London According to: Andreas Gegner of Sprüth Magers

Since its inception in Cologne in 1983, Sprüth Magers has expanded to Berlin, Los Angeles and New York, with outposts in Hong Kong, Seoul and Taipei. Its London gallery, on Grafton Street in Mayfair, opened in 2007. The gallery works with more than 70 artists and estates, plus up-and-coming practitioners, and is renowned for its rigorous curatorial approach and its enduring devotion to its artists. Senior Director Andreas Gegner reflects on nearly 20 years as part of the capital’s art landscape, even though he’s still not a ‘pub person’…

What’s great about Sprüth Magers’s London location? 

We’re in the heart of central London. We have a critical mass of art galleries in our neighbourhood, from young and emerging to blue-chip. The Royal College of Art, which is both a world-class exhibition space and renowned art school, is on our doorstep. Round the corner is Bond Street, London’s high-end fashion destination. Our gallery is located at the top of Dover Street, with the ground-floor exhibition space visible – through the building’s original floor-to-ceiling shopfront windows – to anyone walking up the street from Piccadilly. We could not wish for a more charming and prominent position in London.

What changes have you seen in London in the last few years?

Since we opened our space in London in 2007, we have seen many galleries from abroad moving to the city, including David Zwirner, Thaddaeus Ropac and Marian Goodman. In 2007, our street was labelled a ‘destination’ by estate agents, meaning it would only attract an audience determined to go there. Now we are at the epicentre of a newly developed business district around Bond Street. On a political level, Brexit was the single most significant change, the effects of which are still unfolding.

How do you think that the way people see (and show) art is changing?

Art has become entertainment and holds a more prominent position in popular culture today than it used to a generation or so ago. It’s both a blessing and a curse. More people have access – and seek access – to the arts today than ever before, and that’s wonderful. On the flipside, ‘selfie-seekers’ and our obsession with social media have changed how we engage with art. The popularity of art has an effect on the way it is shown and presented, sometimes feeding the popularity itself. Again, it’s a double-edged sword. 

You’re bringing Joseph Kosuth, George Condo, Jenny Holzer and John Baldessari (among others) to Frieze this year. What influenced this choice?

We approach art fair presentations like exhibitions, instead of just lumping random works together. For Frieze London 2024, the concept of our presentation is the idea of painting. Without giving too much away, one key piece will be a work by Kosuth from the mid-1960s, a photographic enlargement of the dictionary entry of the word ‘painting’. Sprüth Magers has an amazing roster of well-established artists, but for every art fair we aim to balance our blue-chip artists with the younger generation in our programme. For Frieze we will also bring works by Lucy Dodd, who recently relocated from the US to Scotland, alongside works by Anne Imhof and Analia Saban. 

Which artists excite you at the moment? 

Every new artist I meet excites me: learning about their practice, the sacrifices they make to follow the path they have chosen, the determination that’s required to make one’s voice heard and one’s work seen. It’s beautiful and uplifting. 

Favourite museum or gallery in London?

I love the spaces in London that cater to their local community as much as to the wider art audiences. The South London Gallery, Chisenhale Gallery, The Showroom. But if I had to pick one place it would be Sir John Soane’s Museum, a marvel of a space that shows how someone’s unique vision (and access to funding) can create magic for eternity. 

Last exhibition you went to? 

I am in Los Angeles right now, and I went to see Ed Ruscha’s show at LACMA yesterday, alongside the exhibition of LA-based artist and activist Judy Baca. The same night I had the pleasure to hear them talk about their practice and their relationship to the city in a conversation moderated by Michael Govan. It was a treat. Ruscha’s show travelled to Los Angeles from MoMA in New York. I always love to see travelling exhibitions in different locations, and experience the changes, however slight, in curation and presentation.

Can you recommend a place to eat near the gallery?

Luckily, we are spoilt for choice, from a Michelin-starred Indian restaurant, Gymkhana, to an excellent West African restaurant north of Oxford Street, Akoko, and much in between (Koya for Japanese udon dishes or Hoppers for street-food-inspired Sri Lankan fare). My first choice for a takeaway lunch is Carbon, an eatery for freshly made chargrilled dishes in Soho that offers the best value for money in the area. 

Best bar or pub near Sprüth Magers?

The bar at Duke’s Hotel is legendary and so are its vodka martinis. You are only allowed to have two, that’s how strong they are, though I doubt anyone would be able to stomach a third one gracefully. 

Personally, I am not much of a pub person, but the gallery team likes to finish a long day of installation at The Goat Tavern, a bustling ale house with dark wood décor and traditional pub food. 

Best thing about London?

Its resilience and diversity. Getting off the Elizabeth Line at Whitechapel, the closest station to my home, never fails to put a smile on my face for how vibrant and diverse this city is. 

Worst thing about London?

The British stiff upper lip still leaves me struggling sometimes, even after almost two decades in London. The worst thing, though, is the traffic, but luckily the great public transport more than makes up for it.

Sprüth Magers takes part in Frieze London, 9 – 13 October 2024, The Regent’s Park.

Further Information

To keep up to date on all the latest news from Frieze, sign up to the newsletter at frieze.com, and follow @friezeofficial on Instagram, X and Frieze Official on Facebook. 

^{Main image: Sylvie Fleury, ‘S.F.’ (installation view), Sprüth Magers, London, 22 September – 4 November, 2023. Photo: Ben Westoby}