The Art Bystander - Détails, épisodes et analyse

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The Art Bystander

Roland-Philippe Kretzschmar

Arts

Fréquence : 1 épisode/31j. Total Éps: 55

Meet the individuals who drive the art industry today and tomorrow; from artists to gallerists, curators, financial backers, advisors, collectors, and more. Hosted by Roland-Philippe Kretzchmar.

More on www.theartbystander.com and www.instagram.com/theartbystander

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#55 Karen Boros

Saison 1 · Épisode 55

lundi 12 octobre 2026 • Durée 29:18

Collector Karen Boros joins Roland-Philippe Kretzschmar in the latest episode of The Art Bystander podcast. Karen Boros and her husband Christian began by collecting artists of their own generation. As they grew older, they made a deliberate decision to keep following younger artists, eventually those of their son’s generation. Collecting became a way of staying engaged with experiences and ideas beyond their own.

That willingness to remain curious runs through our conversation, recorded in Karen’s home above the Boros bunker in Berlin, after she had taken us through the collection downstairs.

Opened to the public in 2008, the collection occupies a former air-raid shelter that has also served as a prison, a warehouse and a techno club. Its changing presentations bring contemporary art into spaces where the building’s history remains impossible to ignore.

Karen’s experience extends across several parts of the art world. With a background in psychology and art history, she worked in galleries before joining Art Basel in 2005, working in VIP relations for Germany. Alongside building the collection with Christian, she has spent years engaging with other collectors and the relationships through which people find their way into art.

She is candid about how their own decisions happen. “Sometimes I think we should have a strategy, but we don’t,” she tells me. The collection grows through exhibitions, encounters and conversations, supported by longstanding trust in particular galleries.

I wanted to explore how an initial interest becomes a lasting commitment to an artist. What gives you confidence in a practice? What happens when it develops in a direction you hadn’t expected? And what can collectors contribute through the works they buy, the projects they support and the audiences they help artists reach?

Karen makes a point about galleries that deserves more attention: they produce exhibitions that anyone can visit for free. She also speaks about the importance of a work leaving the studio, being seen and entering into discussion. Supporting art involves making those encounters possible.

We talk about Berlin’s changing artistic communities, the challenge of encouraging younger people to collect, and the care involved in opening a private collection to the public. Some people arrive at the bunker knowing the artists; others come for the building and discover the art.

Karen calls them guests. By the end of our conversation, you understand how much work goes into making that word meaningful.

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#54 Lidewij Edelkoort & Philip Fimmano

Saison 1 · Épisode 54

vendredi 9 octobre 2026 • Durée 53:32

Lidewij Edelkoort on how long trends really take

“Most of the time we only work on the long-term trend. Because the short TikTok things, for a few weeks, are not really interesting in the long run. They just give shape to the big movement. Recently, I showed my books to a publisher and we came to the conclusion that most trends take 20 to 25 years to arrive and to really blossom.”

What happens when we give ourselves permission to play, make mistakes and follow an idea before we know where it will lead? Recorded at Hotel Diplomat in Stockholm, this episode of The Art Bystander brings together host Roland-Philippe Kretzschmar, trend forecaster, publisher and educator Lidewij Edelkoort, and design curator, author and trend analyst Philip Fimmano.

Lidewij Edelkoort on trusting intuition

“I have given my intuition the sole power to give me the messages. So it’s almost something which is working outside my body and my own spirit. It’s going around without me even knowing it is. So it’s completely subconscious, doing its work, and then I just have to say, ‘Thank you very much. This is a very good idea.’ And I do believe that ultimately our intuition is not ours. It’s our common field, which is this big field of experience and soul processes which are around us.”

Their exhibition, INNER CHILD: Playing with Design at Artipelag, provides the starting point for a conversation about childhood, intuition, craftsmanship and the human need to create.

Philip Fimmano on play and the freedom to make mistakes

“Being experimental and taking risks and not being afraid of making mistakes or starting again. These are all the lessons that you learn when you’re playing with toys or even art materials as a child. It’s hard if you’re a perfectionist, like Li and me, but I think through the exhibition we’ve learned how to let go a little bit more. We’re also in a time frame now where everything doesn’t have to be perfect all the time. You can allow yourself to be a bit more playful or express a sense of humour and not take everything so seriously."

