28 october 2022, Oscar van Gelderen
The gallery of... Yvonne de Jong
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 we speak with Yvonne de Jong (Root Gallery).
Were you exposed to art while growing up?
Not really. It was only during my time at the art academy that I visited my first contemporary art museums, and later also galleries; mainly during city trips in cities such as Düsseldorf and London. The love for art grew at the academy, especially for movements from the sixties; Conceptual art and the Zero movement fascinated me enormously, and taught me that art can touch you. Lucio Fontana, Sol Lewitt, Yves Klein; big names that opened up a whole new world for me at that moment.
Jochem Esser - Tomorrow's Harvest - solo in Root Gallery (2022). Photo: Jacqueline Fuijkschot
How did you come across the art world?
In 2010, I started studying fashion at the Willem de Kooning Academy. It wasn’t before long that I realized two things: I didn’t feel at home in the fashion world and I am not a maker. I switched to Lifestyle & Design, which I completed in 2014. Lifestyle & Design gave me the space to develop and deepen myself in the art world, without any restrictions.
In 2013, I studied Textile Design in Budapest for half a year. Actually, the academy asked me to choose an internship, but I had no idea what I wanted, so I chose to study. I had visited Budapest a few times and the atmosphere in the city felt good. Textile Design was a safe choice after the earlier year of fashion. In short, I avoided making a choice and kept all options open for the future.
In Budapest we were instructed by a teacher to visit one exhibition or gallery every week. An assignment in which a lot of puzzle pieces fell into place for me. It didn't stop at one gallery a week; I was soon fascinated by the gallery world, which at the same time was incomprehensible to me.
Donald Schenkel with Yvonne de Jong - Polylith with Monolith (of Verticals) - solo Donald Schenkel in Root Gallery (fall 2021). Photo: Jacqueline Fuijkschot
What was your first job in a gallery? Or did you immediately start a gallery yourself?
After my study Lifestyle & Design, which I completed in 2014, I took up a position as a gallery assistant at Zic Zerp Gallery for nine months A role that might have been a bit ambitious for someone who didn’t quite know what working in a gallery entailed, but I was still very curious about this world.
This was also the period in which the name Root came into being (Root expositions, and later: Assembled by Root). Root as in: root, back to basics. I started researching what the preconditions are for artists to exhibit their work; why does the art world work the way it does? What is the success formula behind a gallery like White Cube, and can it be done differently? I gathered artists around me with whom I organized more and more exhibitions. In vacant retail spaces I developed exhibitions, lectures, and sought out collaborations with parties from the city. I know many of the artists that I now represent from that time, the time when there was no gallery yet. People also increasingly commissioned me to create exhibitions, which helped me gain experience and build a network.
Both during my studies and afterwards, I always made decisions based on a gut feeling. I took on everything that felt right, and otherwise I chose a different path.
In 2016 I rented a very small building in Rotterdam Noord, an office space annex exhibition space. In 2017, the building of the old greengrocer in the Zwaanshals became vacant. I cycled past and was immediately enthusiastic; this had to be 'our' place. I called my artists and asked: shall we do this? If we do, it suddenly becomes a proper gallery, and I need you for that in order to succeed. In February 2018, we opened with a solo exhibition by Sophie de Vos, an exhibition that I still look back on with great pleasure.
Sophie de Vos - Time Is All I've Got - solo in Root Gallery (2018)
How would you describe your gallery’s profile?
The artists I work with all have a clear signature style. The work can be called aesthetic, but the story or the motives behind it are just as important. Works in which you can disappear, in every possible format. In addition, all artists have a strong mastery of the materials they use.
I rarely work with guest artists. When I start working with an artist, it is often with the ambition to do this for a long time, to let something blossom together. It is a close-knit group of people, who all learn from each other and support each other. Partly for this reason, all artists live in the Netherlands; so that people can easily connect with each other. Who knows how that will unfold in the future.
Freerk Wilbers - Motive #15 (Large diamond) during Big Art (2021). Photo: Jacqueline Fuijkschot
What do you think is the best part of being a gallerist?
Growing together. I have been working with most of the artists since the beginning, they are very loyal to the gallery; that's really great. I think it's wonderful to see the development they are going through; artistic development, but also on a personal and business level. And if I need a sounding board, they are always there for me. Of course, you grow together with your customers and the people working in the gallery. The whole energy, all the ups and downs, sharing and learning from each other; I enjoy that immensely.
Looking back on all the projects that I have already been able to do together with the artists, makes me really happy. And at the same time there is still so much to learn, we can grow so much further together. I sometimes say: 'I have the best job in the world' and I mean it.
Which national / international galleries do you feel an affinity with?
Actually, I don't feel related to specific galleries. In 2015, I moved from The Hague to Rotterdam, because I expected that Rotterdam would suit me better. And that certainly turns out to be the case! I have the feeling that this city is open to new initiatives, the energy is very good. With galleries such as Joey Ramone and Frank Taal, we certainly have a city with strong galleries. Despite the fact that everyone has their own and different programme, I do feel as if they reinforce each other.
Portrait Yvonne de Jong - Moving - solo Freerk Wilbers in Root Gallery. Photo: Sophie de Vos
In an ideal world, which artist would you most like to represent?
The best thing about my job is discovering new talents and developing something with them. Of course there are people on my radar, but I won't reveal them here.
What has changed in the art world since you took your first steps?
Not much has changed since 2018, but partly due to the pandemic, the art sector seems to understand the importance and power of a strong online presence. Me too. An online presence that is not just about sharing artworks or openings, but also the story and the people behind it.
I think the art world can still improve a great deal on the latter. We have so many beautiful stories to share and special things to show. Making people enthusiastic, drawing a new target group into the galleries and so on.
Quinda Verheul - The Sound Of Silence - solo in Root Gallery (2022). Photo: Jacqueline Fuijkschot
What / whose work do you collect yourself?
At the moment I mainly have work at home by artists I know well. People I represent, or with whom I am friends. That does not mean that I don’t have a wish list. The work of the now deceased Rotterdam artist Mathieu Ficheroux, for example, is high on my wish list.
Has the pandemic changed the way you see the art world?
Covid has certainly made me look at the art world and the gallery differently. Before the pandemic, I strongly believed in Root's international character. Go out into the world with a group of Dutch artists. Before the pandemic, we also collaborated a lot with other galleries, for example from Switzerland and China. When the borders were closed, I suddenly had to fall back on the Dutch market. We have always had a physical gallery in the Netherlands, and our website is very extensive; so from that base I could work towards a new model. Not much has changed on the front, but certainly has behind the scenes.
I wanted to come out of the Corona period stronger than we entered it. After all, standing still is going backwards. In the winter of 2021, I moved to a new location. The gallery is now located in the screening room of the former city archive of the municipality of Rotterdam. The space was dilapidated, but due to all the lockdowns and cancelled fairs I had a lot of time on my hands. In four months, with the help of the artists and a small team, I renovated the space into the gallery as it is today: a very nice space where grand installations and experiments can be shown. If the world hadn't stood still for such a long time, I could never have pulled this off. Of course, the pandemic was a dark period for a lot of people, but it made me realize that you always have to stay open to opportunities. That's the only way forward.
