Small fine places for art

At the end of my internship here at DAS ESSZIMMER, I can say one thing: (Artist-run) off- and non-profit spaces are important, not just for “the art scene”, but for everyone. They offer both exhibitors and recipients alternative ways to perceive, engage with, and be surrounded by art. During my time here, I experienced and followed up on the two exhibitions Rymdprogrammet: Refectorium and Nach der Zukunft / Post Future. Through these and past DAS ESSZIMMER projects, I learned more about collaborating with and exhibiting in non-commercial exhibition spaces.

I think the reasons why I chose to do an internship at DAS ESSZIMMER are similar to the reasons why artists and/or curators cooperate with (artist-run) off-spaces: freedom to experiment, expanding networks/communities and friendly exchange and support.

For example, there have been two innovative cooperation projects between DAS ESSZIMMER and non-profit galleries in Sweden:
Rymdprogrammet is a conceptual platform for artistic collaboration that expands the artist-run Molekyl Gallery in Malmö/SE erweitert.  The focus is on experimenting with diverse forms of expression and themes, creating potential synergies between the invited artists. This not only corresponds to the mission and program of ESSZIMMER (which led to the exhibition last year), but also demonstrates that alternative, “unconventional” concepts of curating and collaborating are exciting and valuable. In the publication accompanying this exhibition, the artist-curators Sibylle Feucht and Johan Sandström also discuss the terms “network” and “community” and how they can be used in independent art – I highly recommend reading this conversation.
In 2018, DAS ESSZIMMER realized an exceptional collaboration, exchange, and exhibition project with ID:I Galleri, which is also run by artists. In the first part, artist-curators Alexander Mood and Annelie Wallin  from ID:I Galleri took over the space in Bonn and presented 10 individual artists and a video program. In the second part, then DAS ESSZIMMER used the exhibition space in Stockholm and presented 12 international artists in four exhibitions within four weeks. I haven’t seen such projects at the institutional level of museums or commercial galleries before – they probably lack this more intimate and experimental interests and approaches.
During the time in Sweden, a conversation with artists, curators, and critics about the exhibition and collaboration project between ID:I Galleri and DAS ESSZIMMER took place – the video can be found on DAS ESSZIMMER’s YouTube channel.

Andreas Ribbung was one of the speakers at the discussion. Ribbung is, among other things, co-founder and creative director of SUPERMARKET – Stockholm Independent Art Fair. Supermarket is dedicated to exhibiting artist-run and/or mobile art spaces, artist collectives, and independent artist initiatives of all forms and from all over the world. The main goal is to showcase unique projects, create opportunities for new local and international networks, and share the strengths of the independent art world with a broad audience. In my opinion, events such as Supermarket or Platforms Project are not only important for the art spaces themselves, but also to reach people „outside“. In my opinion, events like this or Platforms Project (DAS ESSZIMMER participated in both: Supermarket | Platforms Project) sind meiner Auffassung nach nicht nur wichtig für die Kunsträume selbst, sondern eben auch um Menschen „außerhalb“ zu erreichen.

But not only such official occasions offer the opportunity to expand and strengthen independent and artistic networks, a lot also happens through private contacts.
During the presentation of the 27th SALON MAGAZIN, De Belgian Connectie an accompanying event to the last exhibition at DAS ESSZIMMER, artist and curator Reinhard Doubrawa spoke, among other things, about his connection to the Belgian art scene. This connection can be traced back to a visiting student at the time who generously shared his acquaintances with him, thus integrating him into Belgium’s independent art scene. Doubrawa also spoke of a kind of anarchy that prevails there, particularly due to the density of artist-run spaces. Through the long-standing connection to Belgium, the collaboration with 18 Belgian artists for SALON MAGAZIN came about in 2024.
This story also shows how (international) collaborations can create friendly and long-lasting connections that challenge the way of curating and exhibiting art.

I think that nowadays, when on the one hand the question of publicly accessible art is present and on the other hand most people “consume” art online and in a filtered way, small, fine exhibition spaces offer the opportunity to experience art (differently).
Here as a visitor, I’m much more likely to encounter the art at eye level: no barriers imposing distance, no labels influencing my own interpretation, or security personnel protecting the art from people. Furthermore, the likelihood of coming into contact with the artists themselves or gaining further insights into the themes/exhibitions through accompanying events is much higher.
This means that a visit to the gallery doesn’t just have to be about looking. A more circulatory process can develop. You don’t always have to “understand” the works – rather, you should be willing to engage with the art, even if it irritates you.

Off spaces such as DAS ESSZIMMER offer exactly this opportunity to actively engage with art and a wide range of exhibitions to everyone free of charge. – Therefore, (artist-run) off- and non-profit spaces should not be overlooked. They are not just experimental space for artists and/or curators, but enable everyone, whether “in” or “outside” “the art scene”, to shape their own cultural education path in an emancipated way.