#53 Mira Bernabeu

Épisode 53

mardi 29 septembre 2026 • Durée 40:06

What changes when an artist runs a gallery? Recorded inside 2 Mira Archiv in Madrid, this episode of The Art Bystander Podcast brings Roland-Philippe Kretzschmar together with Spanish artist and gallerist Mira Bernabeu, founder of 1 Mira Madrid and an archive space dedicated to conserving, digitising and exhibiting cultural material.

Bernabeu’s career connects the making of images with the practical responsibilities of supporting other artists. From studying psychology and fine art to developing staged photographs with his own family, he has consistently examined the relationships, expectations and systems through which people organise their lives.

That perspective also informs his gallery. We discuss his years co-directing Espaivisor in Valencia, his move to Madrid, and why he decided never to exhibit his own work in his gallery. He explains how he builds connections between exhibitions, what he has learnt from international art fairs, and how he balances artistic conviction with the need to sustain a business.

At the centre of the conversation is the archive. Bernabeu recalls working with Graciela Carnevale to create a facsimile of the Tucumán Arde archive, enabling it to circulate while the original remained in Argentina. He also describes the research and conservation involved in working with artists’ papers, photographs and objects, including the archive of Lea Lublin, and considers how that work will change as more of an artist’s life is recorded digitally.

The conversation becomes personal as Bernabeu reflects on surviving a stroke, becoming more direct, and resisting the expectation that he should abandon his plans. He describes how he protects time for his own practice while establishing an archive that has become a substantial new commitment.

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#52 Michael Sailstorfer

Saison 1 · Épisode 52

vendredi 25 septembre 2026 • Durée 35:39

In Berlin, a gallery floor is disappearing, one stone at a time.

In this episode of The Art Bystander Podcast, Roland-Philippe Kretzschmar meets Michael Sailstorfer at Galerie Judin’s Mercator Höfe space for a conversation about artistic freedom, physical labour and the uncertainty that runs through the German artist’s latest installation, Pull the Rug.

Around 11,000 paving stones cover the exhibition floor. Every 50 seconds, a worker removes one and feeds it through an opening in the wall. A concealed machine then propels it into an adjoining room, sending the sound and vibration of its impact back into the gallery. Over the course of the exhibition, the floor is gradually removed, exposing the sand beneath.

Born in Bavaria in 1979, Sailstorfer grew up around his family’s stone workshop before studying at the Academy of Fine Arts in Munich and Goldsmiths in London. Now based in Berlin, he has spent more than two decades expanding sculpture through movement, sound, scent and processes of transformation and destruction.

Their conversation moves from his childhood and early ambitions to the pressures of finding success while still at art school, the importance of working directly with materials, and the unpredictable relationship between an idea and its realisation. Sailstorfer explains why he once considered becoming a farmer or an architect, and why the freedom of art ultimately persuaded him to take another path.

Returning to Pull the Rug, they discuss the stability he remembers from his own childhood, the world his children are growing up in, and the uneasy proximity of repetitive labour, contemplation and aggression. A simple act of feeding a stone into a wall becomes the starting point for a wider discussion about machinery, responsibility and what happens when the consequences of our actions are hidden from view.

Recorded at Galerie Judin, Berlin, during Berlin Art Week 2026.

Michael Sailstorfer: Pull the Rug

10 September to 10 October 2026

Galerie Judin, Mercator Höfe, Berlin

#51 Erwin Wurm

Saison 1 · Épisode 51

mardi 22 septembre 2026 • Durée 37:34

In this episode of The Art Bystander Podcast, Roland-Philippe Kretzschmar is joined by Erwin Wurm on the occasion of Mind Bubbles & More at Carling Dalenson in Stockholm, running from 22 September to 31 October 2026. One could easily say Erwin Wurm is one of the world's most recognized and respected artists today.

Born in Bruck an der Mur, Austria, in 1954, Wurm has spent more than four decades expanding what sculpture can be, finding material in clothing, furniture, cars, houses and the human body. He originally wanted to become a painter, but found himself placed in a sculpture department. His response was to keep testing the discipline until he could make it his own, eventually returning to painting through works he calls Flat Sculptures.

That resistance to a fixed definition runs through his practice. In the 1992 video 59 Positions, a man and his sweater move through a sequence of poses, making sculpture out of the changing relationship between a body and its clothes. His later One Minute Sculptures invite participants to follow instructions involving everyday objects, adopting positions that can be awkward, funny or difficult to maintain. A sculpture exists briefly through someone's willingness to take part, with balance, embarrassment and the presence of an audience becoming part of the work.

