Oral History Report by Sigi Krauss, Founder of Gallery House London (March 1972–Summer 1973)
Anna Polke Stiftung: What was your motivation, which artists did you show here and why?
Sigi Krauss: The ‘motivation’ was to free art from commerce and politics, and make it more accessible to the public. We wanted to create a space where the artists could create experiences, and art that couldn’t be commercialized but still had value – if that makes sense. At that time, there were so many artists who really wanted this kind of space. We had proposals pouring in. So, there was no shortage of ideas, and actually only two artists were turned down.
After my business and gallery was shut down, I had the idea for a mobile gallery that would bring art to underserved communities. Dr. Schultz, Director of the German Cultural Institute [Goethe Institut], read a newspaper article about that and suggested I put that project on hold and take over the newly vacated building that was eventually Gallery House. I asked my artist friends to have a look at the space and help me decide. They, of course, saw great potential and it grew from there. The primary condition was that we would have a free hand; no censorship. The inaugural show was very collaborative and truly solidified Gallery House as the type of space we meant to establish. There were permanent installations, artists in residence… it just exploded, and we had no shortage of potential exhibits. In fact, we even had in between shows; and it was everything: Art exhibitions, installations, forums, ad hoc meetings, video and film, music… it became a living thing!
APS: The program you and Rosetta Brooks developed for the Gallery House is often described as radical or anarchic. What was your intention with the program?
SK: Radical? Yes, but not in a political sense. Anarchic? Yes, but not in a political sense. Look – the artists were changing the nature of art… and Gallery House was changing the nature of how that art was being presented to the public. The first exhibition after the inaugural show speaks directly to this; it was called Survey of the Avantgarde in Britain. Our intention goes back to the initial motivation previously stated. Personally, I think we succeeded. There were critics and supporters – in the Arts, in the business community, and politics – and in the general public as well. All the negative and positive criticisms and emotions were not what was intended; these were the results of what was intended.
APS: How did the exhibition with the Kunsthalle Düsseldorf come about? [between 7, Yes Sir, That’s My Baby, Kunsthalle Düsseldorf, May 2–6,1973, Some 260 miles from here, Art from the Rhein-Ruhr Germany, Gallery House, May–July 1973]?
SK: Well… being German… and working as I was with my business and gallery… and meeting artists and others in the arts… I was very aware of what was happening in Germany in regards to art and cultural trends. A few years previous to starting Gallery House, during the Edinburgh Festival there was the show curated by Ricard Demarco [Strategy Get Arts, 1970] – this was the first time Joseph Beuys went to Britain. And we knew there was more there. So, eventually Rosetta and I wanted to take a closer look at the Düsseldorf scene.
(Jumping ahead)
Before Some 260 Miles From Here, at Gallery House, Sigmar and Katharina had made a proposal to Jürgen Harten, Director of Kunsthalle Düsseldorf, for a preview show. The preview show, Yes Sir, That’s My Baby, was for the citizens of Düsseldorf before the show traveled to London and became Some 260 Miles From Here, at Gallery House. It could be safe to say that the two exhibitions were independently financed but collaboratively curated, but definitely connected.
APS: How did the preparations take place? Did you go to Düsseldorf?
SK: Initially, we were discussing ideas in London with artists like Christof Kohlhöfer, and Stephan Runge, among others. And we developed a list of 10 to 12 artists. But ultimately, we felt we had to travel to Düsseldorf to develop the idea. Dr. Schultz was totally against this, and he wanted to take over the project as curator. Which we would not allow because it was against the promise of a free hand. This was the first conflict between the German Cultural Center and Gallery House. So, Rosetta and I went to Düsseldorf.
APS: Was this the occasion on when you met Sigmar Polke or did you know him before? When did you meet Karin Polke?
SK: Yes, this is when I first met Sigmar. So, once we arrived in Düsseldorf, of course, we knew to go to the “Uehl”. There we reconnected with Stephan Runge and first met Katharina Sieverding and Klaus Mettig. Then we truly began curating the exhibition. At some point we were invited to meet Sigmar Polke in Willich. So we went there. I remember we handed Sigmar our list of about 10 or 12 artists… he looked at it, and he laughed. He took the list, asked for a pencil, and started writing down names. When we got the list back, we counted 80 artists (laughter). This was our show.
APS: How did you experience the art scene in Düsseldorf and the Rhineland?
SK: (Laughter) With an open mind, and the great pleasure of all my senses. I just dove into it whole heartedly. It was there, in that world, I was able to see out a different window … and where I began a new chapter of my journey.
APS: What was the exhibition like in the end? How did you experience it?
SK: It was successful in my opinion… it was under financed, and not without controversy. But I think it woke some people up in the British art world and beyond. I think it was something that had been brewing to be done… and people are still talking about it. Personally, my experience of it was difficult. Rosetta and I, and the others- like John Blandy- we worked day and night. Without pay- but with purpose and for the love of art.
[Excerpt from an interview by Nelly Gawellek, edited by Lisa Renee Newman
28 February 2023]