A little more than 15 years ago, Soho House founder Nick Jones invited a number of artists to the ‘hard hat’ opening of the members club’s new Berlin outpost. Guests were greeted by an unexpected rendition of Damian Hirst’s Shark, spray painted on the building’s construction hoarding by the artist himself, at Jones’ request, ahead of the installation of the real deal. This unpretentious, ungilded approach to contemporary fine art was a symbol of what was to come: a cool, creative space where artistic dialogue should be open, welcomed and accessible to any members willing to spend a moment with the works on display.
Marking the 15th anniversary of Soho House Berlin, a newly curated collection of 75 artworks has been unveiled, exclusively comprising pieces by artists born or trained in Berlin. We asked Chief Art Director Kate Bryan and Art Collection Manager Jack Lazenby to take us behind the scenes of these new additions to their impressive global collection.
MB: As you’ve mentioned in previous interviews, building Soho House’s 10,000-work strong art collection has been a process of acquiring works that tell stories from the brand’s history. Can you tell us about how this approach had been applied to the newly curated collection in Berlin?
KB: The 15th anniversary of Soho House Berlin presented us with a really apt moment to consider the history of the site and its art collection and what continues to make it such a special place in the art world. Berlin has always had this extraordinary allure, somewhere that was serious about art but also irreverent, forward thinking, experimental and edgy. The original collection curated by Francesca Gavin, who lived in Berlin for a long time, has so many star pieces and superb museum level names so our task was to build upon that and create a dialogue with a new selection of work that spoke to Berlin today. One of the key works of the entire global collection is in Berlin — Damien Hirst’s Shark, which he painted with a spray can on the external builder’s hoarding before we opened. Not only is it a great piece, but it also speaks to what makes Soho House’s art collection so distinct; we are not a museum and can never claim to be, but we do have brilliant artists in our midst all the time that we have meaningful relationships with.
MB: Soho House is globally recognised for its comprehensively showcased art collection, with all pieces on display and none in storage. Why is this important to you and what is the intention behind it when it comes to opening dialogue between the Houses and their members?
KB: Artists are always quick to tell us how happy they are that their work is on permanent display, we don’t acquire anything to sit in storage unless we are waiting for a new site to open. Soho House has always been very committed to supporting artists and the work we acquire in turn is there for the enjoyment of our members. We are curating it for the members, to show them the great artistic talent of their city, and also to have those artists join as members too. Artists Elmgreen and Dragset, whose works feature in a few of our Houses globally, told me that they have always felt that “the way art is displayed in the houses is rather unpretentious and therefore guests approach the art works in a rather free way”.
MB: What does curating this newly curated collection mean to you personally, and what does it represent in Soho House’s story? Do you have any favourite pieces?
JL: This is the first collection I have curated outside of our UK Houses, so it’s super exciting from a personal perspective. I think this collection, hopefully, represents Soho House Berlin reconnecting with its local artists and galleries. We worked really hard to create a research list of artists, galleries and studios across the city that truly reflect the diversity of what’s on offer here. I hope the art collection reflects that. No outright favourites but I do have a soft spot for the work Your reversed Berlin sphere by Olafur Eliasson, as it’s not only is it the first time Eliasson has joined the collection, which is really special for us, but he’s also a bit of an art hero of mine. It also depicts a skyline that can be seen from the House as his studio is around the corner from Soho House Berlin which is really cool — I placed it in-line-with the view so the artwork almost serves as a window to that view.
MB: What conversations do you hope this curation will inspire between members?
JL: I hope it brings members joy and sparks new connections with the art collection. The curation has been designed to shine more light on individual works. If you take the seventh floor as an example, we have replaced two large gallery walls with six large works by really important artists in Berlin: Olafur Eliasson, Nevin Aladag, Elmgreen & Dragset, Slavs and Tatars, Simon Fujiwara and Sol Calero. This less-is-more approach means we might all take in the artworks in their own right, more akin to how you might in a museum or gallery.
MB: Can you share with us any favourite moments from the curation process?
JL: When I came to do my research trip in January I visited more than 30 artist studios and galleries across three days, in 10 cm of snow — mostly walking between stops as it was quicker. I would turn up looking like a yeti and everyone who took me in was so kind and welcoming. I had a lovely afternoon at Elmgreen & Dragset’s studio where I was lucky enough to see all of their works returning from the Musee D’Orsay show, and to see their new show at Max Hetzler before it opened. The central sculpture in the show was a man walking through a snowy landscape with a heavy backpack on, so it felt like a particularly apt way to end my trip.
MB: Who are Germany’s most exciting emerging artists that our readers should get to know?
JL: I would look at the work of Sophie Reinhold who’s painting has become a new favourite of the House already. I would also give a shout out to Tamina Amadyar, Conny Maier and Daniel Correa Mejía. Alexandra Metcalf is fantastic, she is based in Berlin and has a show coming up in London in May, so we will definitely be visiting.