Wurm's distorted objects extend these questions into the things we buy and inhabit. In his Fat Car series, luxury vehicles acquire swollen bodies, exaggerating the excess already associated with them. Fat House turns domestic security into something ungainly and overgrown, while Narrow House compresses his childhood home into proportions that make moving through it uncomfortable. Possessions become a way of examining the expectations attached to success, respectability and belonging.

These works can also be understood against the background of Wurm's childhood in postwar Austria, where the recent Nazi past often remained unspoken and conformity shaped everyday life. The absurd gives him a way of approaching the habits people accept without much examination. Following an instruction, dressing correctly or choosing a particular car becomes material for thinking about how we learn to fit in.

#50 Cy Schnabel

Saison 1 · Épisode 50

vendredi 18 septembre 2026 • Durée 43:37

“If I was going to open a gallery, it needed to have a very personal identity.” I met Cy Schnabel at Villa Magdalena in Madrid during Apertura Madrid Gallery Weekend to record a conversation for The Art Bystander podcast.

Born in New York in 1993 to Julian Schnabel and Basque designer Olatz López Garmendia, Cy grew up around artists, filmmakers and musicians, with access to his father’s studio from childhood. He studied political science at Bard, imagining a future in journalism, before moving to Mexico City and discovering exhibition-making through the Centro Cultural de España en México.

“I just discovered that curating was a storytelling medium.”

Villa Magdalena opened in 2020 in Julian’s former studio at the family home on Monte Igueldo in San Sebastián. The setting was personal: summers spent surfing with his twin brother, his mother’s Basque heritage, and his work on the archive of his uncle, Alejandro Garmendia, whose estate remains central to the gallery.

Madrid followed in June 2025. Opposite San Nicolás, away from the city’s established gallery concentrations, Cy found a space whose history appealed to him, with timber beams concealed beneath plaster. The move gave his artists greater visibility and a permanent base in a city he sees as an essential connection between Europe and Latin America.

His programme returns to narrative painting, symbolic figuration and the ways mythology and folklore survive in images. He writes the texts and curates the exhibitions himself, working with emerging artists alongside older practices that deserve renewed attention.

There is a practical responsibility behind that commitment. Artists need sales, and developing an audience for a body of work can take several exhibitions. “I’m running a business,” he says.

We spoke about the privileges and assumptions attached to the Schnabel name, his admiration for his father’s painting, and the years of attention an artist’s work requires. His response to questions of inheritance is an invitation to look at what he has made: “People can judge me based on my work.”

#49 Anne Vieth & Philipp Solf

Saison 1 · Épisode 50

lundi 7 septembre 2026 • Durée 30:27

Berlin’s cultural power was built on cheap space, unfinished buildings and artists willing to live precariously. The city is wealthier now, but can the people who created its value still afford to remain?

For this episode of The Art Bystander Podcast, Roland-Philippe Kretzschmar speaks with Philipp Solf, entrepreneur, collector and one of the people behind Wilhelm Hallen and HALLEN 07, and Dr Anne Vieth, Head of the Mercedes-Benz Art Collection.

Why does Solf resist calling HALLEN an art fair? What happens when contemporary art turns an industrial building into a desirable address? And what does a company such as Mercedes-Benz owe the culture from which it draws prestige?

Vieth takes us inside SEEING FORMS, the collection’s exhibition at HALLEN 07, and speaks about using art to unsettle habits within a corporation. Solf is equally candid about art’s power to position property within a city, bringing the conversation to gentrification, public funding and who gains when culture makes an address valuable. This is a conversation about how Berlin might become wealthier without driving out the artists who made it culturally necessary.

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#48 Michèle Lamy & Scarlett Rouge

Saison 1 · Épisode 49

dimanche 23 août 2026 • Durée 47:41

In this episode of The Art Bystander, Roland-Philippe Kretzschmar enters a conversation with Michèle Lamy and Scarlett Rouge.

Michèle Lamy is often introduced in relation to Rick Owens, but that has always felt like an incomplete way of understanding her.

Born in France’s Jura region in 1944, into a family shaped by the Resistance, Lamy studied law in Lyon, attended the philosophy lectures of Gilles Deleuze and worked as a criminal defence lawyer while also performing striptease and cabaret.

In 1979, she moved to Los Angeles without having visited the city. There she established her clothing line, created Café des Artistes and Les Deux Cafés, and treated hospitality as a form of theatre.

