We’re you exposed to art while growing up?
Definitely, although we didn't collect art at home, culture was very important. I was born and raised on Curacao, where my father co-owned a newspaper. Curacao is an island where art’s presence is limited, but when we travelled to Europe my parents dragged me from one church to another. This applied to museums too. I also came into contact with other cultures, of course, because as a child I already travelled to countries in South and Central America, which are of course easier to reach from Curacao.
How did you come into contact with the art world?During my studies I lived for a while on the Paulus Potterstraat, diagonally opposite the Stedelijk Museum. As a result, I visited the SM very often. So in the eighties I saw almost every exhibition there. During my studies I was a summer steward at KLM, and later on a permanent contract. That gave me the opportunity – when in New York for example – to go to the MoMA, but this also applies to other cities/countries. I only started visiting galleries later, around the mid-nineties. Initially, of course, to search and buy something for the walls of my home.
What was your first job in a gallery? Or did you immediately start a gallery yourself?
I had been a customer of Nanky de Vreeze for years, and at one point – in 2002 – she indicated that she wanted to stop because she moved to France. She then asked me if I was interested in taking over her gallery together with Marina Krijger. I had no prior experience in the gallery business, but it seemed very interesting to me. I joined in late 2002, along with Marina, who came from London and had worked there for a long time for Christie's.
The advantage was that we continued with an existing gallery; with a beautiful roster of artists and a clientele. Although it was all very new to me in the beginning, I found it very exciting and soon found my way in the gallery and art world.
How would you describe your gallery’s profile?
Initially, the gallery focused on abstract work with both monochrome painting and more abstract spatial work. Over the years, the gallery's profile has become broader and more diverse, and now includes photography by both Tessa Verder and Willem van den Hoed. In addition, space has also been created for more figurative work, such as Lara de Moor recently. I think your taste evolves over time too; there’s a noticeable thread, certainly according to most customers. Having said that, I have been working with most artists for a long time.
What do you think is the best part of being a gallerist?
I find many aspects fun and interesting. For example, I find studio visits very valuable, it is very nice to talk to artists about their work. Furthermore, installing a new exhibition, as it’s always exciting to see whether you have selected the right works and whether they enter into a good relationship with each other. And then, of course, the reactions of your customers. And whether you can do something for both your artists and your customers. It is very nice if you can place work of your artists in good collections.
Which national / international galleries do you feel an affinity with?
Difficult question, because I don't feel related to many galleries, as I've always gone my own way. It's about what you stand behind and feel comfortable with. This applies to both the artists and their art. Of course, I have more contact with some colleagues, but in the end, I have always sailed my own course.
In an ideal world, which artist would you most like to represent?
I stand behind all the artists I represent, but if I may dream, Gert & Uwe Tobias, William Kentridge and Gerhard Richter, to name a few.
What has changed in the art world since you took your first steps?
A lot. Unfortunately, I have witnessed a decline in gallery visits in recent years. This has moved to art fairs as these have become much more important, which is understandable as fairs are much more accessible to the public and get an overview of everything on offer.
Also, of course, the internet. People can now orientate themselves much broader and more deeply about what there is to see. And especially with social media such as Instagram, which seems to be all about pictures of art works.
What / whose work do you collect yourself?
Of course I own work by just about everyone I represent and whom I have shown in recent years, such as Niek Hendrix, Dan Bodner, Dirk Salz, Willem van den Hoed, and Jae Ko. But I also regularly buy work from colleagues.
Has the pandemic changed the way you see the artworld?
The rat race from fair to fair and from exhibition to exhibition has stopped for a while, which I did not find unpleasant. In the beginning I missed the fairs – and seeing and meeting lots of people – but I soon noticed that this period is also a moment of reflection to think about what we are doing. Furthermore, your online presence has become increasingly important, although I still strongly believe in the physical experience of art, that seeing art is the most important thing, which is best done in galleries. I've noticed that people really enjoy having the gallery all to themselves, and being able to view everything in peace. And of course I'm really looking forward to the first physical fair since the pandemic, Art Rotterdam!
See all the artists represented by Galerie Roger Katwijk.