INTERVIEW WITH BARBARA GROSS
Dear Barbara, how did it come about that you became a gallery owner and what were your motives for opening a gallery in Munich?
After several years of experience as an art teacher, I asked myself whether I would like to pursue this profession for the rest of my life or reorient myself and engage in something different. While I was studying art and art history, I realized for the first time that there were no female artists represented in museums, so no role models and no art by women. So, I decided to work for the artists. One of the first things created out of this was an edition of pictures of women with photographs and graphics by female artists. Then I began travelling to museums to present and offer works of art. At some point it became clear that I had to open a gallery in order to work in a more professional manner. Munich was better suited for this than Berlin, as there was a good gallery scene here. I thought the city could handle my special program.
You only just celebrated your 30th gallery anniversary last year. You have exhibited artists such as Maria Lassnig, Valie Export, Nancy Spero and Katharina Sieverding at the end of the 1980s. How did such an incredibly top-class program come about?
At that time, these artists were not represented in any German galleries. The American colleagues in NY, in whose program women have long been exhibited, supported me immensely, so that I could show the likes of Louise Bourgeois, Eva Hesse, Ida Applebroog or Ana Mendieta in Germany. VALIE Export worked with a gallery in Austria, Silvia Bächli in Switzerland. I was the first gallery in Germany for Nancy Spero, Kiki Smith, Jana Sterbak, but also for some German artists such as Katharina Sieverding, Anna Oppermann and Michaela Melián.
Was it clear to you from the beginning that you preferred to work with female artists and, if yes, why?
In the first year it was part of the program to show female artists. I didn’t want to solely show feminine art, but art by women. The focus was always on the art, so it was vital to also exhibit male artists. Little by little, Rémy Zaugg, Boris Mikhailov, Leon Golub, Norbert Prangenberg, Yorgos Sapountzis and many others joined the group.
Which experiences in the course of your gallery activity do you particularly like to remember?
I can only name a few examples out of such an abundance of experiences. Above all, I like to remember visiting artists‘ studios, openings with them in museums and art associations. The many trips together were also always very special. I will never forget visits to Maria Lassnig in Vienna and being able to enjoy the famous apple strudel after talking about her new pictures and the selection for the next exhibition. The many visits to Nancy Spero and Leon Golub’s small studio in New York and our nightly discussions in the restaurant with curators and critics remain unforgettable. I spent a lot of time with Katharina Grosse working on her exhibitions and projects. I entertained Kiki Smith during her night shifts at the Mayersch’sche Hofkunstanstalt in Munich. I traveled a lot with filmmaker Jacqueline Kaess-Farquet, especially to NY and China. She shot in Louise Bourgeois‘ studio, as well as in Zheng Guogu’s house and self-made garden in Yangjiang. It was very exciting to see these performances.
What were the highlights of your gallery life for you?
I never counted them. Winning artists for the gallery is a pleasure, designing and setting up exhibitions with them as well. The exhibition „But I see the world I see you“ by Rémy Zaugg, which was exclusively designed for the rooms of the gallery in Thierschstrasse – with a catalog that documents the creation – was definitely a highlight, but then so is the installation of Michaela Melián, the multi-channel projection by Qiu Anxiong or the House of Art in Glass by Carlos Garaicoa.
Placing exhibitions with museums and art associations, selling into good collections or to passionate collectors are important milestones in the life of a gallery owner. How has the perception of the art market changed in the course of your work?
It annoys me that we are increasingly being condemned to an information-overloaded, turbo-driven online existence. However, art remains great and can still be discovered and enjoyed in large and smaller programmatic galleries.
What are your plans for the coming years?
I will continue to work with art. Stand up for artists. How and where remains to be seen.
Dear Barbara, the FRIENDS of HAUS DER KUNST wish you wholeheartedly health, happiness and the fulfillment of all your plans for your new phase of life for the coming years. Thank you very much for this interview.
This interview was conducted by Elisabeth Lörcher, board member FREUNDE HAUS DER KUNST.