ARTCOLLECTORNEWS: Please tell us a bit about yourself and your background?
My name is Andrew. I am a native Croatian and grew up in Germany. I am a self-employed entrepreneur. I live with my wife Julia in the art and fashion city of Düsseldorf. In recent months, we have set up a new home, with lots of art.
ARTCOLLECTORNEWS: What was your first experience with art?
The art class in school is where I got to know and create art myself. I enjoyed it. I don’t have a family background in art.
ARTCOLLECTORNEWS: How did it shape your interest in collecting?
I am a collector type. I have always collected things. First it was action figures, then trading cards, movies, records, stamps, etc. In every phase of my life, I have collected something. I believe that many art collectors not only collect art but have been following this passion for years, often since childhood.
ARTCOLLECTORNEWS: What inspired you to start collecting art?
It was rather coincidental. Around the year 2000, I became interested in the very beginnings of electronic music (Kraftwerk from Düsseldorf). This music scene had very early on mixed with the art scene in Düsseldorf. I then came across the Zero Movement from Düsseldorf. Artists like Uecker, Mack, and Piene were the representatives of this art direction. By chance, I had contact with a print shop where editions for these Zero artists were being produced.
ARTCOLLECTORNEWS: What was the first/were the first pieces you collected?
My first art pieces were therefore prints from these Zero artists from the late 60s and early 70s. I still own these works. The Zero artists had a major exhibition at the Guggenheim Museum in New York in 2015, titled “Countdown to Tomorrow.”
ARTCOLLECTORNEWS: How has your collection or type of work you collect evolved over time?
It began with editions and rare prints. I had direct access to a print shop. Then came a turning point in my collecting passion. I watched the documentary “Exit through the Gift Shop” (2015) and was hooked. I found street art very exciting. The whole scene fascinated me. They were young, wild, and creative people. I flew to London several times and walked around Shoreditch for days. During this time, I bought my first works by Banksy, Invader, Shepard Fairey, etc.
ARTCOLLECTORNEWS: Tell us a bit about your collection - What artists or types of art do you gravitate towards?
I started with the minimalist Zero art. Then street art fascinated me. In recent years, this art direction has partially transitioned into contemporary art. At the beginning of my collecting, I had no contact with the artists, as they were old, famous, and established. This was very different with street art/contemporary art. Here, I got to know the artists and exchanged ideas with them. A good dynamic and interaction. I liked that very much. I know almost all the artists in my collection personally (except Banksy) - I guess…
ARTCOLLECTORNEWS: Tell us a bit about a few of your favourite or recent acquisitions/additions to your collection? And the artists whose work you have collected.
There are so many that I can’t name them all. To name a few: I have artworks by Banksy, Invader, Stik, Futura, Blek, Shepard Fairey, which are more associated with street art. But also contemporary art with works by Robert Nava, Anastasia Bay, Vojtech Kovarik, Kaws, Johanna Dumet, Josh Sperling, Genesis Belanger, Camilla Engstroem, Tomoo Gokita, Tracey Emin, Javier Calleja, Claire Tabouret, Spencer Russell, etc. My last purchase was a work by the Dutch artist Karel Dicker.
ARTCOLLECTORNEWS: What drives you to collect/makes you passionate about collecting art?
It’s a collecting field that you can enjoy every day. I live with my art. Of course, not with all the works, but I occasionally change things around in my home. Artworks go back into storage, and others see the light of day again. Another important aspect are the artists themselves. These are usually very interesting personalities with whom it is incredibly fun to spend time.
ARTCOLLECTORNEWS: What is your criteria for selecting a work of art? What do you consider to be the most important factors when selecting or evaluating an artwork?
My focus is clearly on young and emerging artists. It is important for me to get to know them personally and then support them in their careers. Therefore, I enjoy attending art fairs and vernissages worldwide. Seeing the artworks live and talking to the artists and gallery owners is, in my opinion, indispensable. I would never buy an artwork if I didn’t like the artist’s personality and background. With the artwork, I bring a part of the artist’s personality into my life/home. Therefore, there must be a positive vibe between me and the artist.
ARTCOLLECTORNEWS: Do you collect with a theme or particular goal in mind?
Actually, no. I don’t have specific themes. It’s just that they are usually young and not yet established artists.
ARTCOLLECTORNEWS: Is an artist's professional trajectory or career an important factor or would you collect a piece simply because you love it?
Most of the works I have acquired are from young artists who were just starting their careers. For only one reason - because the artwork spoke to me and the artist had personality. An artwork I buy must absolutely appeal to me. I don’t make any compromises. I don’t buy an artwork just because it’s by a certain artist. So, I have turned down many offers over the years. I don’t collect to own something necessarily.
