INTERVIEW WITH ANDREAS GEGNER FROM SPRÜTH MAGERS LONDON
與Sprüth Magers畫廊總監 安德烈亞斯·蓋勒的對談


G.Andreas Gegner Photo Harry Liu

.

ART.ZIP: Can you give us a brief introduction of the gallery, its founding, development, and the gallerists. As a private gallery, how would you distinguish from others?
AG: As you can see from the name of the gallery—Sprüth Magers London, owned by two individuals, Monika Sprüth and Philomene Magers. We operate our galleries in two cities, Berlin and London. Monika and Philomene are two female art dealers, which is quite unusual in the art world, and they created one of the most powerful gallery internationally. Founding of the gallery dates back to 1983—so this year we are celebrating our 30th anniversary. At that time Monika opened the gallery alone by herself, with Andreas Schulze as the opening show. Andreas Schulze is probably one of the least known artists of our gallery but Monika is very supportive for his career, because she found Schulze’s work interesting and unique in style and language. She once said to me, she would not stop the gallery before Andreas Schulze gets recognition. And I would say this loyalty makes our gallery different from others, and we would come to that later.

Monika founded the gallery in Cologne in 1983.
At that time Cologne was very important city for contemporary art, as well as the centre for postwar art. Yet most galleries in Cologne at that time were driven by men: male gallerists, male artists, male collectors. Monika decided to open a gallery to give female artists an adequate platform to exhibit their art. She never considered herself a feminist gallerist, she just wanted to present female artists. From early on, Babara Kruger and Cindy Sherman were exhibited. She also exhibited Andreas Gursky. There was great diversity in her early programme, and all artists she picked were creating unique work.

In 1993, Philomene Magers opened her gallery, also in Cologne. In order to prolong her mother’s legacy, Philomene represented canonical post- war figures including Donald Judd, Robert Morris, Dan Flavin and so on.

In 1998, Monika and Philomene decided to merge the two galleries., That became Sprüth Magers Gallery. Sprüth Magers expanded further with a gallery space in Munich and a London gallery in 2003,
located on Berkeley Street in Mayfair.
In 2008, we opened a gallery in Berlin
and shut the two exhibition spaces in
Cologne and Munich, because Berlin
becomes one of the most important
places for contemporary art internationally,
 competing with New York and London, yet
we keep office in Cologne still. And we moved the Gallery London to Grafton Street since 2007. So now we only operate two gallery spaces, one in Berlin and one in London. Our programme of today still keeps balance between male and female artists, continues to give same weight to female artists presentation. And we would not on purpose emphasis on German artists.

 

ART.ZIP: 能給我們簡單介紹一下畫廊的發展嗎,成立和畫廊 ?作為一個私人畫廊,你們與別的畫廊有什麼不一樣的地 方呢?


AG:從畫廊名字——SPRÜTH MAGERS LONDON──可 以看到畫廊由兩人創立,分別是莫妮卡·斯普魯斯(MONIKA SPRÜTH)和菲洛米娜·馬格斯(PHILOMENE MAGERS)。我們 在柏林和倫敦都有畫廊。莫妮卡和菲洛米娜是兩位女藝術商 人,這在藝術界是很少見的,她們創立的SPRÜTH MAGERS畫 廊被譽為國際上最優秀的畫廊之一。追溯到畫廊成立之際要 到1983年──今年是我們畫廊成立30年──當時莫妮卡獨 自一人開辦畫廊,而安德瑞思·舒爾茲(ANDREAS SCHULZE) 則作為開館展覽藝術家。比起其他響當當的名字,舒爾茲可 能是名氣最小的一位。但是莫妮卡仍然非常支持他,因為她 認為舒爾茲的作品非常有趣,風格及語言都是獨樹一幟的。 莫妮卡曾經對我說過,舒爾茲在獲得認可前她都不會結束畫廊。所以我會說忠誠是我們畫廊與別家畫廊不一樣的地方, 我們稍後可以再詳細談。

莫妮卡於1983年在科隆創辦畫廊,當時科隆是當代藝術的中 心城市,也是戰後藝術的聚集地。但是很多科隆的畫廊都是 男性為主導,男性畫廊主,男性藝術家,男性藏家,所以莫妮 卡決定要開辦畫廊讓女性藝術家有一席之地來展現她們的 藝術。莫妮卡從來沒有覺得自己是女權主義畫廊主,她只是 純粹想要把女性藝術家展現給大家。所以在她很早的企劃裡 就有芭芭拉·克魯格(BABARA KRUGER),辛蒂·雪曼(CINDY SHERMAN)等女性藝術家的展覽。她還在很早的時候就為安 德瑞思·古斯奇(ANDREAS GURSKY)辦展。總而言之,你可以 看到她早期企劃裡藝術家的多樣性,所有藝術家都在創作自 己獨特的、新穎的作品。

1993年菲洛米娜也在科隆開辦了自己的畫廊。為了更好地繼 承家族事業,菲洛米娜代理了赫赫有名的戰後藝術家,包括 當諾德·吉瓦德(DONALD JUDD),羅伯特·莫里斯(ROBERT MORRIS),丹·弗拉文(DAN FLAVIN)等等。

莫妮卡和菲洛米娜在1998年決定把兩家畫廊合併成一家, 自此就有了SPRÜTH MAGERS畫廊。2003年畫廊在慕尼黑創 立了分畫廊,倫敦伯克利大街上也有了分部。 2008年我們又 在柏林開了新的畫廊空間,而科隆和慕尼黑兩地的畫廊空間 就關閉了,因為柏林成為了國際上當代藝術最重要的城市, 可與紐約和倫敦媲美,而科隆也保留了辦公室。倫敦畫廊在 2007年的時候從伯克利大街搬到了格拉弗頓大街。所以至今 我們有兩個畫廊空間,一個在柏林,一個在倫敦。我們現在的 企劃仍然注重保持男女藝術家比例的平衡,仍然給女性藝術家一樣的關注和重視。而且我們並沒有刻意強調德國藝術家。


1 2 3 4 >>>