Page 38 - Studio International - February 1971

Konrad Fischer

interviewed by

Georg Jappe

The young art dealer Konrad Fischer, born in JAPPE : Didn't you start off as an artist ?
1939, started his first gallery in Düsseldorf FISCHER: Yes, I studied and painted at the
only three years ago, and he is regarded as one Düsseldorf Academy, when was that, 1958-62.
of the most influential 'art agents' in any In 1963 I had my first show, at Schmela's, the
context involving new tendencies on the Sportsman pictures. The best known thing, as
international art scene. The interview brings you say, was the Phosphorescent Shadow Play,
out, on the one hand, his novel method of because the museums passed it round a bit.
working—investing ideas instead of capital— But I wouldn't waste much time on that, it's
and on the other his marked personal style, unimportant.
which involves a concern with artists instead of JAPPE: Why?
with their works (which may in any case already FISCHER: Because the art I produced is
have been sold). Apart from giving an unimportant. 'What you are, Konny lad, is a
impression of Konrad Fischer's personality and good dealer', Schmela used to say. He forced
ideas, what he says also raises questions of art the issue by asking me to start a second
politics. For example this is the first time, to my Schmela gallery for young people. I wasn't too
knowledge, in today's much expanded art keen, but everything happened very quickly.
world, that the demand for a precise division I was thinking it all out already; and it didn't
of labour between artist, dealer, public work out quite as Schmela had imagined it.
exhibition and museum has been not only You see, I decided— I didn't need any money.
raised but spelled out in detail. What I had was less than 500o marks —I went on
Konrad Fischer has asked not to be teaching for a year after that—and an idea.
represented by a photograph of himself, or by Minimal art was unknown in Europe, and I saw
photographs from his exhibitions (`they're just an opening. I thought it was important, and I
random installation photos, things of the past'), knew it only from photographs. So I thought
but by a montage of his invitation cards. The I'd try to get through to the artists—I was one
use of picture postcards as private view myself after all—and I said to myself, 'If someone
invitations, which also serve as a record of the sends them a plane ticket, they'll come.' So I
gallery's work and the artists who exhibit them, sent one to Andre.
is regarded by Konrad Fischer as one of his JAPPE : Did you know him ?
inventions. q FISCHER: No, but his response was 'At last,
GEORG JAPPE someone wants to do a room with me.'
JAPPE: Giving artists a ticket and getting them
to come, instead of spending a lot of money on
transporting objects —was that your idea ?
FISCHER: I never heard of anyone having the
idea earlier. At least, those who have been
given the credit were later than I was. My
gallery opened in November 1967. After the
Andre exhibition I didn't need to say a thing;
Andre said it for me. He said, 'Go right ahead,
it's great.' I have never corresponded much,
and I have never worked with galleries much.
Sol LeWitt came here quite independently of
Dwan. The American galleries didn't make
difficulties; the initial difficulties came from
German dealers trying to make trouble with
their colleagues in New York. I went to America
for the first time in April 1968, and called people
up—not Warhol or Lichtenstein, that's not
interesting, but Judd. In his studio I discovered
Sandback. I split the cost of my air fare with

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