ARTCOLLECTORNEWS: Do you work with art advisors or other art professionals to help select or source artwork? Do you think that is important?
I don’t work with art advisors. However, I often exchange ideas with them. Most of the time, they want to know what I am currently buying…
ARTCOLLECTORNEWS: Do you buy art in auctions, or follow auction results? How influential is that to your collecting, if at all? What do you look for when attending an art fair or an auction?
I follow many art auctions. The whole market simply interests me. I have a passion for numbers and developments. I have rarely bought at auctions myself.
ARTCOLLECTORNEWS: Is there a particular message or style you look for when collecting art? Are there any particular themes or subjects that you’re drawn to when collecting art?
Actually, no. I buy what I like.
ARTCOLLECTORNEWS: Are there any artists whose work you have collected multiple pieces of? If so, why?
Yes, initially, I bought several editions where you could follow an artist’s development. I also have multiple original works from many artists. Usually, besides canvases, there are also sculptures or other artworks. For example, from Kaws, Haroshi, Huanca, Murakami, or Eddie Martinez. These different media then quite well depict the breadth of an artist’s work.
ARTCOLLECTORNEWS: How did you first become aware of the artists whose work you’ve collected? / Where do you discover artists?
I find new artists through my network, at fairs and shows, and I also enjoy browsing Instagram.
ARTCOLLECTORNEWS: How or where do you purchase your artwork?
For artists who were just starting their careers, I liked buying directly from the studio. This happened, for example, with Oli Epp, Vojtech Kovarik, or Stik. Otherwise, of course, through galleries. One should appreciate the work of gallery owners. It takes a lot of work to build an artist.
ARTCOLLECTORNEWS: What challenges have you faced when collecting artwork?
That you don’t get everything you want. But fortunately, it is manageable. I am quite satisfied.
ARTCOLLECTORNEWS: What has been the most rewarding experience from collecting art?
Monetarily - many. But the best experience is the exchange with like-minded people.
ARTCOLLECTORNEWS: What do you look for when viewing an artist’s portfolio?
I look at the artists personality. Their environment. Their CV. Only then do I approach the artworks themselves. Is there a special technique, a unique selling point, etc.?
ARTCOLLECTORNEWS: Are there any specific techniques or mediums that you are drawn to when collecting art?
No
ARTCOLLECTORNEWS: What kind of relationship do you have with the artists whose work you collect?
Mostly a good personal connection. That’s important to me.
ARTCOLLECTORNEWS: Who are some of the artists that you have your eye on, and looking forward to seeing more work from? Or perhaps looking to collect in the near future?
There are a few. I would like to mention Karel Dicker and Arjen.
ARTCOLLECTORNEWS: What advice would you give to someone who is just starting an art collection?
Start with editions to understand the market and build contacts. Then switch to original artworks. Only buy what you like.
Austyn Taylor, open call winning artist and her many characters spreading optimism across the world one gallery at a time: "My work is vivid, colorful, innocent, courageous and absurd. I make characters in hand sculpted clay based on animals and people I have encountered. The work acts as a signal- "everything will be ok" like a safe place to wonder about how we even exist as humans in the first place." Taylor is internationally recognized for her hand-built ceramic sculptures—playful yet deeply philosophical characters inspired by animals, human behavior, and the shared experiences that connect people across cultures. Influenced by ancient clay traditions from Mesopotamia, Japan, Europe, Africa, and Central America, she sees clay as one of humanity's most universal artistic languages: fragile yet enduring, humble yet capable of carrying profound meaning across generations.
In London’s evolving contemporary art landscape, a new generation of collectors is reshaping how galleries are conceived and run. Louis Jacquier, co-founder of Tiderip, represents this shift, where collecting is no longer a private pursuit but an active, collaborative force. Rooted in close relationships with artists and a long-term commitment to their development, Jacquier’s approach has extended into the creation of a gallery that privileges dialogue, experimentation, and emotional depth. At the centre of this approach is a philosophy he often summarises as: “I collect artists rather than artworks.”
The Athens Biennale has announced a major restructuring of its governance alongside the appointment of Thiago de Paula Souza as curator of its 8th edition in 2027. The new model introduces a formalised structure of trustees, advisors, and curatorial leadership, consolidating the Biennale within a tightly interlinked network of cultural patrons, collectors, and institutional stakeholders. While presented as an “evolving ecosystem,” the shift reflects a broader transformation in contemporary art governance, where cultural legitimacy is increasingly shaped through structures aligned with private capital and strategic institutional management. Against this backdrop, de Paula Souza’s curatorial practice—rooted in institutional critique and transnational experimentation—introduces a productive tension between radical discourse and formalised cultural power.
