Zürich, den 1. Juni 2026
Im Rahmen unseres kürzlichen „Testing for Pizza“-Treffens hatten wir die Gelegenheit, Yves Gsell, Gründer von erlesen, kennenzulernen – einer neuen Applikation für Smartphones. In entspannter Atmosphäre drehte sich dabei alles um das "Tasten" seiner App für Kurzgeschichten sowie das Verkosten verschiedener Pizzen.
Das Projekt – eine digitale Bibliothek für Kurzgeschichten auf dem Smartphone – überzeugt nicht nur durch seine Idee, sondern auch durch die spürbare Leidenschaft, die dahinter steht.
Natürlich habe ich die Gelegenheit genutzt, um mit Yves über die Entstehung dieses Formats, seine Motivation und die Vision hinter der App zu sprechen.
Lieber Yves, kannst du unseren Leserinnen und Lesern ein wenig über dich erzählen – wer du bist und woher du kommst?
Ahoi allerseits! Ich bin Yves, ein lesebegeisterter, frischgebackener Unternehmer, der sich gerade auf ein neues Abenteuer eingelassen hat. Ursprünglich komme ich aus der Stadt an der Limmat, wo ich die meiste Zeit als Informatiker tätig war.
Wie kam es dazu, dass du eine App für Kurzgeschichten entwickelst? Du bist ja weiterhin zu 100 % berufstätig – woher nimmst du die Motivation dafür?
Einerseits sehe ich grosses Potenzial in der Idee. Andererseits spielt auch der Eigennutzen eine wichtige Rolle: Würde ich die App nicht selbst nutzen wollen, hätte ich vermutlich nicht die nötige Motivation, um das Projekt neben meinem Vollzeitjob voranzutreiben.
Du befindest dich aktuell in der Endphase der Entwicklung deiner App. Kannst du uns die Anwendung kurz vorstellen? Und wie lange hast du insgesamt an diesem Projekt gearbeitet?
Erlesen ist eine Plattform für Kurzgeschichten. Mein Ziel ist es, jede Woche eine neue „erlesene“ Geschichte zu veröffentlichen. Die Texte sollen so gestaltet sein, dass man sie „auf einer Zugfahrt von Winterthur nach Stadelhofen“ lesen kann. Also kompakt, aber wirkungsvoll. Sie sollen unterhalten, inspirieren, zum Lachen oder auch zum Nachdenken bringen und bleibende Eindrücke hinterlassen – etwas, das beim schnellen Scrollen durch News-Apps oder Social Media oft verloren geht.
Wir haben uns kürzlich beim „Testing for Pizza“ getroffen. Magst du uns erzählen, wie diese Idee entstanden ist und was genau dahintersteckt?
„Testing for Pizza“ hat seine Wurzeln in den frühen Tagen von Apple und ähnlichen Unternehmen, also vor rund 50 Jahren. Damals wurden in Garagen gebaute Geräte im Freundeskreis getestet. Da die Mittel begrenzt waren, gab es als Gegenleistung oft einfach Pizza und Getränke.
Beim Testing konnten wir die Benutzerfreundlichkeit der App direkt erleben. Wie gehst du bei der Organisation solcher Tests vor? Nach welchen Kriterien wählst du die Teilnehmenden aus?
Ich erstelle zunächst eine Liste mit Funktionen oder Bereichen der App, bei denen ich unsicher bin, ob sie intuitiv verständlich sind. Darauf basierend definiere ich konkrete Aufgaben (Tasks), die die Nutzer gezielt durch diese Stellen führen. Zusätzlich versuche ich, offene Szenarien einzubauen, um auch Probleme zu entdecken, die mir selbst nicht aufgefallen wären.
Die App überzeugt durch ihre angenehme Lesbarkeit – etwa durch die anpassbare Schriftgrösse sowie den Hell- und Dunkelmodus. Welchen Stellenwert hat die Benutzererfahrung für dich in der Entwicklung?
Die Nutzerinnen und Nutzer sind heute sehr anspruchsvoll. Hinter den meisten Apps, die wir täglich verwenden, stehen grosse UI/UX-Teams. Würde ich eine App veröffentlichen, die nicht zumindest ein gewisses Mass an Benutzerfreundlichkeit bietet, würde das sofort auffallen und entsprechend negativ bewertet werden.
Neben dem klaren Layout fallen auch die kleinen Illustrationen und Symbole auf. Von wem stammen diese Visualisierungen?
Werden sie speziell für die jeweiligen Texte entwickelt oder kuratiert ausgewählt?
Die Illustrationen stammen von der wunderbaren spanischen Grafikerin Diana Valeanu. Auf ihrer Website kann man aus einer bestehenden Kollektion auswählen. Die reduzierten, verspielten und teilweise surrealen Motive passen perfekt zum Konzept von Erlesen.
Wie wählst du die Autorinnen und Autoren aus? Können sich auch neue Autorinnen und Autoren über die Applikation „Erlesen“ bei dir melden? Wie unterscheidest du bei der Auswahl zwischen KI-generierten und menschlichen Autorinnen und Autoren?
Ich erhalte Unterstützung von der Literaturjournalistin Franziska Schläpfer, die mir beim Kuratieren der Texte hilft. Und arbeite aber auch mit dem Schweizer Autorinnen- und Autorenverband zusammen. Viele bekannte Autorinnen und Autoren kommen über diese Plattform zu uns. Bei ihnen können wir davon ausgehen, dass sie keine KI-generierten Texte einreichen, nicht zuletzt wegen ihrer eigenen Reputation.
Kannst du dir vorstellen, die Kurzgeschichten auch in Zukunft in anderen Sprachen zugänglich zu machen, oder ist das aus deiner Sicht eher schwierig umzusetzen?
Technologisch wäre das kein grosses Problem und liesse sich mit relativ geringem Aufwand umsetzen. Da ich aktuell jedoch jede Geschichte persönlich freigebe, konzentriere ich mich vorerst auf Deutsch. Aber wer weiss, was die Zukunft bringt.
