of this, informal and natural contacts will emerge – at the very least, the probability for a future cooperation with a gallery will increase.
Is there anything negative that you can think of in regards to artists selling art on their own, anything that can be hurtful later down the road if picked up by a gallery? What do artists need to keep in mind when selling solo?
Artists will have nothing to regret if they make sure that everything they do is done out of conviction. If artists remain true to themselves and do not make compromises with regard to the quality of their works or their own self-perception, they will have nothing to regret later.
Berthold Pott GmbH
Bismarckstrasse 60
50672 Köln
Tel +49-221-1791 9688
Fax +49-221-1791 9689
Mobil +49-151 2403 4477
www.bertholdpott.com
www.chaplini.com