Kate Vass on Rethinking Art Collecting - Interview with Kate Vass by thefunnyguys
Kate Vass, founder of Kate Vass Galerie in Zürich, visits with thefunnyguys in an effort to uncover her motivations and vision for this space.
Manolo Gamboa Naon, Inside, 2019. Courtesy of the artist and owned by Le Random
thefunnyguys: How did you become interested in the intersection of art andtechnology?
Kate Vass: I have always found the relationship between art and tech interesting. Technology has expanded the boundaries of what is possible in art for centuries. Advancements in digital tools and software have enabled artists to create complex and intricate works that would have been impossible to produce with traditional techniques. In 2017, I established Kate Vass Galerie in Zurich, focusing on presenting a generative art program. The following year, the gallery intensified its emphasis on emerging new media.
thefunnyguys: What mission did you have in mind when starting your gallery in 2017?
Kate Vass: It began with an impromptu decision. I’d initially intended to collaborate with a partner whose expertise lay in photography. Our divergent outlooks prevented that from happening, forcing me to choose to move ahead independently.
In due course, I fortuitously stumbled upon a rather unconventional location in Zurich, which resonated with my vision for a gallery that eschews the traditional "white cube" aesthetic. So I made the spontaneous decision to take on the risk and open a gallery independently with the mission to disrupt the conventional way of showcasing art and to place the artist on top.
Before opening the gallery, I had collected art for many years. I got to know the system from the inside-out and I was not happy with how galleries treated artists and collectors. The unfair valuation of work along with lack of transparency in the market, led to many questions.
Talking to many artists, I learned that many were underpaid. By opening Kate Vass Galerie, I wanted to prove that galleries could treat artists fairly with transparency.
thefunnyguys: Why does art and, more specifically, generative art matter? Why dedicate your life to these subjects?
Kate Vass: Contemporary art serves as a conduit through which the multifaceted complexities of our present-day existence, encompassing our social dynamics and economic tribulations, are captured and expressed. As such, it functions as a mirror to gaze into or even a crystal ball that occasionally affords us glimpses into our collective future. Generative art is not a recent phenomenon; in fact, it has a rich history spanning over seven decades.
With advancements in technology and innovation, however, generative art’s accessibility, visibility and affordability have experienced an upswing. This has been aided by the ubiquitous integration of technology in our daily lives.
Against this backdrop, what other artistic tools exist to portray the realities of our time? The answer lies in art made by or with the help of computers and artificial intelligence, as we live in a digital environment and our communication has mostly become digital as well, after the pandemic specifically.
‘Alternatives ‘- solo show by Espen Kluge (Kate Vass Galerie, Zurich, in 2019)
thefunnyguys: Who was the first artist you started working with and how did this happen?
Kate Vass: Based on my collecting experience and photography expertise, the first few shows mainly were focused on photographers from the 60's who had never exhibited in Switzerland.
thefunnyguys: What are you looking for in an artist? How do you decide you want to work with them?
Kate Vass: I read and study books and new things daily. The best knowledge comes from history and books. Only if you know what has been created before can you evaluate what you are looking at. That is also how you determine whether a work is worthy or is just a copy-paste of someone else.
I am always interested in new approaches, concepts and art forms. Those things are rarer nowadays, as the internet can kill any creativity. I always advise artists not to look around too much, as it’s known to erase original ideas by simply being influenced by things you look at or see elsewhere. To answer your question, in any artist I want to see a fresh concept or at least an innovative approach, reflecting on social problems or new technology.
thefunnyguys: When you started your gallery, NFTs had not yet significantly impacted the art world. Did their introduction change the gallerist’s role?
Kate Vass: I don't like to be proud, but Kate Vass Galerie was the first one in the world to introduce and educate NFTs in the physical space. We were the pioneers in displaying an NFT in its physical form in October 2019, during the solo show 'Alternatives' by Espen Kluge. Since 2018 hosted multiple educational sessions around the topic. I also recall arguing in 2017 that in digital contemporary photography, the digital file is the core component to collect. I tried to convince both artists and collectors to sell digital files when it comes to Contemporary Photography instead of prints but it was rather difficult back then.
