“The discourse in Germany is at such a high level, it’s one of the main reasons that we wanted to do the fair. But we also wanted to try to add something to that discourse,” said Lueddeckens. He said that decision was bolstered by the continued strength of Germany’s art market and a new generation of German collectors coming to the fore.
“If we didn’t think there was a client for a work like [the Burden] in Germany, we wouldn’t bring it,” he said.
Sebastian Klemm of Klemm’s
also observed improvement in the German market, particularly in Berlin, where his gallery is located and which has, since the fall of the wall, been home to many artists and galleries but few collectors or even buyers of art.
“There is a tradition of collecting here [in Cologne]; it’s still a wealthy part of the country, and that’s not going away,” he said. Berlin’s market, though, was picking up, thanks to an emerging class of high-earners (or in some cases, people who have moved there from historically wealthy cities in the country and, subsequently, inherited).
“You really feel it now. Looking around the city, the level of how people are dressed, what cars they’re driving, how much you have to pay for food and rent, you can tell there is money in the city,” he said.
“We had five or six new people in the past year who are buying things that are €10,000 to €25,000,” he said. “For the first time there are more than just the few big names that everyone knows.”
At Art Cologne, the gallery sold multiple variants of ’s Anomalies of the Early 21st Century / Some Case Studies
(2015), starting at €8,000, a
for €12,500, a large
sculpture for €14,000, and a
painting for €25,000, among others.