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Elke and Friedhelm Graue
Art is one of Elke and Friedhelm Graue's greatest passions. The active collectors from Bad Nenndorf can be seen regularly in Berlin’s art scene, and they particularly enjoy their encounters with artists through the Deutsche Guggenheim Club.
When did you begin collecting art?
Friedhelm Graue: We began collecting in the 1960s, while we were living in Cologne. We started with prints, editions, and multiples. We’ve always wanted to live with the art, and so we concentrated on works that we could hang or install at home.
Elke Graue: we had more paintings than furniture.
FG: We grew up with Jospeh Beuys, of course, who was the first artist we began collecting, and we met him in 1977 at documenta 6, where he presented his Honey Pump in the Workplace (1977). The work was very impressive. Then, in the early years, we began collecting Sigmar Polke, Imi Knoebel, Georg Herold, and Michael Buthe, who was included in the exhibition Abstraction and Empathy this summer at the Deutsche Guggenheim.
After the 1960s and 1970s generation, how did your collecting activities develop to the present day?
FG: We’re always on the lookout for new things. For instance, we collect younger contemporary artists like Michael Sailstorfer, Jonathan Meese, Daniel Richter, and Armin Boehm. But we also are interested in those with highly individual approaches like Miriam Cahn, who was born 1949. She is a somewhat eccentric Swiss artist whom we met at the Kunstakademie Braunschweig. She was supposed to give a lecture at a large symposium. Instead, she walked up to the podium, took a recorder out of its case, and gave a 20-minute concert. Then she walked away.
EG: We had traveled there especially to see her, and all she said was: “There’s been so much said already about art; I’ll play you a tune instead.”
FG: That’s the kind of creativity I really like.
EG: We’ve been club members since 2002, and 1e’ve met many artists through the Deutsche Guggenheim, especially at the talks in artists’ studios.
FG: The impetus for us was the Gerhard Richter: Eight Gray exhibition (2002). We were already playing with the idea of joining, but Richter was an artist whom we really wanted to meet. So we became members shortly before the opening, and we actually had a very nice conversation with him although he is considered to be very reserved. What I especially like are the exclusive talks before the openings, because one meets so many interesting artists there, like Richard Artschwager or John Baldessari. I also value the editions that accompany each exhibition, some of which such as the Richter piece we’ve purchased.
EG: But I also find the studio visits and encounters with artists inspiring, and this wouldn’t be as possible without the club. I particularly recall Thomas Demand, Olaf Nicolai, Martin Eder, and Valérie Favre. We’ve been everywhere, really.
FG: We recently went to Julie Mehretu’s studio too. During this visit, I noticed that you can’t really understand her works just by looking at them. You really have to get involved with them. Her works possess an enormous dynamic force. If you view them superficially, you fail to see the landscapes and architecture in them; you don’t perceive the fine points. There are an unbelievable number of layers, and I’m very impressed at the way she builds up her paintings. She sets up everything on the computer and with the help of projectors. I’m fascinated by the enormous amount of work behind it all.
EG: But the nicest thing is that we’ve met so many people with similar interests during these events. A few very nice friendships have developed out of it. The Guggenheim is a great thing. We’re addicted to it, real hardcore members!
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