Amsterdam - Zürich, den 21.Mai 2026
I met Ginevra Russo a few years ago in Amsterdam – she was my neighbour on the same street. As is so often the case, a special bond forms when people share a common passion. In our case, it was art. What began as a neighbourly acquaintance quickly developed into a friendship characterised by many conversations about exhibitions, artists and artistic processes. This shared interest also forms the starting point for the following interview with Ginevra Russo.
Dear Ginevra, where are you originally from – and how did you end up in Amsterdam?
Hi dear Nora! I’m originally from Naples, Italy, where my interest in art started quite naturally, studying art history and growing up surrounded by a very rich cultural heritage. Over time, that curiosity moved more towards contemporary practices, especially site-specific work and street art.
After my Master’s in Contemporary Art at the University of Bologna, I decided to move to London and broaden my experience. There I began building my career step by step, working in museums like the National Portrait Gallery and also in commercial galleries.
During those years, I also started collaborating on a project in Amsterdam, which introduced me to the local scene, smaller than London, but very vibrant and open. In 2019 I decided to move and continue that project here. I initially thought it might be for a while, but over time I built strong relationships, both professionally and personally, and I felt Amsterdam could really be a good base for me.
What started as a temporary project gradually turned into where I’m based today.
What inspired you to study art history?
Growing up in Naples played a big role in shaping my interest in art. It’s a city of strong contrasts, beautiful and chaotic, deeply historical and vibrant, and I think that just made me notice things differently quite early on.
At the same time, in the late 1990s and early 2000s, my older brother was part of the graffiti and street art scene in Naples, so I was quite exposed to this world, the energy, the codes, the visual language, and the strong sense of community around it. I found it fascinating, and it sparked my curiosity about how different visual languages and environments can coexist and influence one another.
I also remember visiting Damien Hirst’s The Agony and the Ecstasy exhibition at the Archaeological Museum around the same years. It was very striking for me at the time, it was one of the first times I really thought about that dialogue between contemporary art and historical space.
So looking back, all of these experiences naturally led me toward art history, not only to understand art itself, but also to better understand the connections between time, places, and people.
You currently work for the STRAAT Museum in Amsterdam. The museum is located in the north of the city on the former NDSM shipyard site and is housed in an impressive renovated shipyard hall. What are the exhibitions like in this extraordinary space? And what role do you think the museum plays today in the international street art scene?
For me, STRAAT is a very special place, starting from the space itself. It’s located in the NDSM area, which already has a strong history, since the early 1980s, after the shipyard closed down, it became a place for experimentation, where artists and creatives would gather and work, so there’s already this layer of cultural energy that pre-exists the museum.
What you see in the exhibition space today is very connected to that. Artists are invited from all over the world to work on site, directly on huge canvases inside the museum. So it’s not just about showing finished works, but really about the process happening there and the community around it. That makes everything feel very immediate and alive.
I think STRAAT is an important platform for the scene, but also for opening it up to a wider audience. Even though it is an institution, it still feels very grounded in the reality of the practice, because it brings different voices together without over-formalising what street art is. It’s very much a museum of the present, showing what is happening in the scene right now, globally.
What particularly fascinates you personally about street art compared to other contemporary art forms?
What has always appealed to me in street art is how immediate it is. It comes from everyday life, from an urgency to communicate, from political acts of re-appropriation and transformation of physical space, of reclaiming it in a way, straight from the street itself. That already makes it feel quite different from other contemporary practices.
I’ve always liked that energy that started with graffiti and then evolved into street art, outside of institutions, and only later in dialogue with them. It’s also connected to a whole culture that really catches me and involves music, especially hip hop, fashion, photography…And I think what stays with me is that moment when something appears in a very ordinary space and just shifts it, even briefly. You suddenly see the city differently.
That’s what I keep coming back to.
What trends are you currently observing in the street art and urban art scene? And what do you think: what role can art – particularly street art – play in how we perceive our cities and how neighbourhoods develop?
I think in the last few years there’s been a further shift in how street art is perceived. There’s definitely more sustained attention to its role in regeneration processes, but also to how it can create spaces for gathering and exchange. These aspects have always been part of the movement, even if for a long time they weren’t really acknowledged in a broader sense, partly because the focus was often on its illegal side or on more controversial narratives.
What I see more and more now are festivals, curated projects, and long-term initiatives linked to the regeneration of specific areas, where art is used quite directly to activate public space and bring people together.
And I think that’s also where its impact really becomes visible, how it can subtly change your perception of a city. It can make a neighbourhood feel more open, more alive, and somehow more connected to the people who actually live there.
At the same time, I think it’s important to recognise the more complex side of this process. Street art is often used as part of strategies of regeneration and visibility for certain areas, but that can also be the starting point of gentrification, where neighbourhoods become more desirable, rents go up, and communities that helped shape those places can end up being pushed out. So it’s not something that’s only positive or straightforward; it’s a process that really needs to be looked at carefully, especially because it can also be used in quite speculative ways.
You work part-time at the museum and have also established yourself as an art consultant and curator. What exactly does the work of an art consultant involve? And what misconceptions do you encounter most frequently in this field?
For me working as an art consultant is really about connection and translation. It’s about understanding where someone is coming from, what they respond to, and helping them navigate something that can feel quite complex at the beginning. From my experience across several roles in the art world, I’ve seen how many different ways there are to engage with it. Often people are genuinely interested in art, but they’re not always sure how to approach it or where to start.
One misconception I come across quite often is that the art world is still very closed or exclusive, or that you need to already “know” a lot to be part of it. But it’s actually much more open than it seems from the outside, it’s more about finding your own way into it. It’s really about creating those entry points in a very personal way, whether that’s through conversations, advising, or formats like art walks, which I’ve started doing in Amsterdam to make the local scene feel more direct and accessible.
At the same time, you also design and curate art experiences and guided tours in Amsterdam. What can visitors expect from such a tour? What do you hope to convey to visitors through it?
