Last month, Pace Gallery announced that Timo Kappeller will join its New York staff as executive director. Kappler has held roles at Hauser & Wirth, Andrew Kreps and König Galerie, but is best known for his most recent work as artistic director of The Campus, a former school in Hudson now owned by Bortolami, James Cohan, kaufmann repetto, Anton Kern, Andrew Kreps and kurimanzutto. The campus has helped foster a high level of creativity, and we caught up with Kappeller to hear about his plans for his new role with Pace.
Congratulations on your new job! What can you tell us about your new day to day?
Joining Pace Gallery means entering and taking in a history of art production that spans over sixty years. As I am used to this type of work, it is inspiring and empowering to connect to a new place. Each day looks inside and out. I’m focused on connecting my past experiences with what’s happening at Pace—understanding its legacy, artists and teams while building relationships and continuing conversations externally.
He organized the first two exhibitions at The Campus, which has become a must-see in the art world. What is the reason for its popularity?
The Campus Exhibitions were run by artists living and working in the north. In the 1950s and 1960s, many conversations between artists centered around Manhattan—in homes, bars, and informal gatherings. Much of that dense talk has gone up. We have tried to highlight the many artist communities around the Campus. Although we were fortunate enough to showcase the great contributions of local artists, we were just scratching the surface. I think the success was based on that idea.
What do you make of the broader New York art scene? Last year, it seemed like everyone did the Stan Douglas-Sky High-Biennial-Campus day trip challenge.
Upstate New York is one of the most culturally rich regions in the country. Institutions such as Dia Beacon, CCS Bard, Storm King Art Centre, Art Omi and Sky High Farm create an extraordinary cultural infrastructure. At the same time, there are rapidly developing communities not only in Hudson and Woodstock, but in Kingston, Poughkeepsie, Catskill and many other cities. Younger generations are entering. Writers, artists, restaurateurs and entrepreneurs create an incredible density of cultural activities. One of the most interesting aspects of The Campus was its diverse audience. It was a mix of families who had lived there for generations and creators who had just moved north—people from all backgrounds and ages came. It was really special.
He is someone who has worked in both galleries and institutions. What are the unique challenges of working in each situation?
Documenta, KW and Campus share similarities in their origins. All three are non-traditional institutions established in historic sites that were transformed to encourage responses from artists, curators and visitors. I have spent most of my career working in galleries where the vision is long-term and focused on supporting artistic practices over decades. Galleries tend to work at a faster pace and can respond quickly to new ideas. Projects discussed during studio visits can sometimes be realized quickly. This kind of immediacy was also possible in the institutions where I worked, and those moments—when ideas went from discussion to realization—were among the most rewarding in my experience.
How has the German art scene prepared for our New York version, and where are the similarities? Pace says its German background is in line with its commitment to expanding its operations in German-speaking areas. Why is Germany poised for growth?
When I moved to Berlin in the late 1990s, there was a lot of international interest in the city as an artistic breeding ground where artistic production was rapid. Many people are reminded of New York in the 1970s—a time defined by experimentation, accessibility and a strong sense of community among artists. That experience prepared me well for working in New York.
The beginning of this new chapter is about identifying where and when personal experience can create more power through new connections. At Pace, I feel like there are strong opportunities for that in all of its global galleries. Berlin has changed and established itself as a beacon of culture and is still growing today. Pace’s Berlin gallery and its successful exhibitions reflect that development.
Which Pace artists do you enjoy working with the most?
On campus, I have installed works by some of my favorite Pace artists such as Richard Tuttle, Kiki Smith, Arlene Shechet, Alicja Kwade and Silvia Plimack Mangold, which has resulted in an amazing dialogue with the gallery and its teams.
I remember picking up Richard Tuttle when he came up north to put his room in The Campus. During the car ride, we talked about his first exhibitions in Cologne as a young artist with his German dealer and exchanges with artists like Joseph Beuys, not to mention his deep knowledge of German history and philosophy. Conversations with great artists like Richard always somehow transcend physical space and time. I am excited to continue these conversations with the artists on Pace’s list.
Many Art Conversations
