Anselm Reyle seems to be quitting art production for a while in this interview with Die Welt where he tries to explain how he ended up overseeing a studio of 50 assistants. He says it started with liking to work around people. Then the demands of collectors exploded. Then the financial crisis forced him to rein in production costs from €800,000. Of course, he was saved by Gagosian’s 2009 show of his work. Or perhaps it says something else, we only have this Google translation to go by:
Reyle: I have not made up my mind this is more happened. There was issuing requests I should have rejected otherwise. I had never seen me before that as an artist with a [assistant]. But then I realized that I actually much prefer to go to work when other people are there. The studio then became a kind of experiment that was getting bigger and sometime almost exploded. This experiment has certainly influenced my art strong.
The World: How would you describe this experimental setup?
Reyle: I often amazed as I stood by and watched from the outside perspective on it. I liked the feeling that the whole thing to have only limited in his hand, and I was aware of it. Much has evolved from themselves, rather intrinsically dynamic. I have my staff also said that they are supposed to get even more people if they still need someone. However, an interesting thing, on the business side considered probably quite naive and stupid. And of course the costs are exploding. But that was not really care all. Then came 2008, the economic crisis – just as a reality burglary – and I was forced to recognize the principle that revenue should be higher than the expenses.
The World: To the heady years before better understand: what were then the monthly cost of the studio Reyle?
Reyle: (Laughs) Up to 800,000 euros. It even employs not only people, but the people do something. And what do costs money. I can shut throttle the cost up to 150,000 euros, but not further. That would be really hard to please and it would have been pretty tough. The experimental character faded lately, more and more, mainly related to the fact that I have to finance the whole thing – in large part due to inquiries by collectors. And these questions have become increasingly one-dimensional lately. They have focused more and more on my hallmark, especially on slide images.
Art Market: “A pretty liberating feeling” (Die Welt)