My interest in creating this kind of experience really comes from the need to open up more accessible spaces for exchange and engagement with art. I’ve often noticed that many people are truly interested in art, but don’t always feel comfortable entering galleries, they can feel a bit intimidated, or simply unsure of how to approach them. At the same time, galleries can sometimes feel a little formal or distant, which can make that first step even harder.
So in this sense, my role as a curator is about reframing that experience, making these spaces feel more open, welcoming, and alive for a broader audience.
The walks themselves are designed in a very personal way, depending on the participants and the context. They’re not just about looking at art, but about creating a more direct and informal way of engaging with the local scene, through artists, galleries, and the city itself. During the walks there’s often the possibility to meet artists or art professionals, and I also connect with different voices from the scene to make each experience more dynamic, real, and unique, something that is always tailored, but still open to everyone.
How does one’s perception of art change when exploring it alongside an expert?
I think what changes most is the depth of the experience. People usually approach a work instinctively, through emotion or personal taste, and I believe that’s always the right starting point. My role is to build on it, by adding context around the artist, the materials, the story behind the work, and sometimes the broader context in which it sits. Very often, that helps people move beyond their initial impression and connect with the work on a deeper level. But there is also an initial approach to a work, that it’s guided by passion, interest in the materials, the story the artist is telling, and their personality. And it’s something I naturally try to share with others.
Only afterwards I shift into a more professional way of looking at it: I consider the finished work, how it’s presented, I look at the artist’s CV, and I check prices…all information that helps me position the artist and understand certain market dynamics. These are probably things I would naturally do out of curiosity anyway, but after more than ten years in the field, it has become a way of looking at work, especially within commercial galleries and before entering the institutional context.
You also work in artist management. There are now numerous agencies and services on the market that support artists with presentation, communication and marketing.
What sets your work apart from these services – and what is particularly important to you when working with artists?
For me, artist management really starts from relationships. Right now I mostly work with artists I’ve known and followed for five, six years, so it’s very much something built over time, based on trust and continuity. It’s really about understanding where an artist is in their trajectory, what they might need at a certain moment, and how to support that in a way that actually feels useful and sustainable. My approach is quite personal. It’s not just about visibility or strategy, but about building a wider network around the artist, connecting people, opening doors, and staying close to the work at the same time.
Do you have any personal recommendations for Amsterdam this year – perhaps exhibitions, venues or artistic projects that you think are a must-see?
A recent addition I find interesting is Anthony Gallery, originally from Chicago, which opened its European space in the city last November. I’d also mention Diez Gallery, they often show more experimental, emerging practices and there’s a very direct, informal energy to the space. And then No Man’s Art Gallery, which I really like because of their international approach, they work a lot with emerging artists and they keep opening temporary spaces in different cities. Looking ahead, I’m quite curious about the DRIFT Museum opening in 2026. I think it’s going to bring something quite new to the cultural landscape here.
Barcelona - Zürich, den 15. Mai 2026
Xènia Fuentes is a photographer from Barcelona, where she lives and works with her husband and children. We met during Rotterdam Art Week 2024 in Rotterdam – amidst a vibrant atmosphere of exhibitions, conversations and new encounters. What particularly stuck in my mind was her work: colour-rich, expressionist-style full-size self-portraits that immediately demand attention whilst radiating an unusual intimacy.
Although I do not take photographs myself, her images made an immediate impression on me. Perhaps precisely because some artistic works transcend the medium: they create an impression, a tension or a presence that cannot be explained by technical or formal factors alone. This interview aims to provide an insight into her practice as an artist.
Dear Xènia, could you tell our readers a bit about your background and how you came to pursue your artistic practice? Because you also work as a press photographer, don’t you?
My relationship with photography began around 2008. Before that, I had graduated in Economics and spent a couple of years working in banking and tax consultancy, but I felt completely disconnected from that world.
At the same time, I went through an important personal period in my life. Both of my parents passed away while they were still young, and that double loss made me reconsider many things, including the direction my life was taking. My father was not a photographer professionally, but he was always surrounded by cameras and lenses, constantly taking pictures. I suppose some of that stayed with me in a very natural way.
I first started working in documentary film, doing cinematography and camera work for documentaries and video projects. Later, I moved into still photography. I studied at IEFC in Barcelona, where I developed both my technical foundation and a more personal relationship with the medium.
Press photography came into my life quite early, and my artistic work did too, although it evolved more slowly over time. I think working with a camera in any context enriches you as an image-maker: it gives you agility, intuition and freedom. For me, the different sides of photography and moving image constantly feed each other.
Why are you so interested in photography? And what makes this work in photography so special to you?
My interest in photography actually comes from cinema. In many ways, I feel more influenced by filmmakers than by photographers, although photography has also been important to me, of course. Directors like David Lynch, Krzysztof Kieślowski, Ingmar Bergman, David Cronenberg or Stanley Kubrick have probably shaped my visual imagination more deeply than anything else.
For me, photography is a way of expressing ideas, sensations and emotions, just like any other artistic discipline. What interests me is not only the image itself, but the atmosphere it can create. A photograph can evoke something psychological, emotional or even unsettling without needing to explain it directly.
I’m interested in building worlds or fragments of worlds where mystery still exists. Light, colour, movement and the body all become part of that language.
In your work, you present beautiful, intimate and colourful portraits of a woman. These spontaneous, fleeting moments capture colour and movement in a visual language all of their own. How did you develop this body of work? What are you looking for in your subjects? What are your sources of inspiration?
The work I’ve developed started quite organically, as a need to play and express myself through the image.
At the beginning of my creative practice with the camera, I photographed the space where I was living at the time — a modernist apartment in the Raval neighbourhood of Barcelona. I was fascinated by the place and by how light moved through it, and how it changed depending on the time of day and the seasons.
Gradually, I started introducing myself into the images, although I never experienced them as self-portraits in a literal sense. It felt more like the presence of a feminine figure. For that reason, I have always chosen to hide the face. It emerged quite naturally and eventually became a kind of working method, almost a modus operandi.