After 2017, with the introduction of blockchains enabling provable digital scarcity, my belief about collecting digital works of natively digital art only strengthened.
No one needed another traditional photography art gallery and I personally lost any interest to carry on collecting what was shown around. I was fully captivated by science and innovation. Therefore, when the opportunity came, I took a chance on showing something very different, as I wanted to prove to collectors and artists that blockchains would revolutionize the way we think about and collect art.
In 2018, I was approached by a local curator to host another photography show. I said, “No one needs another photography show. If you can help deliver a curated program around blockchain art, I would gladly collaborate with you.” Later that year, in November 2018, I hosted the first blockchain exhibition: Perfect &Priceless, featuring protagonists of this movement. Nicolas Maigret & Maria Roszkowska (Disnovation), John Watkinson (Cryptopunks), Grayson Earle, Rob Myers, Kevin Abosch & Ai Weiwei, Terra 0, Cullen Miller & Gabriel, Dunne César Escudero Andaluz & Martin Nadal, Ed Fornieles, Harm van den Dorpel, Distributed Gallery and Sarah Friend.
I believe that this show played an important role in educating collectors about new ways of collecting digital art.
I constantly reflected on my preferences and experiences as a collector. I discovered I was bored with art fairs and the repetitive shows around me. I wanted to see and exhibit something fresh, cutting-edge, and revolutionary.
I think the gallery has since hosted some iconic exhibitions, bringing worldwide exposure to generative artists of the past and present.
Rhea Myers artworks at Perfect & Priceless (Kate Vass Galerie, Zurich in 2018)
thefunnyguys: Recently, you released a new venture, called K011. What motivated you to take this step?
Kate Vass: As a gallerist working with tech-savvy artists and collectors, you must adapt the same philosophy and ensure that your service brings additional value to both. I was always looking for 'outside of the box' solutions that can enable collectors and artists to experience cutting-edge fine art in web3.
K011 serves as a specialized art and tech studio, unifying curated art and the power of web3. 0–represented by our name, where ‘K’ stands for ‘Kuration’ (German) and ‘011’ symbolizes the binary code for ‘.3’. We spotlight a dynamic mixture of emerging and established artists, exploring the fascinating fusion of art and tech.
Our mission centers around developing unique technologies that become an integral part of the artistic process, allowing creatives to fully immerse themselves in digital art's innovative potential.
K011 offers various minting techniques to suit the requirements of each artist, whether it’s the sophistication of long-form generative art, contemporary performance art like PAL, or pioneering innovations like ‘0KAI’ that enable AI artists to bring their model specifications to life across entire collections.
thefunnyguys: You have an impressive roster of historically significant generative artists such as Vera Molnár, Charles Csuri and Herbert W. Franke. Why is it important to represent this group of artists in particular?
Kate Vass: History is crucial to understanding the present. Without the background story, it's hard to imagine how digital art is a logical continuation of twentieth-century art movements. It's worth knowing the years new movements formed as well as the political situation or technological inventions of the time. These elements have historically driven artists to create with new tools. Kate Vass Galerie shows predecessors of generative art to supply that context, as well as offers to add value to every modern art collection with pioneers of this movement.
thefunnyguys: In 2019, your gallery was the home of Automat und Mensch, co-curated by Georg Bak and Jason Bailey. What are your reflections on this exhibition four years later?
Kate Vass: Automat und Mensch was a show that covered seventy years of history. It was a first of its kind. The purpose was to show the forerunners and contemporary artists in the same room.
We had Herbert W. Franke, who was still alive at the age of 92, and Robbie Barrat, who was 19. Four years since I still have not seen any shows of its caliber in other galleries. Probably at this point, it’s no longer necessary. The success of art exhibitions is due to the right timing. Timing is the most crucial in any sector.
