Dimitria: We first met in the summer of 2016, and I was so pleasantly surprised by your openness. I remember seeing some fantastic Thomas Houseago works you had in your office and you also opened up and told me about your previous background in the Swiss Army and also within Starbucks Switzerland. How did those earlier years shape you?

Thomas: I didn't study art history. Instead, I have a degree in economics and a postgraduate degree in human resources management. My career began in Bern at the State Secretariat for Economic Affairs. A few years afterwards, I moved to Zurich to work for Starbucks Switzerland when the company first entered the market here. I played a key role in building up Starbucks Switzerland from the ground up. After that, I worked as the Head of Human Resources at the Swiss Army, where I was responsible for overseeing the top management.

At the age of 16, I developed a deep passion for art during a school trip to Venice, where I visited the city's churches and museums. Art became an integral part of my life, and whenever possible, I would visit artists' studios, museums, and galleries. Even with my first job, I bought art using whatever was left from my monthly salary. Over the past 25 years, I have immersed myself in the art world; attending gallery openings, meeting curators, and artists. My professional background is quite different, but it was in 2008 that I met Manuel Gerber at a Benefit Art auction of the Kunsthalle Bern, organised by Philippe Pirotte. Manuel Gerber and I both met as passionate collectors. We connected instantly and developed a great friendship. As collectors, we started acquiring works by the same artists, such as Pamela Rosenkranz and David Hominal. The tipping point came when I sold Manuel a valuable „Mappa“ artwork by Alighierro Boetti from his collection, and he was thrilled at the price I achieved for it. That transaction marked the beginning of our career together, and a year later, we took the leap and left our jobs to establish our own art business. Since then, we have turned our greatest passion into our profession, and it has been 13 years since we embarked on this journey.

Gerber & Stauffer Fine Arts in Zurich, Switzerland. Photo: Courtesy Gerber & Stauffer Fine Arts.

D: I read that you have been a passionate art collector since you were a teen. Which artwork marked your private collection and do you still have it today?

T: I purchased an edition print by Max Ernst, the surrealist painter, at a small auction house in Bern for a few hundred Swiss francs. Unfortunately, I no longer have the work. Many years ago, someone offered me double the price, and as a young collector, the temptation was strong, considering that art collecting is an expensive hobby. It's like an addiction; once you start collecting art, it's hard to stop. However, as I became more ambitious and financially stable with my first jobs, my preferences shifted towards owning original artworks. I found it satisfying to support young artists whose works were still within my budget. This marked the beginning of my journey and learning curve in the art world.

D: The role of a private art advisor is very discrete and many stellar achievements remain private rather than celebrated in the public eye. Is there a specific allocation or project that you can disclose?

T: The most rewarding aspect of my job goes beyond stellar sales and multimillion-dollar transactions, although those are certainly fantastic. What truly brings me satisfaction is being able to open new horizons and inspire others with my passion, competence, and knowledge. To introduce someone to the art world or help them navigate through it is immensely fulfilling. We offer a comprehensive package, assisting people in understanding and appreciating art through education, museum visits, and curated trips. It's a people-oriented space based on trust, friendship, and welcoming newcomers. This combination is truly magical.

All placements of artworks are important, but in particular placements of artworks in Museum collections are specially rewarding. One memorable museum sale involved placing Richard Long's “Stone Circle” from the renowned Hubert Looser collection in Zurich. We sold the piece to the National Museum in Oslo and on top we initiated the dialogue between the museum and our client Mr Looser. A few years later this dialogue resulted in an exhibition (titled: Restless Gestures) of the Hubert Looser collection in Norway at the National Museum in Oslo. This narrative created a remarkable match, showcasing the collection of one of Switzerland's most esteemed private art collectors.

“Restless Gestures” installation view, 2017. Photo: Nasjonalmuseet / Frode Larsen.

D: What does your role as the President of the Swiss Art Trading Association entail?

R: It is an immense honour to serve as the President of the Art Trading Association. I view this role as more of an ambassadorial position, where I aim to help and create a fertile ecosystem for the Swiss art market through my network. A crucial aspect of my job is to help politicians and Swiss customs authorities understand the importance of a thriving and healthy art market in Switzerland. Art Basel, for instance, plays a vital role in generating jobs, revenue, and tourism for the country. I also emphasise the significance of investing in art schools and promoting the achievements of Swiss contemporary artists on a global scale. These efforts contribute to Switzerland's reputation as an art hub and exert soft power. Additionally, I prioritise listening to the concerns and needs of my association members, addressing issues such as VAT, regulatory issues and legal perspectives. Ensuring their profitability and providing a supportive environment for art dealers is key.

