A report from new AWS contributor Leif Magne Tangen
The debate about the power of the collector has been going on for some time now. An interesting project in Leipzig will certainly raise eyebrows again in this regard.
The Museum of Contemporary Art (Galerie für Zeitgenössische Kunst, or GfZK) is opening its 2008 winter season with an ambitious project: Over the next two years, the museum will invite 11 collections, collectors and galleries to display their collections of art in any way they see fit. No interference. No questions. No veto.
The title of the project says it all: Carte Blanche.
In fact, there is nothing new about collectors being given freedom to do what they want in a museum. We have a prime example only 200 km away from Leipzig, in the Hamburger Bahnhof Museum in Berlin. Parts of that public institution now house two private collections, the Sammlung Marx of Erich Marx and, since 2004, the much discussed Friedrich Christian Flick Collection.
Are museums are losing the battle for artists? Today we have more large private collections of contemporary art then ever. We have private galleries that are larger than some museums, doing blockbuster shows. Meanwhile, museums are re-selling parts of their collections and private collectors are hiring curators and consultants to “direct” their collections. Collectors are even building their own museums.
Leipzig director Barbara Steiner says in the introduction to the Carte Blanche project:
“In view of the most recent developments, the often undue influence of collectors, gallery managers and other enterprises on facilities funded by the public purse seems less of a problem than the tendency for private individuals gradually to lose interest in these museum.” She wants to find out “whether new partnerships between public bodies and private supporters can be created at all, how such an interaction might look, what the consequences of such forms of cooperation would be for the development of art and its institutions, also when considered against the background of the establishment of our institute.”
Is there an American view on this? Will private influence destroy the public sphere? Is there too much influence already from private collectors in your view?
p.s. Full disclosure (before I get hunted down by Tyler Green): one of the artists featured in the opening show and in a double solo show later this year, Mark Lombardi, is represented by Pierogi. I work as a director of Pierogi for their Leipzig gallery.