Around 1990, she hired a pattern cutter named Rick Owens. Their working relationship became a partnership in life, and by 2003 they had moved to Paris and were building Owenscorp together. Lamy’s work has since moved through furniture, jewellery, music, film, performance and boxing. She has variously described herself as a storyteller, performer and entrepreneur, resisting any single professional title.

Joining her is her daughter, Scarlett Rouge, an interdisciplinary artist raised between California and France. The daughter of Lamy and experimental filmmaker Richard Newton, and Owens’s stepdaughter, Rouge trained in photography at CalArts before developing a practice across painting, installation, sculpture, video, textiles and performance.

Her work draws on myth, symbolic language, Jungian thought and ritual, asking how art might reconnect spirit and matter. Mother and daughter have also performed together in LAVASCAR alongside Nico Vascellari.

In this episode, we speak about resistance and freedom, Los Angeles, family and artistic inheritance, collaboration, ritual, commerce and the making of spaces in which outsiders can belong.

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#47 Michele De Lucchi

Saison 1 · Épisode 47

dimanche 16 août 2026 • Durée 48:34

In today's episode Roland-Philippe Kretzschmar meets with design legend Michele De Lucchi.

Born an identical twin, he grew up being treated, as he remembers it, almost as half of the same child. At 18, the brothers chose different disciplines, different cities and different appearances. His brother shaved; Michele grew the beard that has stayed with him ever since.

“When you design something, you have to create an identity.”

It is a wonderfully disarming beginning to a conversation with someone whose career runs through more than five decades of Italian architecture and design: Alchimia, Memphis, Olivetti, the Tolomeo lamp, major buildings, interiors, furniture, drawing, painting and sculpture. Yet I became less interested in making him recite that history than in understanding the person who has continued to question what design is for.

De Lucchi speaks about objects as carriers of memory. His father appeared able to “listen” to a glass, a watch or a building and understand who made it, where and when. Function was never the whole story. Materials could hold a narrative; architecture could shape the life unfolding inside it.

When I told him that his work makes me happy, he answered that it was the most beautiful compliment I could give him.

“We don’t need pessimistic architects and designers because we don’t need a pessimistic future.”

That may be the key to Michele De Lucchi. Radicalism, for him, is not a colour palette or a historical style. It is the courage to resist convention, grasp the energy of one’s own time and give form to a future worth entering.

In the full episode, we travel from 1970s Florence to Olivetti and the beginnings of Memphis, but also into far more personal territory: his twin brother, Ettore Sottsass, a journey around the world, fashion, serendipity, meditation, AI and the unknown. Some stories are far better heard in his own voice, and I will not give them away here.

Several of his designs will also appear in Radical Rooms, the exhibition I am curating for Mankovsky Gallery in Stockholm this August, bringing radical Italian design into conversation with contemporary painting.

#46 Jérôme Pantalacci

Saison 1 · Épisode 46

mardi 4 août 2026 • Durée 35:48

In this episode of The Art Bystander Podcast, I speak with Jérôme Pantalacci, founder and director of Art-o-rama in Marseille.

At the end of August, I will travel to Marseille for Art-o-rama, a fair that has developed one of the most distinctive identities on the European art calendar. Founded by Jérôme in 2007, Art-o-rama has become known for its concentrated scale, its commitment to emerging galleries and artists, and its willingness to give space to presentations that are more experimental, specific and ambitious than the conventional art-fair booth.

Held at La Friche la Belle de Mai, a former tobacco factory transformed into a major cultural complex, the fair is deeply connected to Marseille itself. The city’s position between Europe, North Africa and the wider Mediterranean gives it a cultural intensity that feels markedly different from the established art capitals. Marseille is layered, contradictory, international and resistant to easy definition, and Art-o-rama has grown from that context rather than attempting to impose a standardised global model upon it.

In our conversation, Jérôme and I discuss how the fair began, what it means to build an international contemporary-art platform outside the traditional centres of market power, and how Art-o-rama has maintained its independence and curatorial character as it has grown.

We also speak about the challenges facing younger galleries, the changing expectations placed on art fairs, the importance of discovery, and the tension between experimentation and commercial reality. What does a smaller fair make possible that a larger one cannot? How can a fair remain relevant without becoming predictable? And what can Marseille teach us about the future geography of the art world?

As I prepare to visit Art-o-rama later this month, this conversation offers an introduction not only to the fair, but to the ideas, relationships and local conditions that have shaped it over almost two decades.

This is a conversation about Marseille, independence, risk, discovery and the future of the contemporary art fair.

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