While our association is relatively small, we operate under the The Swiss Art Market Association (SAMA), the umbrella organisation of the four major Swiss art trade associations (Gallerists’ Association, Antiquarian Booksellers’ Association, Auctioneers’ Association and Art Dealers’ Association), with its headquarters in Zurich, aims to safeguard the interests of art market participants in the trade vis-à-vis the authorities, associations, private individuals and the media. I’m on the board of The Swiss Art Market Organisation and together with my board members we will ensure that the Swiss Art Market will remain in the champions league of the worlds best art platforms.

Our mission at Sama: The SAMA actively promotes a dialogue in politics, business and law that does not ignore the special features of the art market. All this with the aim of defending the advantageous framework conditions of the art market in Switzerland and leading it into the future.

My primary role is to support art dealers within our association, including Thomas Ammann Fine Art, Galerie Rosengart, etc. Ensuring the satisfaction of our small group of members of around 26 dealers is a key focus.

D: That is very complex and important.

R: In Switzerland, we lack a prominent figure in Bern who can advocate for the art market, unlike the industry where influential figures like Peter Spuhler, owner of Stadler Rail, have a strong voice in politics. We need to come together as a team, uniting the four associations, to amplify our influence and improve the art market's standing. This teamwork of all board members together with Andreas Ritter, Managing Director of the Association, is a crucial aspect of our coordination efforts within the Swiss Art Market Association. The association, founded in 2018, is relatively young but serves as a central platform financed by the four associations. By pooling our resources, we can achieve greater impact.

Left: Walter Feilchenfeldt, former president and considered one of the world's leading Cézanne and van Gogh experts. Centre: Claudius Ochsner, former President of the Swiss Art Trading Association. Right: Thomas Stauffer. Courtesy of Thomas Stauffer.

D: For over some years you have been quoted by many portals as one of the leading art figures dealing within the Asian/Chinese art market space. Can you elaborate on your activities in Asia and also how you conquer that opportunity?

T: Around 7 years ago, we were fortunate to hire Gina Quan, our former director of Asia. Initially, she was our client, but we recognized her potential and brought her on board. Through her extensive network in mainland China, Taiwan, and Hong Kong, we expanded our contacts and significantly increased our involvement in Asia. While mainland China's economic outlook has been impacted by the COVID-19 policies, I recently attended Art Basel Hong Kong and noticed a promising trend. Despite the challenging economic conditions, I observed many new faces eager to engage, learn, and participate in the art market. This gives me optimism for the emergence of potential collectors from mainland China, Korea, Japan, and Taiwan. However, mainland China still faces recovery challenges, and it may take another two to three years to fully bounce back.

The impact of COVID-19 policies has affected various sectors, including real estate. Nevertheless, I believe the future lies in Asia. While Europe's art market may be saturated to some extent, Asia presents a larger pool of potential collectors, foundations, and private museums. Additionally, the younger average age in Asian societies compared to Europe provides long-term potential. It remains strategically important for us to maintain our focus in Asia. Language barrier is a challenge, particularly because I don't speak Mandarin. We need suitable partners who can effectively communicate with our demanding clients, as psychology and trust play crucial roles in these relationships. Language proficiency is essential, especially since some clients have limited English proficiency.

Manuel Gerber with Thomas Stauffer.

D: You have been working very closely together with Manuel Gerber on your Fine Arts advisory firm, how did you meet and what is the story behind Gerber Stauffer Fine Arts?

T: Meeting Manuel in Bern in 2008 through a cold start labour was a pivotal moment in my life. We started our business together in 2010, and we've been running the company for 13 years. Our partnership has been a happy and successful one. Despite our contrasting personalities, we complement each other and offer different strengths to our clients. Some clients resonate more with Manuel's style, while others prefer working with me. We also collaborate seamlessly on certain projects. I feel incredibly fortunate to have Manuel as my business partner, and I hope our company continues in this fruitful constellation for at least another 13 years.

D: In a digitally saturated market, especially post pandemic, will the art industry be maintained online or now more than ever in-person meetings remain important to nurture and expand relationships?

T: The future lies in technology, specifically AI and data. It's the defining subject of this century. Technology is crucial, especially for younger clients who are comfortable buying art online, through platforms like VR rooms. Advancements in technology will continue to shape the art market, although the physical viewing of artwork remains irreplaceable. Galleries and showrooms will always play a vital role in providing an immersive art experience. However, for the art trade, staying up-to-date and embracing technology, including NFT art, is essential. I strongly believe that NFT art and physical art will converge and coexist.

Collectors who explore NFT art often develop an interest in acquiring physical artwork, and vice versa. We have set up a new project in collaboration with ZWEI Wealth called the „Mythenstein Project“ collaborating with two young Romanian artists, Maria Balea and George Crîngașu. George Crîngașu produced an NFT for the exhibition in Zurich. It’s a good example of engaging in dialogue between traditional and digital art. This integration and interaction between the two worlds is the way forward.

