07 january 2022, Oscar van Gelderen
The gallery of... Ingrid Deuss
We’re you exposed to art while growing up?
Not at all! The word "art" was completely non-existent during my upbringing. I grew up in the small Limburg village of Boorsem (Maasmechelen); my father was a lorry driver, my mother a housewife, there was no link whatsoever to art or fashion. My parents were mainly concerned with hard work and raising their children.
The existence of art and galleries was completely unknown to me.
Oddly enough, both my brother and I were always curious about what was happening outside Limburg. I had a very strong feeling that I had to go and explore. Thankfully that was very much encouraged by our parents. They also had the idea that there was an even bigger world waiting for us somewhere.
‘The Mind Machine of Dr. Forsythe’, 1993.
How did you come into contact with the art world?
My very first introduction was through a visit to 'De filmfabriek’, where my brother worked at the time. I was nineteen years old and studied speech therapy in my first year, because studying photography was not an option at the time, according to my parents.
The filmfabriek — run by Peter Misotten and Anne Quirynen — was in full production at the time for a video installation for William Forsythe's "The Mind Machine of Dr. Forsythe', which was part of Antwerp '93. I still remember the moment I entered the old Bierbeek dairy factory: dancers came to life in a gigantic aquarium. It's engraved on my retina… An incredible first discovery of the world of dance, video and art.
Soon after I decided to study photography. I was enormously triggered, because one of my childhood friends studied photography, but also the then love of my brother and one of my flatmates, it quickly became clear that I had to go in that direction. Due to my parents' financial situation, I even studied with a borrowed camera in the first year. For me, the best thing about the training was that it stimulated me to see, explore and look beyond school. A whole new world opened up to me.
The Nightshop Knokke, polaroids Andy Warhol, 2013.
What was your first job in a gallery? Or did you immediately start a gallery yourself?
After my studies I started working as a photo agent and producer for advertising, fashion and music campaigns. Something that I recently expanded further under the wings of Czar, an international film production house, under the name photographyPLUS.
Nineteen years ago I bought the empty retail space under my apartment as an office space. It was a fantastic 1930s building, which I thought was too beautiful to use just as an office, so I started organizing one or two exhibitions a year to interest my clients in a different kind of photography: vintage photography, art photography that transcends commercial photography.
Ten years ago, I completely opened the door to a full-time gallery, without any background in art or the gallery world, and of course with some trial and error. I am very grateful for the conversations and 'lessons' with some of the great gallerists and art connoisseurs, who often shared their experiences.
Two decades ago, the commercial photography world was still very much looked down upon by the art world. Fortunately, this is something that has changed to such an extent that I no longer have the feeling that I am in a quandary between my two jobs. More and more I notice that everyone is beginning to understand that these worlds are completely compatible. As long as you do it with the right attitude, and the right gut feeling. In any case, I am a strong proponent of working together across sectors, in order to be even more reinforcing and to tell your story.
Exhibition Karel Fonteyne, 2013.
How would you describe your gallery’s profile?
I recently moved away from calling myself a photography gallery. My artists use the medium of photography, and have their own recognizable style, which sometimes push the boundaries of the medium. They usually have an analogue mentality, but like to explore new options that give their work its own signature. Together with the artists, we also pay great attention to the choice of materials and framing. Usually they are unique works, or very limited editions. That's why I always talk about works in the gallery, never about photos. I really like showing the various layers in works, so that one can always look at them with a changing emotion.
Ingrid Deuss Gallery.
What do you think is the best part of being a gallerist?
Someone recently said in the gallery: 'You let the best of photography float to the surface here.' I thought that was an incredibly nice compliment. The idea that I can take someone into another world for a moment when they are in the gallery makes me very happy. Also that I can get emotional with the works I show and that I am able to inspire others.
Which national / international galleries do you feel an affinity with?
In Belgium I remain a big fan of Ibasho, because of the choice of artists. I share a sense of tactility with them. But certainly also Stieglitz, Zeno X and Sofie Van de Velde. Abroad, I have looked up to Kicken gallery from the start, but also Bildhalle and BlackBox Projects.
Interview De Morgen Frank & Sofie, 2017.
In an ideal world, which artist would you most like to represent?
I am a huge fan of Dirk Braeckman. Not only of his work, but also of Dirk as a person. I have been fortunate enough to work with him on a fashion film for AF Vandevorst. The work of Jungjin Lee is also on my favourites list.
What has changed in the art world since you took your first steps?
A lot has changed for me since I started. This has to do with the way photography is regarded in general. Due to my choice to exclusively show photography and the 'duplicability' of the medium, it took a long time to be accepted. Partly because I had no experience whatsoever. When I got to know Jan Hoet Sr., I was given one of his most valuable tips: 'You're going to have to re-educate people in photography. You’ll need to explain what real photography is.”
What / whose work do you collect yourself?
I am a 'young' collector, mainly of photography. I am still incredibly happy with a painting by Albert Pepermans and with a fantastic text by Hugo Claus that I bought years ago. Also, I still cherish my very first purchase: a photography work on canvas, by Karel Fonteyne. In addition, I like to buy 'special edition' books, which tend to include a work. For example, I recently bought a beautiful print by Hanne Lamon, which I will also exhibit at the beginning of January 2022.
Has the pandemic changed the way you see the artworld?
The pandemic made me realize that I had to go up a gear online. Since the gallery's inception, I've always referred to it as a "living website." I especially wanted to create an experience for the visitor in the gallery. Now I know that many people find their way to the site through my Instagram account, and then even to the physical gallery. The impact of promoting yourself online is enormous; a grateful tip I got from one of my best friends – and colleague – Sofie Van de Velde.
Isabel Miquel Arqués, A Study on Movement and Imperfections, 2021.
