Kobel's
Art Weekly

Kobel's Art Weekly 19 2025

Laura Helena Wurth's tour of Gallery Weekend Berlin for the FAZ is a mixed bag (link via MSN): ‘Although sales on the international art market slumped by twelve percent last year according to the ‘Art Basel & UBS Art Market Report’, the mid-price segment is one of the stable areas of the trade. The mood in Berlin's galleries is correspondingly good. However, their current selection also shows that they like to play it safe. [...] On the occasion of this 21st Gallery Weekend, KaDeWe shop windows will also be displaying works of art for the first time. From a tapestry by 94-year-old Isabella Ducrot to a neon work by Christian Jankowski, the selection curated by Sebastian Hoffmann in collaboration with the galleries represents a wide variety of approaches, some of which work better than others in a sales display. On the one hand, this is art that has finally become a commodity; on the other, it is the ultimate in accessibility.’ Der Tagesspiegel (paywall possible) is giving BUNTE a run for its money and sends Elisabeth Binder in search of ‘art and luxury at Gallery Weekend Berlin’: ‘Between trays of pink crémant and asparagus risotto, many celebrities strolled through the pop-up exhibition on the opening night. Jens Spahn and his husband Daniel Funke struck up a conversation with former Regierender Bürgermeister (mayor) Michael Müller. Among others, Christiane Arp, chairwoman of the Fashion Council Germany, hat designer Fiona Bennett and model Franziska Knuppe represented the fashion scene. PR entrepreneur Alexandra von Rehlingen gazed electrified at the painting ‘Between Being And Becoming’ by artist Said Kinos and immediately secured it for herself. But it wasn't the Berlin attitude of being between being and becoming that triggered her, but rather the neon pink hue the artist had used. It would fit perfectly in her loft at Mauerpark, she said.’ Everyone embarrasses themselves as best they can. Speaking of which, I was in Berlin for the Artmagazine.

Michaela Nolte likes the Paper Positions fair taking place at the same time in the Tagesspiegel: ‘Now in its ninth edition, the specialised fair has grown in terms of both quantity and quality and boasts a new location: the historic main hall of the former Tempelhof Airport. Thanks to the open and flowing architecture of the exhibition, the intimate salon character of the medium is preserved. New paths are being explored with Ceramic Positions. Ever since Grayson Perry won the Turner Prize with ceramics in 2003, the material has been enjoying increasing popularity among artists. It remains to be seen how collectors will respond to clayware and whether it will develop into a format of its own. […] With such exciting aesthetic and haptic experiences, Paper Positions proves to be a treasure trove of the wide-ranging potential of cellulose and wood pulp at a pleasingly high level.’

At the same time, the Spinnereirundgang (an art and culture festival in Leipzig) celebrated its twentieth anniversary. As the relevant media were, as so often, conspicuous by their absence due to their enthusiasm for the GWB, we would like to refer you to a preview interview by Christiane Meixner in WELTKUNST with Arne Linde, whose gallery ASPN has also been based on the Spinnerei site for 20 years. I was in Leipzig for Artmagazine.

Shortly before Gallery Weekend, Hergen Wöbken held a digital press conference to announce his next IFSE study on the situation of Berlin galleries. Christiane Fricke distilled the gloomy outlook and clear demands for the Handelsblatt: ‘At the same time, small and medium-sized galleries are struggling with increasing bureaucracy. Those affected cite the GwG (Money Laundering Act) and the Künstlersozialabgabe (artists' social security contribution) as the main problems. The latter increases every year and must even be paid for foreign artists who are not covered by social security in Germany. According to the preliminary paper, these two regulations in particular are responsible for the additional bureaucratic effort, uncertainty in practical implementation and economic planning difficulties. As the strategy consultant explains on request, the majority of the galleries surveyed complain ‘that they have neither the human nor the financial resources to implement the requirements in a legally compliant and data-secure manner’. Beat Scheder points to a worrying development in the taz: ‘The figures are particularly revealing when compared with the last comprehensive survey on the situation of galleries conducted by IFSE and BVDG in 2020. The difference is clear, for example, in the age of Berlin galleries. According to the report, these will be 26 years old on average in 2025, with most having been founded around 2005. In 2020, however, the average age of galleries was still 18 years. ‘The dynamic development phase of the 1990s was followed by a boom in the noughties and a period of growth and internationalisation in the 2010s, which is now transitioning into a consolidation phase in the 2020s,’ Wöbken explains. One could also say that there is a lack of young talent.

Zachary Small and Julia Halperin have counted which galleries represent artists in New York institutions for the New York Times. The result will surprise many: ‘What these in-demand artists have in common is their deep-pocketed Swiss dealer, Hauser & Wirth. The gallery's artists are so dominant in New York's leading museums this season that some in the art world are calling it “Hauser spring.” Hauser & Wirth's prominence comes at a time when the most powerful dealers in the commercial art world play an increasingly large role in helping support the city's ambitious museum shows. A New York Times analysis of solo exhibitions since 2019 shows that out of 350 exhibitions by contemporary artists, nearly 25% went to artists represented by just 11 of the biggest galleries in the world.' Years ago, there was a study for the entire United States with similarly extreme results, which I can no longer find. I would be very grateful for any information!

I report on the sale of Frieze in Artmagazine. Maximilíano Durón reports in more detail in Artnews.

Simone Schmollack of taz has no kind words for Berlin's Kultursenator (Senator for Culture) Joe Chialo on the occasion of his announcement of his resignation: ‘The Berlin art and culture scene will have to make do with an estimated 1.6 billion euros less in 2026 and 2027. That's a huge chunk of money – and a misinterpretation of the role of a culture senator (a member of the senate responsible for culture). His job is not only to protect art and culture, but also to expand it and, ideally, attract international attention. But Chialo did exactly the opposite; he defended the cuts. It's like a housing minister applauding the demolition of apartments when there is a shortage of housing everywhere.’ The Deutscher Kulturrat (German Cultural Council) has floated a rather original idea for Chialo's successor, with spokesman Olaf Zimmermann quoted by dpa (Deutsche Presse-Agentur) as saying: ’He would like to see ‘the Regierender Bürgermeister (the city's head of government), Kai Wegner (CDU), take on the additional role. In view of the House of Representatives elections planned for 2026 and the very difficult budgetary situation, that would probably be the best solution.’ As if it wasn't Wegner himself who had hoisted Chialo into office in the first place. On the other hand, Wegner has proven to be more interested in culture and its producers than the former senator. Perhaps even better would be an internal coalition reshuffle combined with the poaching of Hamburg's Senator for Culture Carsten Brosda, if he doesn't become Federal Minister of Culture. The Berlin Senate has to make savings elsewhere, but obviously not when it comes to itself. Simone Kampf points out the legal technicality at the expense of taxpayers on Nachtkritik: ‘Formally speaking, Chialo asked Governing Mayor Kai Wegner for his dismissal and did not resign. Wegner immediately announced on Friday afternoon that he would comply with this request. The consequence therefore remains the same, nothing changes in substance: Joe Chialo is leaving office. But with a dismissal, he is in a better financial position. According to Senate law, anyone who leaves office for reasons other than resignation is entitled to a transitional allowance.’