In artistic expression, it's essential to utilize and fulfill all available styles or genres.
The art scene can be chaotic and bustling. Remarkably collected and unruffled, Jan and Tina Wentrup have guided their art contributors through ups and downs for two decades, banking on dialogue, deceleration, and a unique base in Venice.
Transitioning from a self-refurbished equine stable to a stylishly renovated former post office, from the ascending east to the established west. Does it bring up images of Berlin? You bet it does. Jan Wentrup established his gallery in Berlin twenty years prior, and he's been operating it together with his wife Tina since 2009. This spring, they launched a branch in Venice, where patrons can book a sea voyage with an artist and a special vessel. Their anniversary is being celebrated in Berlin with an unconventional exhibition. The duo linked up with ntv.de in Berlin for an interview. The importance of continuous conversation is paramount to the couple. With openness and the readiness to engage with others, they communicate with each other and others. They particularly value conversations with the 19 artists of the gallery, their team, collectors, or curators, and engaging with the audience. The sales area is also accessible as a free exhibition space. All are welcome to step inside, take a gander, and ask questions.
The art showcased at Wentrup is comprehendible without grand explanations. "A work of art should first be on its own merit," says Tina Wentrup. "We aim for something to occur between the viewers, especially not to create barriers." Of course, there are highly conceptual works that call for extensive knowledge. Yet, a work of art is self-sufficient, standing alone, notes Jan Wentrup. "Above all, it's about the personal involvement between the viewer and the artwork. Anything else can only be supplementary information." Art, however, has varying levels, points out Wentrup. That's what distinguishes it from mere decoration: "There's only this one, rather flat plane."
Valuing Emerging Talent
The anniversary show "20 Years - An Anniversary Show" is like an unexpected treasure chest. The artists collaborating with the Wentrups were given the freedom to choose a partner. This results in unexpected intermedia pairings and fresh viewpoints. There were collaborations that surprised them, Jan Wentrup reveals. "For example, Karl Haendel asked our son to write about his work." Tina Wentrup mentions that Karl values young people and their perspectives.
They regret that fewer conversations are taking place in the increasingly rapid art market. The close-knit artist community is the emphasis: Despite the rain and cold, the artists, team members, and numerous enthusiasts attended to celebrate and discuss at the anniversary. The gallery often displays socially and politically charged works, such as the carpet collages of sculptor Nevin Aladağ, which appear colorful and appealing at first glance. However, she questions complex issues of identity and cultural community through her innovative ornament mix. "Nico Anklam, a curator we've worked with extensively," says Tina Wentrup, "said it should be possible to bring a work of art closer to someone who knows nothing about art, as well as to a university professor. You have to be able to cater to all required demographics." That's an approach they admire.
In his hometown of Münster, Jan Wentrup studied art history, "without knowing what to do with it," he recollects. "I still engage with the theoretical aspect of art history, but I value the personal dialogue with art more." He initially intended to pursue a doctorate in New York, but several factors hindered that plan, so Berlin ended up as the only alternative. He had already thought about running his own gallery during his studies.
Twenty years ago, Berlin was the epicenter of contemporary art, recollects the gallery owner. "It was easy to secure a studio and produce contemporary art, so international collectors arrived here." His first gallery location operated in a renovated horse stable, now a hub of one-man operations, laughs the gallerist. "When the first people from Grunewald came to Choriner Street, they said they had never been this far east. The Wall had already fallen 15 years ago."
Tina Wentrup, also from Münster, attended German, French, theater, film, and television studies in Cologne, Paris, and Berlin. "In Berlin, I worked for the French Embassy, the Bureau du Théâtre et la Danse, the Schaubühne, and Sasha Waltz," she reflects. "When Jan and I reconnected and grew closer, I was increasingly hired by galleries for fairs because I spoke French. I found visual art engaging because it's a very open world, unlike theater, where you work closely, almost hermetically, with each other."
Embracing Variety
Five years later, the couple decides to run and develop the gallery as equal partners. This involves actively approaching galleries abroad for their artists. In essence, it's crucial for all artists to have galleries of different sizes and nationalities to formulate strategies and concepts together. The network that emerges is enormously beneficial; artists become stronger and are perceived differently on an international scale.
They have since replaced the horse stable with a refurbished post office. Change is the norm, and galleries are no longer the sole sales platform. Artists use Instagram to self-promote their works. To what extent is gallery work still significant? "You need a place to experience art in person," Tina Wentrup is emphatic, as the gallery serves as critical mediation. "Long-term placement in collections is equally important as sustainable strategic growth," adds Jan Wentrup.
"We're not dealing in timepieces here"
When it comes to market trends, the art world has started to mirror the fashion industry to some extent. "It's an unusual pattern I see emerging," expresses Tina Wentrup, "There are highs and lows with escalating volatility, even in pricing. Yet, I can't help but feel the human touch is dissipating." Artists should not be reduced to commodities. "We're not dealing in cars or luxury watches here, we're working with living beings, and they deserve respect and affection."
They purposefully oppose the hectic pace of the world with tranquility. In April, they expanded their gallery portfolio by opening a second location in Venice. Contrary to belief, having multiple locations doesn't necessarily imply a slowed pace. So, what draws them to Venice? "We swim against the tide," shares Jan Wentrup, "There's this mainstream in Venice, filled with throngs of people, but we prefer navigating the side channels, where there's more room to breathe." In the more secluded Cannaregio district, they discovered a former fashion atelier, complete with a private dock. Such adaptations are common in Venice, as everything, including artworks, must be transported by boat.
"Urban areas don't foster authentic relationships. People rush in, stay for a couple of days, and then dash out," agrees Tina Wentrup. "But Venice offers a welcome change of pace. People visit to unwind." The ambience, the water, everything instills a peculiar charm and inspires their creative endeavors. The Wentrups have also managed to execute some extraordinary projects in Venice. For instance, their ongoing sailing event with artist Gregor Hildebrandt, who designed a sail using black magnetic tapes.
"Anniversary Show" until November 16, Galerie Wentrup, Knesebeckstraße 95, 10623 Berlin
For art enthusiasts visiting the Biennale: "Star and the Dark Journey", until October 19, Calle della Testa, 6359 Cannaregio, 30121 Venezia
The Anniversary Show in Berlin is a testament to The Community's creativity and collaboration, as artists chose their partners for unexpected intermedia pairings.
The Wentrups value the close-knit artist community, often showcasing socially and politically charged works that spark conversations, such as Nevin Aladağ's carpet collages.
