Anna Elisabeth Kruyswijk founder Lauwer art gallery, in The Hague, The Netherlands, talks about starting a contemporary art gallery with unconventional programming in an interview with Sonalee Tomar.
I truly believe that gallerists together formulate an important playground for the arts to perform in.
Anna Elisabeth Kruyswijk, Lauwer art gallery
Featured image: Installation View. ‘Louise Honée – We Love Where We Live’, August 2020. Lauwer art gallery. Image courtesy of Nick Gammon.
Diptych Portrait of Anna Elisabeth Kruyswijk at Lauwer Lauwer art gallery, courtesy of Joyce Overheul.
Let’s start at the beginning. Tell us what lead to this journey with contemporary art?
I founded Lauwer art gallery in 2017 with the idea to emphasise the relevance of contemporary art through interdisciplinary art forms and present-day subjects. It wasn’t that clearly formulated at the beginning. It took a lot of iterations, brainstorming and copy-writing sessions with friends and colleagues. And I’m still changing things according to the times we’re in. The art gallery started a year thereafter with unconventional programming and an extraordinary selection of local and international contemporary artists.
Before this, as an art curator and educator, I learnt to trust my own instinct when it comes to selecting art, and to listen to the audience. Inspired by the belief that contemporary art is a response to what is happening in society, the Lauwer art gallery gradually positioned itself as a small visual art organisation that could carry on by sales. My background in Art History (MA, Leiden University) and Fashion Strategy (MFS, ArtEZ) logically merged in Lauwer, bringing together relevant skill-sets that provide for both content and business. Apart from that, I still work as lecturer at the Royal Academy of Art, The Hague.
What I do is not always that clear to the public’s eye, but it shows in the quality of the exhibitions and events, and in the wide distribution of information in the media.
Anna Elisabeth Kruyswijk, Lauwer art gallery
How do you describe yourself in the context of challenging people’s perspectives via your work?
I truly believe that gallerists together formulate an important playground for the arts to perform in. What I do is not always that clear to the public’s eye; but it shows in the quality of the exhibitions and events. And in the wide distribution of information in the media, of course, in the conversations I have with visitors, which I enjoy a lot.
I represent artists that build a bridge between their world and everyday life. In reality this can best be seen in fine art photography and handmade conceptual art; which present images and techniques to which people can relate to or identify with. They happen to be my specialties. So where in some cases contemporary art galleries just “add” photography, I definitely know what I’m doing. By applying this focus Lauwer aims to contribute to the accessibility and diversity in the arts. With exhibitions and activities Lauwer art gallery hopes to show what art can do for art lovers, contemporary art collectors and new art audiences.
Parade with Banner ‘Men of Quality’ by Joyce Overheul (standing right; on left: Laila Mubarak) 2 until 6 October 2019 at Art The Hague, courtesy of Sophie de Vos.
How do you deal with the conceptual difficulty and uncertainty of creating something completely new with each project?
Honestly, my emphasis is not so much on something that is completely new. I teach history at the art academy. I believe in a vocabulary you can borrow, and make your own equation with. That equation is new. The artists I work with have developed a very particular practice, which definitely sets itself apart from others. Yet high tech art that can survive on the moon cannot be found here at Lauwer art gallery. I do studio visits, see a lot of art, follow and where necessary guide artist’s processes, and see together with them when we will show it. That is complicated and uncertain indeed, but all good things take time. So when a project goes “live” in the gallery, the artist and I have been working on it for a long time already in order to create or tap into a momentum.
I think we have to see contemporary art more as any other profession where the people involved get payed, where ‘money’ is not a dirty word.
Anna Elisabeth Kruyswijk, Lauwer art gallery
How do you balance the contradicting elements of your work?
I must say that who I am is quite coherent to what I do in my work, and how people perceive me. When you know what you are doing, I feel this is a logical result. I am a listener and like to persuade people, which is what I do professionally as well. Recently my eyes were opened by Fredrik Eklund’s book ‘The Sell’, who I watched in the addictive show Million Dollar Listing a few years ago. The book basically explains how the commercial and creative sides in you need, and feed each other. I have never seen these two as opposites. I think we have to see contemporary art more as any other profession. Where the people involved get payed, and where ‘money’ is not a dirty word.
What I do struggle with sometimes is the ruling notion of the successful person, in whatever profession, as an extrovert. I am no Fredrik with direct remarks, expressive shouts and funky socks. Just for a bit of PR for us introverts; we are great with one-on-one conversations, in-depth content, focus and making bigger connections. Another book I’d like to recommend, that “owns” the fact that we are with so many, is ‘Quiet‘ by Susan Cain.
Installation View ‘Joyce Overheul – Sounds Familiar’, 7 September until 2 November 2019 at Lauwer art gallery, courtesy of Dagmar Sigrid.
Tell us about your curatorial philosophy. How does it all come together?
I’ve taken the liberty to think outside of the conventional white cube model. Nowadays an art gallery can have multiple functions. I aim to be transparent about how it operates. I want it to be accessible for art lovers as well as clients inside and outside the arts. Artist residencies, museums, educational institutions, collectors and individual artists have already called on the services of Lauwer, of which I am very proud. I build a relation with the person that can add value in his/her own way to Lauwer art gallery. And what I often hear back is that this personal attention they experience is recognised in all the other aspects of the gallery. In the end, I think that it all comes together in a personal approach. As they say in Kaizen methodology: it does not matter how much you do, but with how much love you do it.
Let’s talk about your frameworks, references and process. What inspires you?
