Celebrating 25 years of Art Rotterdam

Madara: 2024 will be the 25th edition of Art Rotterdam. Could you share about the fair's evolution and its current standing in the art world?

Fons: We started back in 2000, and at that time the Dutch art market was nationally focused. This wasn't just in the Netherlands but across Europe, with a few countries like France, Belgium, and Germany having a strong tradition of collecting contemporary art. In contrast, countries in Scandinavia, also the Netherlands, and smaller nations didn't have such a tradition.

Our fair, Art Rotterdam, was set up as a second, national-focused fair alongside the bigger KunstRAI in Amsterdam. But early on, we saw the importance of gaining an international focus. This was partly due to the rising popularity of contemporary art, which was becoming 'cool,' and the emerging secondary market for it in the Netherlands, which hadn’t been strong before. Fairs played a key role in this internationalisation, helping collectors to discover and connect with international galleries, including those from Eastern European countries like Romania, Bulgaria, and Poland, which didn’t really have their own art markets at the time. These fairs allowed galleries to establish lasting relationships with collectors, even without the collectors visiting the galleries in person.

As more fairs emerged, the international network and world for collectors expanded significantly. Collectors started to become part of the art discourse, getting involved in discussions about their views on art and collecting, and adding a sense of urgency to their collections. They started to explain why they collect, and many opened their collections to the public. In the Netherlands, we saw collectors building their exhibition spaces, starting artist residencies, or even their own museums. There was also a shift among collectors from older art forms, like Impressionist, Dutch Golden Age art or post-war art, to more contemporary art.

In our first 14 years, we were at the Cruise Terminal in Rotterdam, a small yet beautiful location. Our aim was to create a full experience for the collectors, involving the city and its institutions and museums. This was also the start of the Rotterdam Art Week, which has grown into a festival during Art Rotterdam, helping to open up the city. After 14 years at the Cruise Terminal, we moved to the Van Nelle Factory, and next year, we're moving to an even larger location, Rotterdam Ahoy.

M: And you have been with the fair from the very beginning. 

F: Yes. We started with five gallerists, and I'm the only one left. And I no longer have my gallery. 

M: But you have certainly succeeded in placing Rotterdam on the international art market map. Would you say that the global image that you had in mind when you started the fair has been achieved? What is the status of the art market in the Netherlands currently? 

F: Yes, to a large extent. Our focus has always been on the latest developments in contemporary art, aiming to establish a strong identity for Art Rotterdam. We have initiatives like 'Prospects', where young artists receiving their first funding also get the opportunity to exhibit at Art Rotterdam. This is particularly significant as it aligns with the Dutch art market dynamics.

In the Netherlands, there are numerous collectors, but very few with extremely large budgets. This is reflected in the gallery scene, which is dominated by small and mid-sized galleries. We don't have Dutch galleries that could be classified as large international players, which is a limitation but also an intriguing aspect of our market. However, the Netherlands is rich in esteemed art academies, like the Rijksakademie and Willem de Kooning Academy, fostering a vibrant and flourishing art environment. This is the fertile ground where artists start, study, and hold their first shows. Art Rotterdam reflects this focus, catering to what the market offers and needs.

There's a noticeable shift in the collector demographic.

This approach is more functional, focusing on finding pieces for particular spaces rather than amassing large, enduring collections. This trend is also evident in some corporate collections in the Netherlands, where the collection process is often tied to a new building. Once every space is filled, the need for artworks is satisfied. This creates a different dynamic for galleries, which traditionally aim to establish long-term relationships with collectors.

Overall, this changing landscape is particularly noticeable among larger art holders, reflecting a shift in the gallery-collector relationship and the art market itself.

M: The recent trend of the art market becoming more decentralized and the increasing inclusion of emerging galleries seem to align well with your fair's approach, would you agree? 

F: Yes, definitely. Our approach at Art Rotterdam has always been to create diverse sections within the fair. For many years, we've had a video section called 'Projections,' featuring large video installations in a blacked-out space. We've also introduced 'Intersections,' focusing on artist-run and nonprofit spaces, as well as a sculpture park, which we debuted last year.

At our new venue in Ahoy, we'll have the space to bring all these elements together again. We offer these additional sections at no extra cost to the galleries participating in the fair. If a gallery is part of the fair, they can apply to be included in one of these special sections. A selection committee then reviews these applications, allowing galleries to be part of both the main fair and a curated section.

Our goal at Art Rotterdam is to build an immersive experience. It's not just about the commercial aspect, which is, of course, crucial for the galleries. We also focus on providing curated experiences around the main gallery grid. Each year, and especially in our new setup, visitors can move seamlessly from the main grid to these curated sections, enhancing their experience at the fair. 

