14 october 2022, Oscar van Gelderen
The gallery of... Johan September
In the section 'The gallery of' we talk to a host of gallerists from the Netherlands and Belgium: when and how did they start their gallery, what has changed in the art world since, what is their profile, what do they collect themselves, and what has been the impact of the pandemic on their gallery? In this part it’s Johan September (galerie EL).
Were you exposed to art while growing up??
Not really, apart from a lithograph by Valerius De Saedeleer and one by Octave Landuyt, my parents had little or no connection with art at the time. Only later, when I made them more and more interested in buying something every now and then, they gradually adopted a different view of art, which they have liked since then. My interest in art was sparked by one of my teachers at the time, and it was thanks to this teacher – Jan De Smedt (gallerist De Ziener) – who convinced my parents to let me take a creative direction at Sint Lukas in Brussels.
Eric De Smet - casting process in De Groeve bronze foundry - 2021
How did you come into contact with the art world?
The very first introduction was through my studies and the stimulus to explore further arose mainly in Brussels. I also bought my first serigraph there, a work for 150 Belgian francs; the choice was between a bootleg single limited edition (green vinyl) by Iggy & The Stooges, or the screen print. It became the screen print, and a little later also the bootleg single, both of which I still own by the way.
Screen print + bootleg single by Iggy & The Stooges
What was your first job in a gallery? Or did you immediately start a gallery yourself?
After my studies I soon found myself in the graphic world, initially as a screen printer and later as a designer. It was during that period – when I was working with a few galleries – that the idea arose to start my own gallery sooner or later. It was only in 2020, when Eric De Smet of gallery EL wanted to stop the gallery after eighteen years, that my partner and I decided to continue it. Because we both liked the philosophy and the space of the gallery, and so it happened. The continuation of gallery EL with an eye for continuity as well as for unexpected angles is our commitment.
Jo De Smedt - Thuis voor zwart - 2021
How would you describe your gallery’s profile?
A platform for artists without a preference for trends and tendencies, where we organize exhibitions that each testify to a substantive characterization that is portrayed in an honest, conscious and personal way. This is still the original starting point, which we continue to endorse with thoughtful and daring exhibitions – an offbeat stroke.
Nienke Fransen - New garden of eden - 2022
What do you think is the best part of being a gallerist?
The feedback we get from visitors/buyers on the exhibitions and passion for the gallery. Enthusing people to discover art. Certainly also making choices with artists and exhibitions. Building an exhibition is always a very nice and intense event. Sometimes smooth and/or spicy, but always with respect for the artists and their work.
Greet Billet - The opposite of anything - 2021
Which national / international galleries do you feel an affinity with?
I especially feel related to galleries that are open to experiment and authenticity. Naturally, each gallery has its own identity and vision. We are all different, but we have a common objective and that is promoting art as widely as possible.
Frank JMA Castelyns - Installation - 2021
In an ideal world, which artist would you most like to represent?
Martin Kippenberger. Versatile, contrarian and cynical, but still an inspiration to many.
What has changed in the art world since you took your first steps?
The speed at which social media have developed, offering a quick look at exhibitions and artworks. It has its advantages and disadvantages, art is becoming more accessible, also in terms of communication and reach. The flipside of the coin: spectacle is increasingly a part of art and the acumen and content are often suppressed in this way. This also creates a certain fear of experimentation. In the current economic times, people often opt for certainty and less often for experimentation.
ART ON PAPER 2022 — SOFAM FOCUS Prize - Jo De Smedt
What / whose work do you collect yourself?
Work by artists I represent and of course work by interesting artists who are not affiliated with the gallery. Actually I don't really feel like a collector but rather an enthusiast, but of course: if you put everything together, you can speak of a collection.
Frank Depoorter - Rotterdam Art Week in collaboration with Neck of the Woods 2022
Has the pandemic changed the way you see the artworld?
Initially yes, but the shifts that were proclaimed do not appear to be that big after all, now that we function in a more normal way. All the peace and contemplation seem to make way again for the known habits. The fact that everything is in full swing and all at the same time these days, of course, brings back the hustle and bustle. There are certainly also things that have survived from the past covid-19 period; sharper choices are made, people are better informed. I do notice that. Perhaps a correction is on the way, everything less, but stronger instead.
Hedwig Bouckaert - PEEL - 2022