That is usually what I ask others! This is a first that I will answer the question myself. For this I have to look up my email to a Portuguese collector I met last February. He said to me: “the artists make the art, but it is the gallerist that selects and positions, so I like to learn more about where that comes from”. I work with artists that have various backgrounds, mostly outside of the fine arts, and are living and/or working in The Netherlands. They like to make a social impact with their work – some more literal than others. As a gallerist I do everything but make the art work, that of course has its own artistic trajectory.
Everything that is necessary for the production, presentation, communication and promotion of an artist I do for them. I think art is able to inspire change to a certain degree. Or rather, the people that engage with art and start to wonder. I like to contribute to that.
Installation View ‘Hanna Mattes – Three Pieces’, 7 March until 13 June 2020 at Lauwer art gallery (extended period due to Covid-19 measures), courtesy of Dagmar Sigrid.
Which shows, performances and experiences have shaped your own creative process? Who are your maestros?
I have a lot of shows that I remember for various reasons, but even more that have failed in my eyes. I visited many art institutions here and abroad, and worked on projects at some of the major Dutch museums. Realised that a lot of shows are made for other museums, with other curators and peers in mind. What can this art work mean to different people today? This is a question I like to work with every time.
Someone who is doing that, at least in fashion and design, is Virgil Abloh. Heo told students at the Harvard Graduate School of Design about the concept of ‘the tourist versus the purist’. I am diving into what that might look like in art in an upcoming essay for a publication I’m working on. This will be the first gallery catalogue of Lauwer, called ‘HEARTFELT‘. It is with the graphic designer at this moment.
For their critical eye in dialogue with every-day life during these years of consumerism and detachment from reality.
– Kooness
How does the market/audience interact and react to your work.
Lauwer art gallery has been discovered by renowned design magazine Wallpaper* for its design aesthetic and inventive art. The gallery was awarded second place for the best show at the art fair HYBRID, Madrid, by acclaimed online art platform Kooness. “For their critical eye in dialogue with every-day life during these years of consumerism and detachment from reality…”, says Kooness. More links to press, here.
Installation View ‘Hanna Mattes – Three Pieces’, 7 March until 13 June 2020 at Lauwer. Image courtesy of Dagmar Sigrid.
Future projects: What are you working on now? What should we look forward to?
I’m working on a very special publication that will be launched mid July if everything goes right. Subscribe to the newsletter if you like to be in the know. The text on the cover reads: HEARTFELT offers an overview of the striking programming at Lauwer from 2018 until 2020. This gallery catalogue presents 11 contemporary artists that matter in fine art photography and handmade conceptual art. The extraordinary artworks, the personal stories of the artists, but also the relevant timing of the solo shows, made it possible for art to touch the hearts of anyone who visited the gallery. With contributions by art journalist Gretha Pama and novelist Inge Schilperoord.
What were you working on when the lockdown was announced?
I was working on an amazing exchange project between the artists at Lauwer art gallery and those at Waller Gallery in Baltimore. However, the founder of that gallery, Joy Davis, and I, both suddenly found ourselves in, what I can only best describe as a spasm or cramp. Nothing was going in or out, the entire programming got stuck. It was not the right time for the impact we wanted to create with the project entitled, ‘Urgent Dialogue, Contemporary Form: Photography, Fashion and Sculpture in a Trans-Atlantic Context’. So we decided to postpone the group show including a programme we had invested in already, and focus on what was still possible at home.
Photo Book ‘Louise Honée – We Love Where We Live’ available at Lauwer, courtesy of Nick Gammon.
How has Covid19 affected your practice and plans?
Basically people were not thinking about contemporary art or art galleries for a while. It was not a priority. So I took the time to develop an online Viewing Room, while extending the exhibition that was physically on view, so when allowed, visitors could enter the show. Gradually digital tours were added, based on growing demand to see more without leaving home; fixed time tours via Instagram Live, and via video calls by appointment.
Apart from not sitting still, and trying to adapt to the situation, I was, like many other entrepreneurs, delving into a moment of critical reflection. If the gallery would open tomorrow again, what would I do differently? I asked myself. I did not want to see it at first, but realised it would never be the same as before the Covid-19 crisis. Over the summer I will redesign Lauwer for cost-effectiveness. This particular aspect is now, three months later, seriously off – it cannot continue this way.
What would elevate artists’ life during this period?
The themes, concepts, disciplines each exhibition touches can be deepened by different audiences by doing talks, performances and out-of-the-box events such as combining yoga or even wine tasting with art. The art that is brought to the fore by Lauwer has so much to say, and I provide for the conversations to happen. During the lockdown we did most of it online, for which there were actual waiting lists. There will be a new Viewing Room exhibition called ‘La Vie En Rose: Spring/Summer 2020’ in a few weeks, for which the artists of Lauwer really make the most of the fact that it is a digital space. They, together with the 3D-model maker Gizmo XXL, derive immense creativity from the preparation process. Let’s hope the reception will offer them something too.
Installation View ‘Louise Honée – We Love Where We Live’, on view until 8 August 2020 at Lauwer, courtesy of Nick Gammon.
What kind of critical inputs does the art world need at this moment to overcome the loss of income and opportunity as a direct result of the lock-downs worldwide?
That is a great question. Over this summer I have time to look for an answer. Reading interviews like this might already help to put things into perspective.
For enquiries contact: anna [at] lauwer [dot] art
Before you go – you might like to browse the Asian Curator curatorial archives . Contemporary art curators and international gallerists define their curatorial policies and share stories and insights about the inner runnings of the contemporary art world.
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