Claudia Cosmo (CC):
Mrs. Schuessler, design objects such as furniture and fittings surround people,
influencing their lives. Wouldn’t you agree that a kind of relationship is
built up with the individual objects?
Karena Schuessler (KS):
Oh yes, definitely. This is already a very important factor in the selection
process, when a purchase decision is to be reached. Each design object should
not only fulfil its function, but also look interesting or just simply un-contrived
and beautiful. Even my paper baskets are a design by Ettore Sottsass which he
created for Olivetti. I also own two rhinoceros' heads which were carved from
wood. Nobody knows where or when, or who they were made by. I call them my “guardians”,
and you probably won't believe me, but often I say hello or goodbye to them.
CC: In your private surroundings, do you have a piece of design furniture or
an object to which you have a special relationship?
KS: Yes, with my “Potence”. A lamp by Jean Prouvé, which
he designed in the 50ies for the Air France Building in Brazzaville, in the Congo.
It has been with me for many years now.
CC: How did you get into design?
KS: It started with the purchase of the Prouvé lamp. It was one
of my first serious acquisitions. I saw a poster of a gallery.
It showed images of very puristic, industrial but to my mind
very attractive furniture. Furniture by Jean Prouvé. But at the
time beautifully shaped furniture by people such as André Dubreuil,
Garouste & Bonetti and first designs by Tom Dixon were the
fashion. People around me did not understand my new, unconventional
affection.
The gallery kindly lent me some works for events. Later I was able to buy some
of my favourite works, and I started collecting passionately. This was in Paris
in 1994.
CC: Now you want to give other people an understanding
of design through presenting works by different designers in
your own gallery. There are the modern classics such as Le Corbusier,
which you contrast with shooting stars such as Max Lamb.
What do your designers have in common? And what brought you to
this combination?
KS: At the end of the day designers prove themselves through
their originality. And I am fascinated by the juxtaposition of the particularities
you can find in each of their works.
CC: One example is Andreas Grahl who, like some of the other designers you represent,
comes from the field of fine arts. Grahl is a trained photograher and studied
at the prestigious Hochschule für Grafik und Buchkunst – Academy of Visual Arts
in Leipzig. He now works as a sculptor and your gallery represents his work.
Does this mean that in your opinion art and design are inseparably tied up?
KS: Yes, in my gallery both these aspects are tied to one
another. This is the exciting part, the fact that I work with designers, artists
or architects, whose endeavour it is to create a functional art work. They have
different educational backgrounds and therefore bring different ways of thinking
and doing with them. Naturally this creates very different results and the viewer
is constantly asking himself: is this now art or design?
CC: One can already read it in the name of the gallery: “Karena Schuessler Gallery
Contemporary Design/Art”. Even here the terms art and design are united. Might
it not seem rather bold for some, linking the two domains into one word?
KS: No, no longer. Design/Art has become
a fixed term by now. In this context Philippe Jousse and Patrick
Seguin acted boldly and luckily they were successful. They were
not only the friendliest gallerists who leant and sold me bespoke
furniture by Jean Prouvé, they were also the first who managed
to show these works at the famous art fair in Paris.
After that design started getting represented seriously in London.
Nowadays this also happens very successfully at the Art Basel
/ Miami Beach fair, where design in represented in a specialized
parallel show. In this way art and design are getting closer
and closer. It is now quite natural to talk or read about Design/Art.
CC: What’s behind the term Design/Art?
With this term one could assume that the word “art” is meant to
upgrade the word “design” which it follows!
KS: The wish for an upgrade is not the issue.
It is not about the design for a functional object made for mass
manufacture. Naturally this would have nothing to do with art.
Design/Art is unique or small limited edition pieces, or sometimes
even prototypes. They are works, which have been thought up by
creators, who often also manufactured them. In their works they
separate form, material and size from their underlying contexts
and thus elevate their design ideas to a new level.
One should always keep the creative aspect in mind, but in this
instance the works also have a function.
CC: With the opening of your premises are
you the only Berlin gallerist dedicating herself to the artistic
aspect of design?
KS: Since I am focussing on Design/Art
on a formal level I guess I am the only one in this field in
Berlin, yes! But there are also a few art galleries that have
added one or two design/art artists to their program.
CC: Your premises were specially
designed for the gallery. How does this work on a compositional
level with the objects and furniture that you exhibit?
KS: The gallery has a very
fascinating floor plan. It consists of six rooms lined up one
behind the other. If you look through the display window you
look through an enfilade of 37 meters depth! The gallery is situated
in a beautiful old building. The rooms have a ceiling height
of four meters and are partially fitted with stucco and parquet
flooring. They offer the works on display enough room to thrive.
CC:
Art, expressed in a romanticising-solemn fashion, at its best
has a great attraction and can evoke eternity.
Can design also do justice to this claim?
KS: Certainly!
CC: Are you pursuing a personal mission
with your gallery concept, which understands art as an integrative
part of design? Do you want to want to raise awareness for this
through your work?
KS: Definitely! By exhibiting, selling, advertising
and reviewing you are already raising awareness per se. But we
are talking here about a process that has evolved quite naturally.
First one started making mass furniture for everyone, which was
easy and quick to manufacture. Now people want the exact opposite!
Because they are downright inundated with mass products they
are now calling again for something that is original, significant,
special. This leads all the way up to hand made original works.
Commercial factors are being pushed into the background giving
artists new space. This movement has a lot of future. It's zeitgeist.
CC: Do you envisage a certain clients for
your gallery?
KS: Friendly people, who know how
to appreciate the value of the works.
CC: What in your inventory is part
of your personal highlights?
KS: I chose every work with a lot of love
and did not spare any effort in getting them all to Berlin. I
visited each artist in their studio in their own country, in
order to admire the works in their “natural surroundings” and
to meet the artists.
The “cheeky” chest of drawers by Tejo Remy is special. A wonderful
new concept executed in a most charming manner. With how much
enthusiasm Tejo Remy assembles all of these old drawers, letting
them be held together by this beautiful old strap.
Naturally I also admire the young Dutch Judith van den Boom.
She is a dynamic, adventurous woman. She is courageous working
large scale in porcelain and handcrafting furniture out of it.
I find this splendid.
But since you ask, the hardest thing for me was putting the work
by Max Lamb up for sale in the gallery.