M: You mentioned the different curated sections highlighted at the fair. This year, Art Rotterdam will introduce a new section, 'Artistic Matter.' Could you elaborate on the focus of this section and the reasons for it being highlighted during the fair? 

F: 'Artistic Matter' is focused on rare materials used by artists in their work, offering a special highlight. The section's inaugural artist is Tomas Libertiny, known for his collaboration with bee colonies. He creates shapes around which the bees produce honey, forming unique honey sculptures. These are not only beautiful but also very rare.

Our aim with this section is to spotlight what lies off the beaten path, to showcase unusual and innovative methods of art creation. It's about bringing attention to extraordinary and unconventional ways artists are working with materials. 

Madara: The fair has always proudly presented itself as a space for discovering emerging artists, especially within the programme 'Prospects', which will be held for the 12th time this edition. Why has this focus been important to you?

F: Yes, the 'Prospects' section is closely tied to our collaboration with galleries. Many artists featured in 'Prospects' are either already associated with galleries or are discovered by them during the fair. We even host a special event to foster this connection between artists and galleries. This dynamic works both ways and imbues the fair with a contemporary, youthful, and radical spirit.

Emphasizing emerging artists aligns perfectly with our philosophy of offering a different experience than most art fairs. This focus on emerging talent is well-received, and we're excited that they will be joining us at our new location, where the section is set to expand.

M: What are you looking forward to upon preparing to move to the new location Rotterdam Ahoy?

F: Moving to Rotterdam Ahoy is really energizing because the possibilities are so much bigger there, mainly due to the sheer amount of space. We've always been limited by space constraints before. Whenever we wanted to add a new section, it meant that several galleries had to either reduce their space or we had to forego certain sections. At Ahoy, there's ample space, allowing us the freedom to expand and truly create the fair we envision, also allocating more space to our special curated sections. 

But, of course, it also means saying goodbye to Van Nelle Factory, one of the most beautiful buildings in the Netherlands. What's exciting about the new venue is its location in the south part of Rotterdam, which is rapidly developing. There are all kinds of new cultural initiatives and project spaces popping up, it’s all contributing positively to the neighbourhood’s development.

M: Could you share about the cooperation between the fair and the city of Rotterdam, as I can see that the relationship is a close one? 

F: Yeah, we've always worked very closely with the city. Rotterdam is different; the doors are open here, unlike Amsterdam where there's a lot more competition due to the high volume of museum visitors. In Rotterdam, there's a strong spirit of collaboration and a willingness to work together in cooperative models.

From the start, we were in a small venue of just 3500 m², so we really needed the city's support to give volume to the event, especially for attracting foreign collectors. We began cooperating with other art institutions in the city like Kunsthal Rotterdam, which has always been a very good partner. They do a lot of varied programming, and during Art Rotterdam, they usually have their biggest show of the year. This is very important for us.

I would say that the cooperation with the city gives additional purpose to Art Rotterdam, and that means a lot. 

M: What milestones do you still want to achieve with the fair? 

F: We're really excited about the next step. I believe we can establish a unique identity for the fair. Thanks to the different curated sections we have introduced, it's becoming more than just a typical art fair with booths and gallery presentations. It's evolving into something akin to an art festival. It's not just a fair anymore, but an all-encompassing art event.

We aim to attract, first and foremost, the collectors, but we also want to connect with the entire art community. This includes artists, curators, and those involved in alternative art spaces, especially as we move to the south part of Rotterdam next year. We're looking to strengthen these connections. With this approach, we hope to grow further, and attract more international galleries and collectors. There are also major developments in the city's cultural scene. For instance, Phoenix - the museum of migration is set to open in 2025. The Photo Museum, one of the most prominent in the Netherlands, is getting a huge new venue and will also open in 2025. These additions will significantly enhance Rotterdam's cultural value. 

M: Is there anything you would liketo specifically highligh from this years programme? 

F: Yes, one of the highlights this year is Annet Gelink Gallery's solo exhibition of Erik van Lieshout's work. Erik van Lieshout is an already established, yet very radical artist. He's creating a large sculpture of a rabbit, which is a nod to traditional habits in the eastern part of the Netherlands, where he hails from. This rabbit sculpture will be the centrepiece of his solo show at Annet.

Additionally, we have an impressive lineup of outdoor sculptures. Among them is a strikingly large piece, a five-meter-high vulture sculpture originally created for an opera by Atelier Van Lieshout. The artist has remodelled it for outdoor display. This piece, along with others, will surely be a significant attraction at the fair.