Over time, the work has evolved, although the tools remain essentially the same: my body, light, and an intimate space. What has changed is the focus. In the earlier stages, the space itself had a stronger presence. Later, the work shifted more towards movement, colour, and textile as an expressive material.
There is also an underlying sense of duality — being both in front of and behind the camera — as if I am following myself through each image, or tracing a continuous dialogue between two presences.
In terms of inspiration, my main references are still largely cinematic, as I mentioned before, although I also draw from photography. Artists such as Francesca Woodman, Duane Michals, and Sophie Calle have been important to me in the way they approach identity, narrative and the photographic body.
You take several photos during your creative process. How do you decide which one to choose, or how do you know when you’ve found the final one?
My sessions are usually long and I take many photographs, because I work with movement, which is unpredictable and follows a kind of trial-and-error logic.
The selection process is quite intuitive and relatively fast. Sometimes I already recognize the “right” image during the shoot itself, and other times I only discover it when I go through the material afterwards. It’s not always something you know in advance.
For me, it’s more about creating the right conditions so that, within hundreds of images, a strong photograph can emerge — one that is not only visually beautiful, but that also carries a certain emotional intensity, something that moves you.
And in your opinion, what sets your approach apart from others?
What probably defines my approach most is the tension between presence and absence. The body appears, but identity remains concealed, allowing space for the viewer’s own emotions and interpretations.
How do you position yourself through your artistic practice? And how do you position yourself as an artist within existing categories such as digital art, contemporary art or photography?
I don’t really position myself within strict categories. I come from photography, although my background also includes documentary film and video. There is something quite pictorial and performative in the way I work, especially in relation to the body, movement and colour.
For me, what matters most is finding the right medium or language to express an idea, a sensation or an emotion.
What is the approach in your more recent work? Could you tell us a little about that?
My latest project, La piel y el oro, continues along the same line as my previous work, working through self-portraiture, where the human figure — often fragmented and faceless — becomes the centre of a visual narrative in which the body is not only a subject, but also a space of transformation.
Textile elements function as expressive material, altering and blurring the figure, and bringing it closer to something pictorial or sculptural. While in previous works I created specific garments myself, in this project I started from elements belonging to the world of bullfighting, such as the traje de luces and the capote.
What interests me is their visual force: the plasticity, colour, shine and texture, but also their cultural weight. I’m not interested in reproducing that context literally, but rather in exploring how these highly codified elements can acquire new meanings when they enter another body, another scene, opening up different possibilities of interpretation.
I came across the piece called “Fototext” on your website. What exactly is it? Could you tell our readers a bit about it?
I’m very interested in interdisciplinary forms of work, and “Fototext” is a section where text and photography coexist in different ways. Some pieces are short stories, others are more fragmentary or essay-like, but they all somehow relate to photography, memory, image or visual experience.
One of those projects combines text and image through short narratives that emerge from photographs taken from my family archive. It began as a way of trying to understand who those people in the photographs really were — family members who appear so alive in the images, although they are no longer here. At the same time, it also became a way of reflecting on what remains of them in me, and what part of myself is shaped by those absences.
With that particular project, I was interested in building a narrative around the emotional and psychological traces that a photograph can accumulate over time, and unfolding the different layers of memory and thought that an image can contain.
How did you come into contact with a gallery?
They contacted me directly. I had been sharing my work on social media for about a year and a half — before that I wasn’t very connected or visible online — and just when I had started thinking about the possibility of looking for a gallery, they appeared.
I feel very fortunate. It was a really happy moment for me.
Are there any upcoming exhibitions or collaborations you’d like to tell our readers about?
I’ve just recently exhibited my latest project, La piel y el oro. Right now, I’m back in a phase of creation, working on new ideas and new directions. I feel that I’ve found a new path to take the work a bit further, which is very motivating for me at the moment.
There may also be a group exhibition in the near future, although nothing has been confirmed yet.
Amsterdam - Zürich, den 23. März 2026
I met Sjors Hermans about six years ago through my collaboration with the Kahmann Gallery. Since then, I have come to know her as someone who approaches contemporary art with great passion and curiosity. Her youthful, fresh character and remarkable organisational skills shape our collaboration, as does her commitment to artistic processes. She recently took the next step and started her own business as an art assistant. This is a good opportunity to talk to her about her career path, her perspectives on contemporary art and her new professional role.
Dear Sjors, can you tell our readers a little about your background as in art history and years of experience managing a gallery and how you came up with the idea of “art assistant”?
My background is rooted in working closely with artists and galleries rather than strictly academic art history. Over the past years, I’ve worked in gallery environments such as Kahmann Gallery and have been involved in art fairs, exhibitions and the day-to-day operations of representing artists. That experience gave me a very practical understanding of how the art world functions behind the scenes.
What I noticed is that many artists are incredibly strong conceptually and creatively, but often lack the time, structure or network to position themselves strategically. The idea for “The Art Assistant” came from that gap: creating a role that sits somewhere between a gallery, a manager and a consultant — but with the artist’s interests as the starting point.
How exactly do you define your service?
I define my service as a hybrid between strategic guidance and hands-on support. It’s not just advice, and it’s not just execution — it’s a combination of both.
Depending on the artist, this can range from refining their positioning and portfolio to organizing exhibitions, managing communication, building relationships with galleries or collectors, and developing long-term strategies. The key is that I work closely alongside the artist, almost as an extension of their practice, rather than as an external service provider.
Who is your target group?
Primarily emerging to mid-career artists who are ready to take their practice more seriously and want to grow professionally, but don’t necessarily have gallery representation or a structured support system yet. I also work with galleries that are looking for support in areas such as artist development, project coordination, and strengthening their overall positioning.
At the same time, I collaborate with more established artists who are looking for additional support in areas like visibility, project management or strategic direction. The common thread is that they are motivated, but need clarity, structure or access.
Do you also offer financial advice, bookkeeping and budget planning to help artists keep their finances under control?
I don’t position myself as a financial advisor or bookkeeper, but I do help artists gain more clarity and control over the financial side of their practice. This includes thinking about pricing strategies, understanding margins, structuring offers, and making more informed decisions around investments in their work or career.
