Art is Freedom
Daniela Steinfeld founded VAN HORN 20 years ago as an artists' space named after a small town in Texas. The Düsseldorf-based artist has been a gallery owner for 15 years, showing talents such as Anys Reimann, Elisabeth Vary and Jan Albers at two locations in Flingern and Lierenfeld and at international art fairs. In her podcast Voices on Art, Daniela Steinfeld talks to international artists and gallery owners about art. In VIVID she gives an insight into the work of a gallery owner.
What distinguishes a gallery from the traditional art trade?
The essence of a gallery is the person who runs it, and that makes a gallery extremely individual. Art is not scalable and neither is a gallery. That's great and difficult at the same time, because it doesn't work like a normal business. The art trade can only deal in what is tradable and already has a value. It rarely deals with living artists, but with works that have already been in circulation. A gallery first creates value, cultural value, which then becomes economic value. You could say that the art trade focuses on the past, while the gallery focuses on the present and the future.
What are the challenges of selling art?
With art you sell culture, civilisation, freedom and emancipation. As a gallery owner, you manage the artists. Our job is to communicate art to people and museums, which goes far beyond selling it. 90% of galleries represent artists who are not commercially successful and difficult to sell. Sculpture, installation, photography and video are a small market. But these artists are important, culturally valuable, have a voice and a lot to say.
What qualities do you need as a gallerist?
A good feeling for art and for people. Curiosity, passion, total commitment and self-confidence. Also a high degree of idealism, coupled with a good dose of realism. As well as a willingness to take risks and a sense of responsibility towards artists, staff and collectors who have been loyal to the gallery for a long time.
Gerold Miller, modern sculpture, installation view VAN HORN, 2023
How do you find new artistic talent? How do you fall in love?
You go out and see a lot. You always have to see art firsthand, because what looks good online can actually be rubbish - and vice versa. Luck and chance often play a big role, and not just in the selection of artists. The job of a gallerist is to be alert and to seize a chance at the first opportunity. Thanks to my in-depth knowledge and intuition, I know very quickly what I like.
How do you choose artworks?
First of all, I ask myself: would I want to own it? In other words, is the work fundamentally important and great enough that I want to own it? Secondly, is it good enough for the museum? Thirdly, can I work with this person? These three things have to come together.
What characterises the art and gallery scene in Düsseldorf?
It is unique in the world that a city as small as Düsseldorf has such incredibly high-calibre institutions - from the Kunstsammlung NRW to the Kunstpalast, the Kunsthalle, the Art Foundation, the KIT and the Art Academy. The gallery scene is exciting. Art is simply part of life in the city. There is no one who has not been to an exhibition at least once. All the entrepreneurs collect art. Artists have a big voice here. Many international artists live here. Düsseldorf's politicians support art and culture in a way that other cities don't. All of this is incredibly fertile ground for art, and as a gallerist it gives me the strength to go out into the world.
Ulrike Schulze, installation view VAN HORN | Art Cologne - New Positions 2023
How have galleries changed in recent years?
The gallery market is currently characterised by two trends: more growth, bigger and more global, or a return to something very personal, specific and unique that no one else can offer. At the end of the day, art is a people business. It's all about people and stories. Human relationships, from the gallery to the artist to the collector. Art is embedded in that. Art often lives from just a few people, or maybe just one person who is so enthusiastic that they manage to ignite interest in others. I see myself as such a firestarter.
Women are still under-represented in art. Where are we now?
A lot has happened. There are more women than men studying at art academies. Many galleries are run by women. In the younger to middle segment, the most interesting approaches and works come from female artists. The top market is still dominated by men, but that will change in 10 to 20 years. There are already brilliant careers for women, but female artists who achieve very high prices have not been around for that long. The art market is one of the few where we at least have a chance of achieving a balance.
What issues is art addressing at the moment?
Art is often expected to be political and to take a stand. There's nothing wrong with that if the art is convincing as art. I see the real task of art as pointing us to something beyond our imagination or our everyday consciousness, beyond purpose and ego. If art has a purpose at all. Maybe it has no purpose, which would be the best thing of all. The most subversive subject of art is freedom. •
Text: KAROLINA LANDOWSKI
Fotos: PR, Andreas Endermann, Johannes Bendzulla