I came to Moscow in mid-1990, and it was very dark time in all senses. If I'm not mistaken, Luzhkov has developed an illumination in 1996 or 1997, and I went somewhere for a year before. At this time there was even a restaurant is not easy to find. Not to mention the artistic life, which, of course, not absent, but fully rested on personal relationships. Artists I've met, not even smiling. Today we will see a completely different situation. People are watching what is happening in the arts. Art scene has become more open, people began to look at things positively. Even the work became more interesting.
On the right connections
Between the idea of a gallery in Moscow and the physical appearance of the space was not much time - just one year. In the spring of 2007, I decided to go, but this year all earned. I was very lucky, because from the very beginning I had no problems with the room. It belonged to my friend, art collector, who, in fact, and persuaded me to open a gallery. Typically, people spend a lot of time looking for a suitable location, in conversations with city authorities, etc., but I already got everything ready. This was the easiest part of the case, turned out to be much more difficult to work with local buyers.
On the Russian collector
Collectors are not yet accustomed to working as a western gallery. It's much easier. Terms of relations between the gallery and the buyer has long worked, this model has been functioning for several decades. On both sides there are professionals. Russian art market there are only a few years, and people simply do not know how to interact with each other. For me, in these respects is constantly called for something new, some surprises. I am learning every day.
On the business-style
I try to work in Moscow as well as I do it in Berlin. In fact, I import my style of doing business. The most difficult as it may seem, was to find people to work in the gallery. The positive points include attention to us all sorts of media. Sometimes what they say about the opening of the exhibition in Berlin, one can not write. Just imagine working there more than two hundred galleries, not including art centers and museums, and in a newspaper published only one article about art in the week. Here we feel some kind of stars.
On the genius of the place
For me, Russian mentality and culture is much closer to Europe than to Asia. I often fly to Beijing and Shanghai, but it is too far. I do not always understand the people there. Chinese language for me is even more difficult than Russian, which I'm trying to teach. I really like Moscow and the people who live here. My friend Aidan Salakhova largely to blame for the fact that I am now sitting here. It was she who invited me to Moscow in mid-1990, and all this time we communicate and even do joint projects. I have an apartment not far from the gallery, and I spend a lot of time here. That is not to say that I have come to earn money. Fifty percent of me in Berlin, the other fifty - in Moscow. And now here I have a child.
On the dizziness from success
Jenny Holzer exhibition was very timely for the Moscow art scene. We brought this classic of modern art. Doubly pleased that she made a special project for Moscow. The second exhibition, "Glasnost /Perestroika," was even better than I expected. On the financial impact here is not involved because the work did not sell. We are still supplements the collection with a curator Sasha Obukhov, which perfectly understands this period. And in 2009, already a full version will be shown in London, the gallery Haunch of Venison. We are very interested in the reaction of the Western public. It is a pity that it is practically not represented in Russian museums and art institutions. I would be happy to support such initiatives ... Recently me to come to the gallery director of the British Higher School of Design. He is going to open Academy of Contemporary Art. I think that is what is missing in Moscow. In Berlin, such institutions already exist. So where my help is not so important.
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