How do you navigate the gap between the creative and operational side of the art world for an artist?
That gap is exactly where I operate. Many artists experience the operational side — communication, planning, sales, networking — as something that pulls them away from their work.
What I try to do is integrate those elements in a way that supports the practice rather than disrupts it. By taking over certain tasks, structuring processes, and translating the artist’s work into a clear narrative, I allow them to stay focused on creating while still building a sustainable career.
How can I understand strategic guidance on positioning, pricing, networking, portfolio development, and long-term growth?
Strategic guidance, for me, means looking at an artist’s practice as a whole and asking: where are you now, where do you want to go, and what steps are needed to get there? That includes defining a clear artistic identity, aligning pricing with positioning, identifying the right platforms or galleries, refining the portfolio, and building relationships within the art world. It’s not about quick wins, but about creating a trajectory that makes sense in the long term.
What is your main focus with your service?
My main focus is helping artists build a sustainable and authentic career without losing the integrity of their work. That means not only increasing visibility or sales, but also making sure that opportunities align with their artistic vision and long-term goals. It’s about creating a balance between artistic development and professional growth.
What do you think distinguishes your approach from others?
I think what distinguishes my approach is that I work very closely and personally with the artist, and that I understand both sides of the art world — the creative process and the commercial reality.
I’m not purely strategic, and I’m not purely operational. I combine both, and I approach each artist individually rather than applying a fixed formula. It’s a very collaborative process, built on trust and long-term thinking.
I also believe this kind of role doesn’t really exist in a structured way yet. There’s still a significant gap for artists who are not represented by a gallery but do need professional support to grow. At the same time, many galleries could benefit from extra strategic or operational support, but don’t always have the resources to hire someone full-time. I position myself exactly in that space: flexible and tailored to what is actually needed.
Many artists not only try to survive by selling their artworks, but also apply for grants to further grow their artistic development.
Can you help with that too?
Yes, I can definitely support artists in that process. This can include helping to articulate their work clearly, structuring applications, and positioning their practice in a way that aligns with funding bodies. I can also work closely with them on writing the application itself: shaping the narrative together and refining it where needed.
For many artists, it’s valuable to have a sparring partner throughout this process: someone who can ask the right questions, challenge assumptions, and help translate their work into a clear and convincing story.
The Netherlands had for a long time a very good funding for artists (that were originally from the Netherlands or also Netherlands based) and art projects. Can you share some experience or how your work helps dealing with the current situation?
The funding landscape in the Netherlands is definitely shifting and becoming more competitive, which means that a strong and clearly articulated application is more important than ever. What I focus on is helping artists sharpen their narrative and position their work in a way that aligns with the criteria of specific funds. This often means translating an intuitive or visual practice into a clear proposal, without losing its essence. I support in structuring the application, refining the concept, and — if needed — writing it together.
I also act as a critical sparring partner throughout the process: asking the right questions, identifying gaps, and making sure the proposal is coherent, focused and convincing. In many cases, it’s not necessarily the work itself that needs to change, but how it is communicated. By strengthening that, artists significantly increase their chances within an increasingly competitive funding environment.
There are many artists who currently find it difficult to sell their works. Can you tell us something about the current situation in the Netherlands?
The Dutch art market is relatively small and quite saturated, especially at the emerging and mid-career level. There is a high output of artists graduating from academies each year, while the number of galleries and active collectors has not grown at the same pace. As a result, competition is strong and visibility is fragmented. At the same time, the market is quite segmented. On one end, there is a more established circuit of galleries and collectors that tends to work with a relatively fixed group of artists. On the other end, there is a large group of artists operating more independently, often relying on art fairs, project spaces, or direct sales. Breaking into the more established gallery system can be difficult, and many galleries are cautious due to rising costs and market uncertainty. There is also a noticeable shift in buying behaviour. Collectors are more considered in their decisions, often choosing fewer works but with a clearer focus, and placing more value on context, narrative and the long-term development of an artist.
At the same time, I think this also creates an opportunity for artists who are able to clearly position themselves and build a strong narrative around their work. It’s no longer enough to just make good work; visibility, consistency and network play a crucial role. What I see is that artists who actively engage with their audience, think strategically about their presence, and build relationships tend to navigate this landscape more successfully.
Zürich-Amsterdam, den 28. Februar 2026
I have been working with Roy since graduating from the Gerrit Rietveld Academy 2018. In doing so, I have got to know someone who is not only interested in photography, but also in contemporary art, and who engages with it intensively. During these almost eight years, I have noticed that ideas about what Roy's work is about sometimes diverge greatly and give rise to very different interpretations.
With this interview, I would therefore like to provide an insight into his work and convey an idea of the collaboration between the gallery and the artist.
Dear Roy, can you tell our readers a little about your background and how you came up with the idea of representing a photography gallery?
Starting a gallery was never actually the plan; my wife and I had simply been avid collectors for years. It began in the 1980s when I worked closely with photographers on commercial assignments in my role as a designer and art director. During those collaborations, I often saw their personal, autonomous work and frequently bought prints for myself. In the early '90s, a trip to New York first opened my eyes to the true scale of the fine art photography market. It wasn't until the early 2000s that Dutch photographers began asking me to represent them professionally. My first gallery, which was online and, in hindsight, far too early for the market in 2001, was my first real attempt at selling prints. That’s how it all began.
Why are you so interested in photography? And what does this work with photography mean to you?
My initial love for photography, particularly black-and-white work, was purely aesthetic and decorative. I filled my home with a wide variety of photographs because they gave me the sense of living a richer, more inspired life.
What are your sources of inspiration for this work with such diverse categories of photography?
My inspirations are as varied as the photographers and styles we represent. It starts with graphic design, but I am also deeply influenced by painting, specifically the "Zero" movement. Architecture, cinema, and sculpture (particularly African sculpture) are also vital influences. Despite the diversity of these disciplines, simplicity is always the central thread.
