MS: I have a very boring, solid Art History degree but at that time (1970s) contemporary art by living artists was cut out from the field — so I left academia, left communist Poland and opened a gallery in New York. My interest was always to work with, look at and think about the art that is of this moment and engages new forms of creative expression. Art that is not yet EVALUATED.
MS: Wrong question – buy not only paintings. I don’t buy. Collecting, non-speculative collecting, is about living and being enriched by art. I live with art for 36 years and through close to 400 exhibitions. [It’s a] huge privilege to see and think everyday about the art on my walls. I don’t have a need-to-own gene. I bought a few Jonathan Laskers early on, [and a] few other “bankable” artists later – that I sold to keep going whenever crisis hit us.
MS: I wish there was more adventure in collecting and in the market. Money is not good for progressive art – it tends to privilege familiarity.
MS: [The] Art market is not smart, [it] equates monetary success with actual historical value (talking about Modigliani as well as current “art stars” like Damien Hirst or Beeple for that matter as historic pillars of art is a joke. Please.)
MS: We just showed Marta Kucsora a young Hungarian artist – intergalactic, pure abstraction, enormous scale. Her “chemical kitchen” paintings have a sense of ambition and push the medium into a new zone. They are also refreshingly different in the context of overwhelming figurative works that we are drowning in at the moment.
MS: @kensukekoike. Japanese artist [who] never disappoints, playful, incredibly inventive.
MS: Kenny Dunkan – extraordinary work from Guadaloupe-born, Paris based artist we first worked with in PostmastersROMA.
MS: Eva and Franco Mattes – from web 1.0 to 3.0, pioneers, disruptors, always ahead. Their current show at Fotomuseum Winterthur is an exhibition I wish I could travel to see in real life.
MS: “Buy what did not sell from the show, what nobody wanted.” - Ileana Sonnabend
MS: There has to be something unfamiliar, irritating, something I don’t understand about the work - but also something that is truly connected to this moment in time.