23 july 2021, Oscar van Gelderen
The gallery of... Justine de Klerk-Janknegt
We’re you exposed to art while growing up?
Yes, but the funny thing was that as a child I had no interest at all in my parents' art collection. I was always saying: 'If you leave the art to us, I will sell it all and buy a horse.'
At home, we’re still joking about this, but I do believe that a seed has been planted there. My mother painted herself and her teacher visited us a lot. Through him I learned to look at art. In addition, my parents collected contemporary, pre-Colombian art and ethnographic art.
First, through my parents. At home there was a lot of talk about art. As grew older, I got more affinity with art. What attracted me to it is that it represents a different aspect of life. Art is about a deeper layer, it implies that there is more. Mystery. You face the unknown, and something is going on in your head. After completing another study, I started an art course at The Study Centre of Fine, Contemporary and Decorative Arts in London. The best time of my life. We visited galleries and artists every week.
What was your first job in a gallery? Or did you immediately start a gallery yourself?
My first job was with Elisabeth Bieman de Haas in the Spiegelstraat. After that I started working at Gallery Delaive. I was hardly ever in the Netherlands anymore: we travelled to Sam Francis in Palo Alto or Karel Appel in Italy, and did many international fairs, such as Hong Kong, Cologne, Ghent, Miami. After eight years, Frans Jacobs asked me to become his business partner. I then took that step. Frans and I entered the world of the art trade. We were at Art Miami, TEFAF, Fiac, Arco and many other fairs.
In 1998 I became pregnant with my first child. Frans didn't believe in women with children and told me I could no longer be his business partner. Then a good customer stepped up from me and said: 'You have to start for yourself, you have led the way there, so you can do that for yourself too.'
With a child on the way, I took that chance. And that is what has become Janknegt Gallery. I soon knew that I no longer wanted to continue in the international art trade (although I still did at the beginning), and that working with artists was much more for me. Now, 23 years later, I never regretted having made this step.
I work with a small number of artists, because I collaborate very intensely. I also don't just drop artists. You see in the art world that as a gallery you only count if you bring (discover) young artists. I think this is an injustice to good artists who are getting older, the mid-career artists. Of course, I supplement my programme every year with young artists, but I don't drop an artist because fairs think you should only show young art.
How would you describe your gallery’s profile?
Initially, the gallery mainly focused on work on paper, with both monochrome and more figurative work. This was when of fairs focussing on work on paper started to emerge, such as Drawing Now Paris and Art on Paper in New York. Over the years, the gallery's profile has become broader and more diverse, and three-dimensional work has found a place too. I think your taste evolves over time too. There’s a common thread, certainly according to most customers. The work Janknegt Gallery shows share a certain intensity.
What do you think is the best part of being a gallerist?
Thinking together about the steps you will take with the artists. Telling stories. Behind every work is a whole imaginary world of the artist, from which a lot can be learned. I also like that the gallery owner –
as a facilitator and promotor of the artist – is indispensable. Enthusing the artist, the occasional art buyer as well as a seasoned collector, provides meaning.
Which national / international galleries do you feel an affinity with?
I think Francis Boeske is someone with passion. It's not about her, but all about the artists. I think her Artists First initiative is wonderful. But there are many galleries that I admire. I think the most important thing is not to put the name of your gallery first, but the artists you work with.
You can only become good at something if you do it with care, without caring about the end result. Unattached to the outcome is my motto for the gallery.
In an ideal world, which artist would you most like to represent?
I especially enjoy working with the gallery's artists and don't really have a wish list. I am proud of the gallery and the artists I now represent.
Artists for whom I have great respect, and whom I would also like to meet are: Bernard Frize, Brice Marden, Lin May Saeed, Adelheid de Witte, Tom Claassen, Maria Roosen, Michael Borremans, Peter Rogiers, Tracey Emin, Giuseppe Penone .
What has changed in the art world since you took your first steps?
A great lot. In the past the emphasis was really on the gallery’s programme, these days it is mainly on art fairs. It also makes sense, because people are busier; they no longer have the time to come to every opening. At least they can make a round in Amsterdam.
Nevertheless, the gallery is still very well attended. I think this is due to the fact that Laren is located in the middle of the Netherlands. Plus: people can park in front of the door. Besides, Laren/Blaricum is an outskirt of Amsterdam. Almost everyone who lives there works in Amsterdam, a twenty-minute drive away.
What / whose work do you collect yourself?
At home we have work from every artist I work with. My husband is often the initiator. He visits the gallery and enthusiastically asks: 'Why don't we have anything by this artist?' And then we look together at what would complement our collection. Our most recent purchase was a work by Julia Schewalie entitled 'Charred Wood'.
Has the pandemic changed the way you see the artworld?
Definitely! We take time for things again. We don't run, but follow our own pace. Of course, you have to be active as a gallery, but the balance between doing well with attention and being in the action, that's the crux for me. Art requires time. Despite all the misery, Corona has created the time for this. That is also why I started to focus even more on deepening, and spend a lot of time on newsletters which provide background to the works. In addition, we started producing films of our artists in their studio. The response to the videos has been very enthusiastic.
Art fairs are not ideal in that regard. The pace doesn't really suit art. That's why it was so enlightening not to do any fairs for a year. It was remarkable to see how pleasant customers found it to book a time slot. A whole hour alone in the gallery with me worked much better. And much more fun. I could prepare everything in advance. Since the outbreak of the pandemic, I have noticed that people have a greater need for personal contact. I think I will continue with this after the summer.
In addition to the solo exhibitions in the gallery, I occasionally create themed exhibitions, in which I further explore a topic.
I also had more time to approach customers when something came in that they were looking for. Before corona I often didn't get around to it.
Unfortunately, the gallery’s 20th anniversary celebrations couldn't proceed last year. For that occasion, I made a book with a selection of works of art that were sold in those twenty years, and were they ended up. So a photo of the works where they hang now. I hope to be able to celebrate my 20th anniversary next year and give the book as a present to my loyal clientele.
See all artists represented by Janknegt Gallery.
