AGE: 52
HAILS FROM: Neuzeug, Austria
PRESIDES OVER: Galerie Eva Presenhuber, Zahnradstrasse 21, Zurich
GALLERY’S SPECIALTY: Contemporary art
ARTISTS SHOWN: Doug Aitken, Emmanuelle Antille, Martin Boyce, Angela Bulloch, Latifa Echakhch, Urs Fischer, Peter Fischli and David Weiss, Liam Gillick, Alex Hubbard, Tim Rollins and K.O.S., Jean-Frédéric Schnyder
FIRST GALLERY SHOW: ”Aerialists,” a solo show of Verne Dawson, in 2003
What is your background? Was there art on the walls when you were growing up?
I grew up in a small village near Linz, where my parents had a small business. My mother and aunt loved classical music. On the weekends we would visit beautiful monasteries and cloisters. So my art education as a child was influenced by Catholic representational art.
What is the first work of art you remember being affected by?
My first great art experience was when I visited the Kunsthistorisches Museum in Vienna for the first time at the age of 14. I loved the room dedicated to Velázquez. That was the first time I knew I wanted to work in the arts.
What drew you to the gallery business?
I studied at the University of Applied Arts in Vienna, which was the most dynamic art school in the city in the 1980s. I worked for a Viennese gallery, Grita Insam, for about two years. During that time I made many friends who were artists and students. It was an important time for me. I met Swiss artist Ugo Rondinone then, when I was struggling to produce painting and sculpture. He was the one who supported the idea that I open a gallery.
When and where did you first open your gallery?
I went to Zurich because Switzerland was known for vital contemporary shows, especially in Basel and Zurich. In 1989 I took the position of gallery director in an art institute called Walcheturm. My plan was to turn it into a primary-market gallery for contemporary art, which I did until 1998. After that I went into partnership with Iwan Wirth; his wife, Manuela; and his mother-in-law, Ursula Hauser, who had opened their gallery, Hauser & Wirth. It was great, but we had different opinions so we split after about five years. In 2003 I started my own gallery. I was very lucky because all the artists I brought into the program, like Doug Aitken and Richard Prince, stayed with me.
What is the most challenging part of running an artgallery today?
It’s a lot of work, and you need talented artists to run a successful gallery. Many of the artists whom I started working with, when they were young, have become extremely successful. The challenge is being able to find the greatest artists of the new generation and be useful to their needs. Your efforts become rewarding if you see a career evolving in a positive way.
Describe your local art market.
The market in Switzerland is based on well-informed private collectors and great institutions like the Kunstmuseum Basel and Kunsthaus Zurich. Buying art here is less about investing than it is in other parts of the world, because Switzerland has a long tradition of collecting among wealthy collectors who understand the true value of art and can afford it. The best fair in the world for contemporary art is also held in Basel, making the Swiss market even stronger.
Are there any works that have been painful to part with?
It can be painful to help produce expensive artworks and not be able to sell them easily.
How has input or advice from your peers influenced your business?
I like to talk to experienced colleagues and collectors. They help you see your own business objectively. Good advice also comes from the artists — like relying on your instincts and appreciating art for what it is and not just for its monetary value.
If you could own any artwork in the world, price no object, what would it be?
I usually collect all the artists I show, but I regret not owning more work by the late Franz West and Peter Fischli and David Weiss.
Beyond the art world, what are you passionate about?
I am passionate about architecture and love the interplay of space and nature.
This article appears in the June 2013 issue of Art+Auction.