Installation view “Maria Balea / George Crîngașu” 2023.Courtesy ZWEI Wealth and Gerber & Stauffer

D: A fantastic way to bridge my next question, at Gerber Stauffer Fine Arts you mainly deal with historical artworks. Can you tell me about your collaboration with Georg Bak on the Herbert W. Franke exhibition in 2021, a pioneer of computer art? What specifically interested you in hosting such an exhibition? Franke had managed to visit the show - what was your experience?

T: When Georg Bak approached us about showcasing Herbert W. Franke's work, we were thrilled. Franke, known for his pioneering role in digital art and his contributions as a scientist and author, is an underrated and influential figure. We immediately recognized the importance of hosting a show dedicated to him in our space. The exhibition was a tremendous success, with his artwork being acquired by notable collections in Switzerland and abroad. Franke himself attended the opening and was delighted to see the people that came from the Crypto Valley, a few came directly from New York, we had a really good crowd. Franke loved seeing the newfound interest people had about his art. He had previously been appreciated only by a small group of connoisseurs. We remain in contact with the estate and aim to continue promoting Franke's legacy alongside his late wife, Susanna Päch. It is our mission to ensure that Franke receives the recognition he deserves in art history.

Right image: Herbert W. Franke at his solo exhibition “HERBERT W. FRANKE – Pioneer of Digital Art” at Gerber Stauffer in Zurich, September 17–November 26, 2021. Left: Installation view of Herbert W. Franke’s curated selection of works from the “Mathematica” series.

D: Digital art has been present throughout art history since the 1950s, however, vastly overlooked. Following the NFT craze and with the extra awareness that Beeple’s auction sales ($69M for Everyday 5'000 Days and $28.9M for Human One) and the recent presentation of Beeple's sculpture S.2122 at the LGDR booth at Art Basel Hong Kong have brought - how do you see the art market evolving, is digital art/NFTs fitting in post the bull run of 2021?

T: The crypto crash and the decline of the NFT art hype had a significant impact on the industry. Many individuals, including artists, suffered financial losses in the aftermath of the bubble burst. However, I believe that NFT digital art is here to stay. We are living in the age of technology, and it's just the beginning. We have witnessed how our lives have become intertwined with mobile phones, and the unexpected advancements in technology continue to shape our world. The digital art market is also on a journey of growth and exploration. Auction houses will likely host their own digital art sales, and NFT art events will become more prevalent. While we are currently in a healing and recovery phase, trust in this scene will gradually be restored. We are only scratching the surface of what's possible in this realm. Traditional artists will increasingly explore collaborations and the production of artworks in the digital sphere. The next decade promises to be exciting as we witness the evolution of this field.

Luke Silva at the Private Viewing of his first solo exhibition "Smoke Damaged Door" at Gerber & Stauffer Fine Arts.

D: During this year’s Zürich Art Weekend (ZAW) you showed a very young artist, Lukas Silva. I remember Manuel told me during the private viewing that this is the first time that Gerber Stauffer Fine Arts is showing such a young artist. What led you to this special presentation especially as a headliner to Art Basel?

T: Our passion lies in advocating for young artists and supporting their careers. As collectors ourselves, Manuel and I actively purchase and promote young art. Our hybrid business model encompasses art advisory, private sales, and annual exhibitions. During these exhibitions, we feature artists, primarily from abroad, who have not yet showcased their work in Switzerland. Through our extensive network, we aim to elevate these artists to new heights. For instance, we successfully introduced Xiyao Wang, back then a relatively unknown Chinese artist, who now collaborates with renowned galleries like Massimo DeCarlo and Perrotin.

Similarly, when we discovered Luke Silva through our partner Nick Rhodes in London, we recognized his potential and unique watercolour-on-canvas technique. Our goal is to provide a platform for artists once or twice a year and utilize our experience and connections to connect their work with collectors, curators, galleries, and new markets. By opening doors and fostering sustainable careers, we strive to create fertile ground for these artists to thrive. With Luke, we aim to assist him in making the right moves within the art market, facilitated by our collaboration with Nick Rhodes.

This exhibition marks the establishment of our new company with Nick as our business partner. We are expanding our services to include an Artists Agency, which is particularly relevant to our collaboration with Luke Silva. We have noticed that artists often require comprehensive and 360-degree advice to support their careers. Similar to actors or opera singers who have agents to handle negotiations and bookings, we want to provide holistic guidance to artists. Our agency will assist them in various aspects, such as setting up a pension plan, placing artworks in suitable collections, and connecting them with the right galleries. Essentially, we aim to act as matchmakers and advisors to help artists make informed decisions, avoid mistakes, and build sustainable careers.

Installation view of Maria Balea, “The Thinker Sat, the Overthinker Never Left”, 2023 at Mythenstein in Zurich.
Courtesy ZWEI Wealth and Gerber & Stauffer