Having lived in China and then settled in Zurich, Tobias van Gils has gradually built up an art collection that comprises ultra-contemporary works by various artists across different continents. His passion has not only brought him an interesting collection drawn to surrealist landscapes and psychological portraiture but has also motivated him to start considering building his own art foundation.
LARRY’S LIST had a chat with Tobias to know more about why he is particularly interested in ultra-contemporary artworks; his latest art purchase; his most treasured artwork; as well as his plan to set up an art foundation in Zurich.
Collecting
What made you want to start collecting art? What is the main motivation for collecting art?
Passion. Just passion. I do have the collecting habit since a young age, with the first serious collection being synthesizers and analog hardware for music production. The collecting habit evolved in many different categories, but the one thing I’ve always most deeply cared for is art. It’s also the most intellectually challenging, and as an avid reader (and book collector) and researcher, the endless learning possibilities in art make it much more fun.
When did you fall in love with a piece of art? What was it?
The “Two Comedians” painting by Edward Hopper was the first work I truly fell in love with. It was around the time I got engaged to my wife and felt a sense of connection to the meaning of this work. It was the final work that Hopper painted before his passing, and rather than painting his own goodbye, he included his wife who stood by his side throughout his entire life and career.
What is your focus regarding the artists in your collection? Why are you more interested in emerging artists?
I tend to collect works made in the 2020s, from the time I become more active as an art enthusiast (and collector). Eli Broad once famously said, “the greatest collections are built while the art is being made”. I love to support the artists that are still making new works today, especially those willing to take challenges (and risks) on evolving their style.
What is the theme that unites all the works in your collection? Why are you drawn to surrealist landscape and psychological portrait?
I’m rather simplistic in my belief that I want art to evoke either happy or impactful emotions. At times, a psychological portrait can’t be defined by its mood, but at the minimum I must be intrigued by it. If a work is intently exaggerated in its dark attitude, it simply doesn’t interest me. But of course, it’s impossible not to dream of hanging a Bacon portrait at home… The authenticity in the emotion is the most important.
Other times, I simply wish to feel happy with a work. Artists such as Marina Perez Simão are incredibly talented in how they compose the colors on a canvas. Or this Josh Sperling work is such an incredible composition of happy colours and shapes. It’s placed in a hallway so I might miss out on a more distant viewpoint, but I feel joy every time I walk past it.
What were the first and the latest artworks you purchased?
One of my first works was an earlier work by Takashi Murakami. I’ve always been fascinated with his artistic practice from 2000-2001, in specific the mushroom clouds. A friend and collector of his works once told me that the eyes in his mushrooms represent the remnants of the Cold War attitude in Japan of “We’re watching you, and you’re watching us”, while the mushrooms are a reference to the event that deeply scarred the Japanese population. This depth in his works is fascinating, to this day I’m still amazed by how such a deep (and rather negative) memory can be transformed into a work that brings such joy to its viewers.
The latest work is a landscape by Hilary Pecis. It is a snowy mountain scene with a lake, which reminds me of the Alpine lakes here in Switzerland.
How many artworks have you collected? Where do you display your collection?
Not enough. [laughter] I tend to display the collection at home and in my office, while also borrowing many out to friends and employees. The rest (which multiples more than what can be fit at home) is unfortunately in storage. One of the most important areas of the new art foundation that I plan to build will be the “Schaulager”, a storage space that acts simultaneously as viewing space.
Would you wish to present your art collection publicly?
100%. I try to donate works to museums any chance I get and am fortunate to have done so for some of my favorite artists.
I’m also in the process of establishing a foundation and scouting a location to publicly display the works in Switzerland. It would be slightly more focused towards creating an experience for children, rather than simply hanging the modern and contemporary paintings. I’d love to have a significant share of the space dedicated to immersive installations, with the walls hanging incredibly talented artists from the collection, such as Mehdi Ghadyanloo. A child must be interested first, before being able to learn about the meaning of an artist’s work. I wouldn’t want the space to be sterile and silent; it’s not the environment for sparking a young child’s curiosity in art.
Furthermore, we’re in the process of creating an online platform for arts education. I might actually be most excited about this because the sharing and education aspects are the main motivations for opening a foundation.
What considerations guide you to make a purchase?
It is purely intuition, without regard for market demand and financial value. First, and most importantly, I need to love the composition and colors of the work, regardless of the genre. My taste spans a lot of different themes and doesn’t follow a strict guideline.
What is your most treasured artwork?
I have a strong connection with the Sheilah & Chris diptych from Jason Boyd Kinsella. Although on the image my seat is placed with the diptych behind me, in reality I actually moved the desk position so that I’m seated at work while the painting hangs in front of me. My work consists of a lot of time spent contemplating decisions, and hence having this diptych right in front of me always inspires me.
How important is it for you to meet the artists who created the artwork?
It is not that important. I enjoy the artists’ work for what they are. Of course, given my own work in research, I thoroughly enjoy the process of learning more about an artist’s practice following the acquisition of their works.
The Art World
What was your happiest moment being involved in art?
It’s hard to point it down to a specific moment. The greatest joy is probably seeing my son fall in love with an immersive art installation.
What’s your art-world pet peeve?
Too many industry participants taking themselves much too seriously, and over-intellectualizing each artist and painting, especially for young artists.
Who inspires you the most in the art world?
I love how Pierre Chen epitomizes the art of living with art. The Lalanne in his garden and the Doig at his dining table are what dreams are made of. I’d love to do the same with the works of living artists.
Can you name three emerging artists who should be on our radar?
Arghavan Khosravi, Jason Saager, and Rex Southwick.
What are you especially excited about in regard to art in the next 12 months?
To be fair, I’m not sure. Over a multi-year period, I’m excited to see how a handful of exceptionally talented artists evolve from their current style which they are known (and market-beloved) for.
Instagram: @tobiasvangils
A selection of artist Tobias collects:
Annie Morris
Jason Boyd Kinsella
Jason Saager
Josh Sperling
Wang Xiyao
By Ricko Leung