In addition to the gallery, you also publish a GUP magazine and established Fresh Eyes, a platform for emerging photography talent.
How did that come about?
I co-founded GUP Magazine with two other enthusiasts to provide my gallery and artists with a broader platform within the wider context of the international photography world. We looked for intersections within specific themes, highlighting the inspirations of established photographers alongside emerging talents. Through that search and our communication with various art academies, it became clear there was an enormous amount of talent in need of a stage. That’s how Fresh Eyes was born. We now publish the book twice a year to keep up with the sheer volume of new talent entering the market and looking for their place in the photography world.
Why did you rebrand Kahmann Gallery as Hungry Eyes Group in May 2025?
Rebranding the various activities I had built up over the years was a strategic decision driven by several factors. The first was practical: I was managing four separate companies with four websites, four social media presences, and, most crucially, four different fiscal entities and sets of obligations. I have now consolidated everything into a single entity: The Hungry Eye Group. This integration process is still ongoing and is expected to take over a year to fully complete.
What exactly is Hungry Eye Gallery LAB?
Our LAB is a dedicated space within the gallery where we mentor, coach, and nurture new talent, helping them grow into full members of our roster of represented artists. We dedicate a full year to this process. Think of it as "Phase 2" of their education. After graduating from art school, many talents fall into a professional vacuum; we aim to prepare them for the realities of being a self-sustaining artist across various professional levels.
How do you position yourself with your gallery and the artistic works you present?
The Hungry Eye Group is a leading international platform dedicated to the art of fine-art photography. The group functions as a unique, integrated ecosystem designed to discover, nurture, mentor, and present photographic talent at every stage of the artistic journey. From the first spark of inspiration to the walls of the most prestigious collections in the world.
What is your main focus when curating an exhibition?
My primary focus is staying true to my own intuition. I ask myself: "What would I want to discover and feel at an exhibition?" Past experiences guide me here. I view an exhibition like a good book, it needs a compelling beginning and a poignant conclusion. It should be experienced like the movements of a great piece of music. I call that "flow." It’s not just about a series of highlights; it’s about the rhythm of the whole experience.
What messages do you want to convey with your work? And what do you think distinguishes your approach from others?
Our message isn't as high-flown as people might expect. My motto has always been about the enjoyment of timeless work. Ideally, a joy that lasts a lifetime. This is especially true when you hang a piece in your home where you see it every day. I look for works that inspire, challenge, and remain engaging, pieces that continue to raise new questions over time. That is the kind of art that sticks with you. Our approach differs from our peers primarily through its breadth; we focus on long-term artist representation, nurturing their growth in both artistic quality and market value.
How do you position yourself as a collaborator and gallery owner within existing categories such as digital art, contemporary art or photography?
Our positioning has nothing to do with the artist's medium or output. To us, every artist and their work is treated with equal importance and is supported and presented with the same level of dedication. Categories simply don't matter to us.
How do you select artists and what is particularly important to you in terms of an artist's approach?
The way we scout new talent has shifted significantly in recent years. Much of our discovery now happens via social media, with Instagram playing a major role. However, our core approach remains the same. After an initial meeting, the most important step is to voice and manage expectations. Generally, artists expect a lot from a gallery, and our most important piece of advice to them is: "Patience." Positioning a new artist in the market is a time-intensive process.
You also work with artists who use AI in their work. Can you tell us a little bit about that?
We are far less interested in how an artist works than in the final result, what we call the "final image." Whether a work is created with a disposable camera, a smartphone, a pinhole camera, or even without a camera at all, is secondary. We represent artists who use collage techniques, both analog and digital, and now those using AI. Just as it was with the early Photoshop artists, we believe it isn't the technology that dictates the output, but the creator who’s using it and managing it. The artist acts as the director, and that vision remains the only thing relevant to the final image.
As an artist, how should one imagine working with a gallery owner today? How do you support your artists as a gallery owner?
Because as a gallery owner, publisher and fair director, you are very busy.
And how has this artist-gallery owner relationship changed in the current climate?
For us as organizers wearing many hats, the core hasn't changed. Everything we do beyond traditional gallery management was born from a single goal: generating as much attention as possible for our artists. By publishing magazines and books, we can reach the public sooner and engage a wider audience. The same applies to the fairs we organize. Artists who don't see the value in that ecosystem probably shouldn't join us. The artists in our group must understand that we build success together. Success for the artist is success for us. That symbiotic relationship is often misunderstood by the outside world.
What is it like working with such different people, artists and photographers?
Can you share some experiences with us about how the collaboration with artists works?
Are there certain things that work very well and others that don't work so well?
Every collaboration is unique because every person is unique. As I mentioned, managing expectations and maintaining open communication is essential. We give 100% to bring an artist to the attention of potential buyers, but you cannot force that process. The volatility of the market plays a role. Even geopolitical events or the weather during an art fair can have an impact. Then, of course, there is the buyer's taste and budget. Money is always a factor, both for the buyer and in the relationship between artist and gallerist. When sales are strong, everyone is happy; when sales lag, different pressures emerge. Furthermore, social media has changed the game. Buyers often approach artists directly, which can lead artists to question if they still need a gallery. A lot of business is done online now, and that inevitably influences the artist-gallery relationship.
There are many artists who currently find it difficult to sell their works.
Can you tell us something about the current situation in the gallery business?
The art market in 2025 was quite challenging. Many galleries had to close their doors, and artists generally saw lower sales. Specifically in the Netherlands, there was a negative sentiment driven largely by politics and the global stage. While the market picked up slightly at the end of 2025, it dipped again in early 2026. Remaining positive and having high expectations for the rest of 2026 is a matter of mindset. Wars, rising prices, and political instability affect the buyer's market. We can only hope that people continue to find a small bit of joy in purchasing a beautiful piece for their home.
Are there any exhibitions or collaborations in the future that you would like to tell our readers about?
We have several wonderful events lined up for 2026. To name a few:
Haute Photographie Rotterdam 2026 (March 25–29): Featuring over 50 photographers and 100 talents via Fresh Eyes.
