INTERVIEW: Rik Reinking

Rik Reinking is a German art collector, dealer and curator who acquired his first artwork at the age of 16, also he was chosen by the “Apollo” Magazine in 2014 as collector in the “40 under 40”. He lives and works in Hamburg, were he houses “Sammlung Reinking” that contains more than 200 artists and believes that “The heart of contemporary art is in you”. Above all his greatest talent that surprises even his partner Dr. Martin Bouchon, with whom they have founded Artfonds 21, is that he is one of the first to estimate the value of an artist. A few years ago based on my personal experience, I had made the ascertainment that the great collector is tantamount of the great artist, considering that has the greatness of the soul, and the broadness of mind to understand the artist and his work. Though it may seem unbelievable beyond the investment character, art collecting is a kind of love affair involving the imperative need and passion of acquirement. In the case of Rik Reinking this is not only true but is countersigned with his passion to support young artists.

By Efi Michalarou & Dimitris Lempesis
Photo: Sammlung Reinking Archive

Mr. Reinking, as we know, you bought your fist artwork at the age of sixteen, what was the piece that created you the desire to become a Collector?
It was never ever a wish nor was it a desire to become a collector. It just happened, because of two aspects, interest and time. Well, each one is unique; both as a pair make a third- a collection. Back in the days I was 16 and my first Artwork was a self-portrait by the still incredible, Horst Janssen.
Today that your collection consists of about 200 artworks, how often do you buy artworks?
My little fear is that your Information is an older one. As I am still spending nearly all my time and energy for the arts, so the Collection is still growing constantly, but I don’t count the Works or the Artists behind these works, I am collecting!
Is there an artwork that you wanted to obtain, but someone else got it, and still you want to be part of your Collection?
Constantly! Of course! Ok – let’s stop kidding. You are right when you are saying that there are works which I have missed. And for the above there are several reasons: Money, again Time, and Power, just to name a few. But, well, I am not a kid anymore and i do not NEED anything. Maybe it sounds funny when a Collector is saying this, but believe me, IDON’T NEED TO HAVE, whatever! I wish to be happy! I wish to be healthy! I wish the same and on the same level for my family and my beloved friends! And yes, I also enjoy seeing an artwork which fit perfectly in my Collection in the hands of another collector. As long he is taking care of it!
The British Apollo Magazine chose you as collector in the “40 under 40” in 2014, besides recognition, does it means and responsibility for you?
Of course I have enjoyed being chosen for this but it means nothing to me.
In 2007 Artfonds 21 AG was founded by you and the capital markets lawyer Dr. Martin Bouchon, from what need originated from? What is its concept? And in which way can someone become an investor?
It is pretty easy because it works more like a Kunstverein, but with a pay back. Everyone can buy shares but you need to invest a minimum of 2.500 €, (which is an amount you easily spent for a print of an artist) and you are not allowed to invest more than 25.000 €. With this money the Artfonds is buying art from young artists or paying them for a catalogue or for a project and gets an artwork for this. The Artfonds is able to hold or to sell it when there is a good moment to do this. The artist and or his gallerist or dealer becomes partner of the Artfonds. This is the reason that most artists are offering special editions for a special price exclusively for the shareholders. The money getting from these sales are split 50/50. Half is going back to the artist and the other half will stay in the Artfonds to pay tax administration etc., so the artist is getting another plus. The costs of running the Artfonds are paid and at the same time the shareholders can start and own a small collection with special conditions.
At the core of your Collection is the human, what is the role of the viewer for you? Is the role of your Collection educational too?
It is all about the presence and absence of the human body and energy and what it unites them, is something deeply human. I am more interested in seeing a collection this way. This allows me to combine for example Fluxus, Minimal Art and art from all ages and parts of this world. I do not see art just in an art-historian corset. Of course you need to read learn and know about each artist in his own context. But there are bigger questions as: who was working with or next to him. I prefer showing themes like fear or pain in the art and I want to see how affect the viewer today. I deeply believe that art needs the viewer to exist, like the human needs to be mirrored time by time, in my case through art.
You are also Art Historian and Curator and you have a space in Hamburg the REINKINGPROJEKTE, where you are organizing exhibitions and you present works from your Collection. Why you decided not to create a similar space in Berlin that in recent years is at the heart of contemporary art?
Berlin is full of hope but full of frustration too. WHO is saying that Berlin is the heart of contemporary art? The heart of contemporary art is in you!
There are two kinds of Collectors, the ones that are selling artworks from their collection to obtain new, and others like the Greek Collector Mr. Dakis Joannou who almost never sells an artwork. Under which category do you belong and what it means for you the work of art?
For me there are two groups of collectors: the ones who need the art as a pedestal for themselves and the ones who see themselves as a platform where art and artists can meet and grow through this context and dialogues. But back to your question, as a private collector I am collecting not selling. But I do not know -like all of us- what will happen in the future. If accidentally something happens to me? to us?
We know that you are supporting the new artists. Would you invest in a single artist or in a generation or artists or do you feel that this is restrictive?
Oh! I do invest in single artists and I do invest in a generation of artists too, all my time and energy! And from time to time I buy works from these artists to concentrate my collection and help them a little to go on.
When you decide to invest in a new artist or in a group of artists, like the “Urban Artists”, we know that they will have an ascendant course. You are the key to the fund’s success, as Mr. Bouchon says “Rik is amazing. When others are running that way, he runs over there”. What navigates your choices? Is it experience, knowledge, instinct or the combination of all these?
I am sorry, I do not understand what you are saying, but as I am spending my life 100% in the arts, I am absolutely “full of eye” and I believe in a good mixture of stomach and brain… Means, emotional feelings and critical knowledge, αfter living and working in this field for such a long time there is a kind of net which was created out of itself, this helps me with information too. The rest is reading reading reading… and seeing seeing seeing…
The financial crisis that surrounds us, do you think that has negatively affected the artistic production and the artists or is an opportunity for better artworks?
I think this is a pretty big problem. To navigate myself through this, I do make a distinction between an Artist and someone who is an Art producer. My feeling is -please allow me to say this- that there are more and more people out there who are producing art, but less artists. We should face it. To be an artist is to be an artist and not to become an artist (through education or money).
I would like to thank you and as a final question: we are seeing today in the art market more and more paintings. Do you believe that is a result of crisis? Is it easier to sell paintings and drawings today or they are constant art values?
I see art in all mediums and techniques. But you are right when you are saying it is easier to sell paintings and drawings. Of course it is! But this is because you can comfortable live with them; and still most of the collectors are private collectors, collecting for their private spaces and joy. But this is not a new phenomenon. Why more artist doing paintings? Well, maybe for a sensitive and fragile artist doing painting means escape from reality.

Info: Sammlung Reinking, Sillemstrasse 48 a+b, Hamburg, www.sammlungreinking.de

Photo: Left: Franticek Klossner, melting selves, 1991-2005/2014 & Wim Delvoye, TIM, 2006-08, Courtesy Sammlung Reinking. Right: Wim Delvoye, TIM, 2006-08, Courtesy Sammlung Reinking

Download Greek version here.

First Publication: www.dreamideamachine.com
© Interview-Efi Michalarou & Dimitris Lempesis