Ihr Einkaufswagen ist im Moment leer.Mit dem Einkaufen fortfahren
Dieser Beitrag über die Galerie erschien am 1. Februar 2022 im „Inspirational Art Magazin“.
Since its founding in January 2017, "eine art galerie" belongs to a completely new generation of art galleries. It is analog for people, and digital for spreading contemporary art. In this way, "eine art galerie" offers a successful digital platform and at the same time meets the longing for art that can be experienced in the real world. This, emphasizes owner and curator Peter Hofmann, is not a contradiction, but rather two worlds that complement each other ideally and continue to merge over time. In the beginning, there was the transformation idea: How can a classic art gallery in the heart of Cologne be transformed into a modern online platform?
But quickly came the awareness that this is the wrong task. It can't be about transforming, but about complementing. People are born analog. He moves in real emotional worlds. On the other hand, he shapes his environment more and more digitally. In this consciousness the gallery developed and develops further.
We serve the analog world with outstanding exhibitions in dignified rooms, the digital world with professionally prepared information on all artists. Until that point was reached, recalls 58-year-old founder Peter Hofmann, there was an untold number of hour-long, late-night chats with many renowned artists. One digital encounter in particular shaped the gallery's development: the meeting with Jorge Stever, a German artist who emigrated to Venezuela after his great success at Documenta 5 (1972). He knew just as much about personal
friendships with Warhol, Rauschenberg and Richter, as he did about successes and failures in collaborations with major galleries around the world. They were very instructive, intense and emotional conversations over a distance of more than 9.000 kilometers. Above all, one term remained in Hofmann's mind: "responsibility."
Hofmann remembers exactly: "As a gallery owner, you have the
responsibility for your artists and their myth. For your collectors, the responsibility to maintain the value of the works on the market," Jorge Sever said in a lovingly instructive tone. The gallery has made this advice its own.
One of the biggest challenges for art in digital distribution is the emotionality that lives in each work. A photograph says a lot, but by no means everything.Hofmann often stands in front of his camera lens for hours to get the best photo that does the work justice. "As soon as you look at a work through the camera lens, a process of research, examination and admiration begins. It has something
to do with slowly growing love," says Hofmann, describing his gallery work. Only when this feeling returns in the photo is it ready for social media and thus a broad public.
More than 15,000 followers and subscribers now follow the gallery on social media. They are artists, collectors and people who love and appreciate art. "When a dialogue arises in the process, we are delighted. Then we know we've already done a lot right," Hofmann says of the work on Instagram & Co.
The more successful the gallery became in the online sale of art, the more it questioned Cologne as a location. If you sell art online to Tel Aviv, Bologna and Strasbourg, you can also make yourself independent of expensive locations like Cologne. So in 2020, Hofmann went in search of new premises. He found what he was looking for in Bad Ems, a beautiful small town on the Lahn River between Cologne and Frankfurt. Here, where already Fyodor Dostoyevsky was enchanted when he wrote during his stay: "The small town of Ems lies in a deep gorge between wooded hills. The town leans against rocks, the most picturesque in the world. There are promenades and gardens - and all lovely.
With Villa Schloss Johannisberg, the gallery now has new spaces whose 4-meter-high ceilings - framed by old stucco - welcome all works of art in silence and with much dignity. It is precisely this kind of dignity that seems to have been lost to many galleries today. Here, art lovers from the Rhineland between Cologne and Frankfurt/M. can feel, admire and, of course, buy the works over a glass of fine wine.
And when Hofmann invites collectors to dinners, he also likes to open a wide drawer of his antique gallery cabinet later in the evening. The treasures hidden here do not often come to light. But when they do, joy spreads among the guests. They are often small works by female artists such as Abigail Stern from New York, Monique Thomas from Alicante or even Alberto Gallingani from Florence.
And every month new artists join the small group of selected artists.
Most recently Bernd Kalusche and the Dutch Ron Weijers.
In selecting the artist Hofmann takes in the gallery, he decides from his gut. In addition to experience, it is primarily a feeling that tells him which artist fits. This feeling, Hofmann explains, is more important than a selection based on market judgements, fashion trends or degree programs. In this, Rita Daublander's latest exhibition, "Mystery Places," proves him right. "Rita was a lucky chance
discovery" Hofmann enthuses. "There you have artists from Japan, the U.S, and Canada, and suddenly an artist whose studios are just two streets away from the gallery shows up. I had just hung the freshly delivered works on the wall to photograph them, and a collector came into the gallery and immediately bought all four works." Hofmann reports.