KunstRAI 2026 Amsterdam (April 25–29): Contemporary art, featuring a selection of premier photography galleries.
Hungry Eye Fair Amsterdam 2026 (September 2–6): Held in conjunction with Amsterdam Fashion Week, showcasing work by over 50 photographers.
PAN Amsterdam 2026 (November 2–10): A high-quality art fair where the Hungry Eye Gallery will be prominently featured.
Zürich, den 17. März 2023
In my collaboration with the gallery owner and curator Mrs Goar Sekhian Sanfilippo, I met someone who has the same passion for scent. For me as an artist, scent or ordour is a part of our perception. It was an area of interest that I pursued for a while during my studies. Now, when I met Goar Sekhian Sanfilippo at a conference in Bern, I remembered my work with the sensory perception of "scent".
At the same time, I am also fascinated by women in our society who follow their individual interests and thus establish themselves.
This meeting in Bern and our current collaboration gave rise to the idea for this interview, which provides an insight into my work with Goar Sekhian Sanfilippo, the founder of the concept of Perfumed Art.
Dear Goar, can you tell the readers about your background and how you came up with the idea of combining art with fragrance for an exhibition?
Dear Nora, thank you for the warm welcome! It’s a privilege to share this space with you for this conversation.
The genesis of melding art with fragrance was birthed within the confines of my professional sphere. It’s essential to note that both art and fragrances have been intertwined with my existence since childhood. Yet, my career trajectory for two decades was anchored in international trade, a field seemingly distant from these passions. The epiphany to fuse visual and olfactory pleasures arose from the strains of an unfulfilling work environment.
My tenure at a trading firm, within the starkness of an open-space office, challenged my notions of resilience. It wasn’t the pressures of the job but the sensory disruptions — the “olfactory noise” and a stark lack of visual allure — that eroded my productivity. Encased by bland walls and unwelcome odours, I found myself yearning for an escape.
This longing for aesthetic and aromatic stimulation became my muse. I envisioned an art piece on the barren wall beside me and a fragrance that could transport me from the drab confines of the trading floor. This wasn’t just a fleeting daydream; my deep-rooted appreciation for art and scent fueled this aspiration.
This vision eventually materialized, thanks to collaborating with gifted artists who dared to infuse their creations with scent, pushing the boundaries of their craft. This blend of art and fragrance wasn’t merely a personal sanctuary; it became a tangible reality, marrying my lifelong passions with my professional world in an unexpected symphony.
How should we imagine the encounter with a perfume-combined work?
The creation of perfumed art is deeply personal and tailored, with my role being more of a conduit than a direct influencer. My background in art and olfactory senses serves as a foundation, yet it’s the immersive study of an artist’s portfolio that truly sparks my creativity. Every brushstroke, color palette, and technique of the artist acts as a catalyst, igniting my visual and olfactory imagination.
This process is collaborative at its core. As I delve into the nuances of an artist’s work, the interplay of visuals and scents begins to take shape in my mind, forming the initial concept of a collection. It’s a dialogue of inspiration, where my insights and the artist’s vision converge to conceptualize a collection that is not just seen but experienced through scent.
This shared journey of creativity paves the way for the artist to craft a collection that transcends traditional art, inviting viewers into a multisensory experience where fragrance complements form, enriching the narrative and emotional depth of each piece.
And what kind of perfume is it?
The selection of perfumes is intricately aligned with the essence of the artist’s work, where the hues, figures, forms, shapes, and dynamics within the artwork guide my olfactory choices. These elements coalesce into a singular sensory blueprint, etched firmly within my mind.
It’s important to emphasize that the perfumes showcased at exhibitions serve merely as illustrative examples for attendees. The core of our perfumed art concept lies in personalization and choice. Viewers are invited to not only connect with the visual aspect of the art but to also infuse it with a more intimate, personal layer by selecting a scent. This could be their own signature perfume or a fragrance that holds significance to someone dear to them.
This integration allows for a unique synthesis where the chosen artwork is not just visually captivating but also intimately connected to the viewer’s or their loved one’s olfactory identity, enriching the overall experience and creating a deeply personal connection with the art.
What are the sources of inspiration for your work?
Drawing inspiration from the artist’s creations is an aspect of my work that I hold in high esteem. Collaborating with these talented individuals is not just a privilege but an enriching journey that extends beyond the realm of art. It’s a process that fosters a deep, reciprocal inspiration, fuelling both our creative endeavours and enhancing the artwork we set out to create together.
Moreover, these collaborations shine a light on the beauty of human connection. The exchange of ideas, the shared moments of breakthrough, and the mutual respect and admiration that develop through the course of our work together underscore the profound impact of these relationships. They transcend mere artistic collaboration, evolving into a celebration of the human spirit and the bonds that tie us together in our quest for beauty and expression.
How do you position yourself as a collaborator and gallery owner in the artistic work presented?
Building on what I shared earlier, the culmination of our collaborative efforts—the artist’s work—emerges as a manifestation of our shared vision and inspiration. This creative synergy often results in a collection that is akin to a “newborn,” crafted with care, passion, and a deep-seated connection between all involved.
As the relationship between the gallery owner and the artist evolves through this process, it transcends traditional professional boundaries. It blossoms into a creative friendship, where mutual respect, understanding, and shared aspirations form the cornerstone. This unique bond not only enriches the art but also adds a layer of depth and intimacy to the collection, making each piece a testament to the collaborative spirit and the profound connections formed along the journey.
What messages are you trying to communicate with your curatorial work? And what do you think differentiates your approach from others?
The guiding principle that has steered my journey in the art world were my father’s wise words: “Art is noble, you can learn everything but art should be in your blood.” This profound belief has been the bedrock of my endeavours since I embarked on organizing art exhibitions in 2017. My singular goal was to offer artists a platform to showcase their work, without any selection criteria, providing them with the opportunity to exhibit their art in a prestigious venue in Luzern, thanks to a philanthropic collaboration with Chateau Gütsch castle/hotel under management of the previous director.