Iskra Velitchkova and Marcelo Soria-Rodriguez, PAL #5 (still), 2023. Courtesy of the Artist and K011. Owned by Le Random
thefunnyguys: If you could choose one generative artist to work with who is not alive today, who would it be? Why?
Kate Vass: I admire the majority of the pioneers of generative art for their courage, unique perspectives, and passion for how they created art. One of the artists I feel close to is Georg Nees. Nees studied mathematics and physics and is considered a father of generative computer graphics. He was interested in the relationship between disorder and order in picture composition, along with a few other practitioners working then, but Nees is particularly special to me.
His practice was highly influenced by one of the German philosophers and writers of that time-Max Bense whose theories inspired Nees. In one of his works, Schotter (1968-1970) in the collection of V&A Museum, Nees introduced random variables into the computer program, causing the orderly squares to descend into chaos.
It was fascinating, considering the early stage of the computer as a device and the program as a tool to create art. I am happy I have some works by Nees in my collection.
thefunnyguys: Where do you see generative art going in the next few years?
Kate Vass: Many programmers and developers have joined the art market in the last few years to utilize their skills to create and sell their art. With the further development of AI, more tools continue to be introduced to the public.
In 2023 with ChatGPT, it's relatively easy to copy-paste and create sophisticated works if you know how to code. At the same time, the current bear market left no choice but for many to leave the space and go back to their standard routine.
The true artists who were creating art using technology as a tool for decades, however, have been empowered with even more tools. I see plenty of opportunities for them to create great art. We will see the strongest and the most advanced artists stay in this space and they will continue to fascinate us with their new projects.
Georg Nees, Schotter, 1968-1970 (made). Courtesy of the artist. © Victoria and Albert Museum, London
thefunnyguys: Do you see any parallels between the invention of photography and the emergence of AI art?
Kate Vass: Several parallels exist between photography and AI art. Photography disrupted traditional artistic practices by capturing and reproducing images with unprecedented accuracy, while AI art challenges the definition of art and its creators, enabling unique creations.
Both technologies have opened up new possibilities for artists, allowing them to create in previously impossible ways and introducing new modes of representation.
Renowned artists like Picasso, Richter, Hockney, and Degas have demonstrated how photography can be a valuable tool and a wellspring of inspiration for traditional art. Just as photography democratized creativity by allowing anyone to capture the world around them, AI art empowers individuals to create art, pushing it into the mainstream despite initial skepticism and criticism.
Photography and AI art are recognized as legitimate art forms, exhibited in galleries and museums worldwide. The convergence of human creativity and technological innovations continues to fuel artistic expression and shape the future of art. My recent series of articles about the ‘History of AI’ includes a dedicated chapter on the history of photography, highlighting its significant impact on the artistic landscape.
thefunnyguys: Art as a mirror of society, how does the current socio-political situation influence art?
Kate Vass: There has been a rise in politically charged art to inspire change and challenge the status quo. Many artists are using their work to comment on social and political issues like racism, police brutality, climate change and immigration.
The ongoing push for diversity and representation is also reflected in art. More underrepresented artists are getting recognition and opportunities to showcase their work with a growing interest in art representing diverse perspectives and experiences.
The COVID-19 pandemic has accelerated the shift towards digital art and online exhibitions with social media platforms becoming crucial for artists to showcase their work and engage wider audiences. Governments and art institutions have responded to the pandemic's impact on the art industry by providing increased funding and support for artists, including grants, exhibitions and other opportunities.
Finally, the pandemic's significant impact on mental health and well-being is reflected in the art world. Many artists use their work to express their struggles and create a space for others to share their experiences and find solace.
About the Author
thefunnyguys: is the co-founder and CEO of Le Random where he is in charge of the overall vision and spearheads its acquisitions.