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


ART.ZIP: Do artists in the gallery occasionally accept commercial commissions, such as for an advertisement? If so, do you handle the artist and the works differently?


AG: We deal with and handle these people’s artistic output, but they have their own operative structure. If they got commission [on their own], we would not get involved. They have their own separate second source of income. Say Philip-Lorca Dicorcia, if he is doing commissions for a magazine, those images are usually not handled and sold as artworks. Photography is democratic medium. Sometimes the magazine would contact us because they don’t know how to deal with the artist, and then we will introduce them to the artist, nothing like a share or commercial interest would come up.

ART.ZIP:畫廊的藝術家可以接商業委託嗎? 如廣告?你們又是怎麼處理的呢?


AG: 我們只處理藝術家的藝術出品,他們也有 自己的操作結構。如果他們有商業委託,我們 是不會插手的。他們有獨立的,其他的收入來 源我們都不會幹預。譬如菲利普·洛卡·迪可西爾(PHILIP-LORCA DICORCIA),如果他為雜誌 做委託項目,那些圖片也不會被當成藝術品來 處理和出售。攝影是一種民主的媒介。有時候 雜誌會先聯繫我們,因為他們不知道怎麼和 藝術家打交道。我們會給他們介紹藝術家,但 是我們不會收取任何的提成或得到任何商業 利益。

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ART.ZIP: Although Sprüth Magers is a private gallery, it is sensed that it is very friendly to the public, welcoming and encouraging the public to visit. What is the policy and attitude towards general public?

AG: You see we have big windows! I know some galleries show their attitudes to
the London audiences, it depends from gallery to gallery. Some of them set up the gallery at 2nd floor, one must press the buzzer for entry, which set some barriers to keep general audience out, for they may want to build privacy and secret. But we have a big window, we have an open door, everybody could come in, look and enjoy.

ART.ZIP: SPRÜTH MAGERS是私人畫廊,但讓 公眾覺得很友善,也鼓勵公眾來參觀。你們對 公眾有什麼政策或持什麼態度呢?

AG: 我知道很多畫廊都與大眾保持一定的距 離,譬如把畫廊設立在二樓,來訪者得按門鈴 才能入內參觀。這樣就為大眾設立了一些屏 障,或許是畫廊想保留一些隱私得緣故吧。但 是我們畫廊有巨大的櫥窗,隨時開放讓大家 入內參觀和欣賞藝術品。

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ART.ZIP: How do you balance the relation between the gallery and the artists?


AG: I think we work like partners. If they have different directions, if the artist is too successful that the Gallery can’t deal with it anymore, then they would be officially taken. We know how to handle this case, sometimes the gallery is very successful, sometimes even the gallery dumps artists, or an artist changes to another gallery. But the ideal case is both the gallery and artist develop at the same rate, they grow together. If their relationship doesn’t
 not work anymore, then they have to say goodbye, to take consequences
and ended the partnership. We leave both partners and possibilities open, gallery should be serious, committed to the artists. Do their best for the artist. If gallery only interested in the money and considers this as starting point for the gallery, I think it would not succeed. There are secondary market dealers who sell works, try and look after the artists, that’s another possibilities of running a gallery, but I think people should be honest of themselves, and try to find out what do they want, do they want to be their parents, or do they want to make money. Find a comfortable way of working relation between the artist and the gallery.

ART.ZIP: 你們是怎麼平衡畫廊與藝術家之間 的關係的?


AG: 我們就像伴侶一樣吧。如果他們需要向不 同方向發展,或者藝術家太成功了我們畫廊 不再具備操作的條件,那麼我們就會終止合作關係。有些畫廊變成功了就開始拋棄一些原來的藝術家,或者藝 術家轉到別的畫廊。理想狀態是畫廊與藝術家一起成長。如果兩者 無法再合作了,也就不要再勉強。我們對合作方都持非常開放的態 度,畫廊也需要對藝術家負責,讓藝術家得到最好的發展。如果只 是以賺錢為目的而開畫廊的話,我不認為畫廊會成功。市場上還有 一些二線的藝術交易方也會幫藝術家賣作品。這也是另外一種運 營方式。我認為只要人們對自己和對對方誠實,想清楚是想要成為 藝術家的父母呢還是只是純粹為了賺錢。要找到一種讓雙方都感 到舒服的方式就好了。

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ART.ZIP: What suggestions would you give to those students who want to become artists?

AG: They must think about it seriously.
It is a tough choice to be an artist. You can be very lonely and you must be very committed. Check with yourself if you really want to go there because you
will have a hard time. The second thing
is, go and see as much art as you can, justify your own position, reestablish your own way in context of other art being produced. Go to see as many exhibitions as you can, be active part of the network. At some points, being an artist is a lonely profession. No one else will help you, unless you are Damien Hirst and someone is working for you. Otherwise you are all on your own, you have to go through the things. Larger networks can help you to go further, in a community artists help each other out, so try to become part of a community. Work, work, work! Be active, there is lots to do; partying, drinking, overwhelming, practicing, developing your own language skill, find a way to be apart from others, to make clear about what concept you want to tell.

ART.ZIP: 你會給想成為藝術家的學生一些什麼建議呢?

AG: 他們必須想清楚了是否要成為藝術家,因為成為藝術家是一個很艱難的抉擇。 藝術家會很孤獨,需要竭盡全力,所以必須要問清楚自己是不是真的想成為藝術 家,因為你將面對非常多的困難。其次,走出門看盡量多的藝術,調整自己的定位, 不斷重建自己的藝術方式,看盡可能多的展覽,活躍於藝術圈中。某種程度來說,藝 術家是非常寂寞的職業,沒有人可以幫你,你必須自己克服各種困難。廣闊的交際 圈可以讓你走得更遠,在圈子裡藝術家都會互相幫忙,所以要成為群體的一分子。 創作,努力地進行各種創作,要積極地參與,聚會,實驗,創造自己的語言,找到一個 與別人不一樣的自己,弄清楚自己想要傳達什麼概念。


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