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A New Link in the European Art Fair Chain – KÖLNER LISTE 0

April 10 – 13, 2014

Just a stone’s throw from ART COLOGNE, the very first KÖLNER LISTE will take place at the former paint factory - The New Yorker | DOCK.ONE, at Mülheim harbour from 10 – 13 April.

The Rhineland sister of BERLINER LISTE, with its successful discovery concept, will market itself as a small but perfectly formed forum for fresh, contemporary art with excellent potential for collectors. The focus is on high-quality, emerging artists, whose work is on sale at reasonable prices.

The fair’s curator will be the Rhineland-born Dr. Peter Funken, who intends to bring with him to Cologne influences from Berlin’s dynamic art scene, as well as exciting regional and international galleries. His goal is to inject KÖLNER LISTE with high quality, international art. The fair should be a true experience and should bring colourful new accents to Germany’s oldest art fair.

International galleries and project groups with young, ambitious artists are invited to submit their applications online to exhibit in the extraordinary atmosphere of The New Yorker | DOCK.ONE for a broad public, from now until February 15, 2014.

Mr. Joergen Golz and Mr. Dr. Peter Funken

Joergen Golz, Director, and Dr. Peter Funken, curator of the new Cologne-based fair KÖLNER LISTE, were gracious enough to answer the following questions posed by

Every year and across the globe, many fairs take place in dozens of different sizes and categories; they are very different in format, style, objectives and programs – both at the gallery and exhibited-artwork levels. What is the position of KÖLNER LISTE? A different view? Novelties?

Joergen Golz: KÖLNER LISTE focuses on emerging art and young talents that are still affordable; we're trying to bring the Berlin- and international-art scenes to Cologne. As we do not benefit from any subventions, the fair has to be commercially successful. We, nevertheless, care very much about giving upcoming galleries the chance to show the works of the young artists they support.

At what level is KÖLNER LISTE associated with BERLINER LISTE? Is this the same initiative – are the owners and artistic director the same, but with different fair guidelines?

J.G.: The Director, Curator and the team are the same as for BERLINER LISTE. It assumes the same traditions as BERLINER LISTE, whose trademark USPs include changing, but always outstanding, locations. The KÖLNER LISTE location, with 650 m2 of exhibition space, is much smaller than that of BERLINER LISTE, but will still provide a fine selection of galleries and project spaces, without single artists as exhibitors.

What sort of actions have you taken to attract collectors and institutions?

J.G.: We do intensive press work, have media partnerships, and place advertisements in national art magazines, important feuilletons and in the local cultural media. We have a well-selected list of well-known and young collectors that has grown in size over the last ten years of BERLINER LISTE, and we also invite young opinion-makers, business leaders and creative people. There will be a direct shuttle from Art Cologne to KÖLNER LISTE, to bring interested art lovers to the new fair.

What are the selection criteria for participating in the fair?

Dr. Peter Funken: In the end, it is all about the standard and the quality of art, but KÖLNER LISTE places the most emphasis on young and experimental art.

What is the regional focus of this art fair? Has the fair placed special attention on the contemporary art of any select countries?

We are interested in international art. There is no special regional accent of the fair – which would also sound strange in an international art town, like Cologne is.

Is there a place for non-profit and alternative art institutions at the fair?

Yes, there is, especially once the fair becomes a commercial success in the coming years.

The fair will take place at Mülheim harbour. Could  you tell us more about the fair’s spatial layout?

The architecturally fascinating The New Yorker | DOCK.ONE has been chosen as the location for the upcoming KÖLNER LISTE. This former paint factory boasts a raw, industrial charm, perfect for bringing together collectors, galleries, art lovers and artists in a communicative ambience.

As stated in your press release, KÖLNER LISTE‘s focus is on high-quality, emerging artists, whose work is on sale at reasonable prices. What is your estimate of “reasonable prices”?

J.G.: The range is between four and five digits, which means prices range from ca. 1000 euros to 50,000 euros. At BERLINER LISTE, most of the art work was not more expensive than 10,000 euros.

What are your commercial expectations of the fair?

J.G.: We're looking at this year as more of an experience and an investment in the future. If we manage to break even, we'll be very lucky. I am very thankful to my committed team, which is working with a lot of passion on the project.

What's the fair's future goal – to stay oriented towards particularly young, still-to-be-discovered artists, or to grow as an art fair for well-established, “matured” artists?

J.G.: Our goal is to be, and to remain, a discoverer’s fair. We do not aim to compete with the established fairs as Art Cologne or Art Basel; on the contrary: we love fresh and emerging art, and our main goal is to discover young artists that, with some luck, will become the stars of tomorrow.

How much can you affect the exhibition practices of a particular gallery?

P.F.: Sometimes, we indeed propose options to galleries regarding their choice of artists, but on the whole, we trust in the capability of the gallerist to put forward the right artist.

How do you assess the development of the art market?

P.F: Today, there is so much money around that is being willingly invested in established and renowned art – going prices for a Van Gogh or a Munch have never been higher. The market for affordable art, with a maximum price of 10,000 euros, is also immense, and attracts more and more young collectors and art lovers – and KÖLNER LISTE is a fair that shows and offers such art. A constant and growing trend beyond art investment is – naturally – to buy art just for pleasure – instead of prints, posters and replicas. 

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