Inspired by this initial venture, in 2018, I founded Perfume Art Creation with a dedicated focus on perfumed art. This initiative was aimed at redefining the essence of artistic expression by incorporating olfactory elements, thereby unveiling the artists’ talents in an innovative manner. Each artist involved brings their unique technique and style to the fore, contributing to the evolution of perfumed art as a distinctive genre within the realm of contemporary art. This endeavour not only celebrates the sensory fusion of scent and sight but also champions the individuality and creativity of each artist we collaborate with.
How do you position yourself as a collaborator and gallery owner within existing categories like digital art or contemporary art?
Perfumed art represents an innovative frontier within contemporary art, marking a distinct departure from historical instances where olfactory elements subtly intertwined with artistic expressions, but never as directly correlated as they are now. Our gallery stands out for its creative ethos, diverging from the conventional gallery model focused primarily on art curation and sales.
Our core mission is to foster creation and innovation, encouraging artists to explore new dimensions in their work. This creative journey is paramount, with the commercial aspect of selling art taking a secondary role. We see ourselves not merely as art dealers but as art creators, facilitators of a process that brings novel and sensory-enriched art to the forefront.
This approach underlines our commitment to expanding the boundaries of art and offering unique experiences that challenge and engage the senses in unprecedented ways.
How do you select the artists and what is really important to you in terms of an artist's approach?
As I’ve touched upon previously, the creative process we engage in significantly transforms the dynamics between the gallerist and the artist, often leading to a deep-seated friendship. Such a bond is predicated on unwavering trust, forming the foundation for a lasting relationship. In the realm where galleries and artists intersect, while talent undeniably plays a critical role, the core human values of respect, loyalty, honesty, and creativity hold paramount importance.
I approach all my professional relationships with sincerity, transparency, and a forthright attitude. It is essential for these fundamental values to be reciprocated and upheld. Should there be any deviation from these principles, our paths diverge swiftly and decisively. This stance underscores the significance I place on maintaining a circle of collaboration characterized by mutual respect and integrity, ensuring that our shared journey in the art world is not only productive but also deeply meaningful.
Since you founded the 2020 concept in Zurich, you have already opened new galleries in Venice and Paris. Can you share with us some experiences of how the collaboration with the artists’ works? Are there specific things that work very well and those that don't?
The initiation of a collaboration often sparks from a serendipitous encounter between two individuals at an art event, effortlessly conversing in the universal language of art. Once this connection is established and the dialogue flows naturally, partnerships can form almost instantaneously. Interestingly, I’ve observed that collaborations with established and renowned artists tend to materialize more smoothly compared to those with emerging artists. The seasoned artists possess an innate ability to convey and interpret artistic concepts with minimal words, a testament to their extensive experience and fluency in the art world’s nuances.
Every locale brings its own unique flavour to the art scene, and for us, Venice holds a special place. My husband and I were merely 21 when we first visited Venice and found ourselves captivated by the majestic Scuola Grande di San Rocco. The profound spirit and philosophy of this place inspired a heartfelt vow between us: to one day emulate the Venetian middle-class families’ tradition of nurturing young talent in the arts. Fulfilling this aspiration, we inaugurated our first international gallery in Venice in April 2022.
A year later, a fortuitous opportunity arose to acquire a gallery in Paris, nestled in the Village Suisse at 78 Avenue de Suffren, a stone’s throw from iconic landmarks like the Eiffel Tower and the Grand Palais. The prospect of establishing a presence in such a prestigious location was beyond our wildest dreams. Yet, life has a way of unfolding seamlessly when the time is right, turning once distant dreams into reality with astonishing ease.
What is your focus with curating an exhibition?
Our galleries in Zürich, Venice, and Paris are abuzz with activity, hosting new exhibitions bi-monthly. Each collection is personally curated by me, a responsibility I cherish deeply. It’s a privilege to intersect paths with such incredibly talented and creative artists, which in turn, enriches my own creative journey immeasurably.
Running a burgeoning gallery demands an immense commitment, often translating into 16-hour workdays that intertwine with family life. Such a rigorous schedule is sustainable only because of the joy and fulfilment derived from working alongside individuals who inspire and invigorate me daily.
Recently, we celebrated the opening of “25th TWENTY FIVE,” a solo exhibition by the Luzerner painter and tenor Sergey DUBROFF in Zollikerberg. This captivating showcase is available for viewing by appointment until May 31, 2024.
Looking ahead, the next weekend promises another exciting chapter as I head to Paris. We’re relocating the current solo exhibition of the French artist designer Nathalie MONNIER to Grenoble. This move is in preparation for our participation in the Grenoble Art UP, from April 4 to 7, 2024. This event marks the inaugural Contemporary Art Exhibition in Grenoble, where we’ll present “L’EDEN retrouvé,” a collaborative exhibition featuring the works of Nathalie Monnier, Nadège Dupont, and Sylvain Dautremay.
Do you have any exhibition or collaboration in the future you would like to share with our readers?
An exciting and significant exhibition is on the horizon in Venice, where we will be inaugurating the Venice Biennale at our permanent gallery with the exceptionally talented NORA PAPP from Zürich. This exhibition is set to be a unique fusion, showcasing a dialogue between Nora’s artistic prowess and the capabilities of Artificial Intelligence. It aims to serve as a playful nod (“clin d’oeil”) to the idea of collaboration, transcending the boundaries between human and non-human entities.
This event promises to be a thought-provoking exploration of art and technology, challenging traditional notions and inviting a wide array of interpretations. It’s a testament to our commitment to pushing the envelope and exploring new frontiers in the art world.
We invite you to stay engaged with our journey and to reach out if you wish to experience this ground-breaking exhibition or any of our showcases in Zürich or Paris. Whether by phone or email, we are ready to facilitate your visit and ensure a memorable experience at any of our gallery locations.
You are welcome!
It was truly a pleasure to share insights and discuss our endeavours in the art worlds. Thank you for the engaging conversation. I wish you a flourishing journey ahead filled with creativity, inspiration and success.