'Art makes us human': We meet Brussels gallery director Raphaël Sachsenberg

Raphaël Sachsenberg has a master’s in art history from the Sorbonne in Paris, has worked with renowned art dealer Daniel Templon and is now director at MOT International, a contemporary art gallery in Brussels and London.

Born in Germany, he has lived in Brussels since 2014, and with French and German roots, he appreciates life in a country that also has its feet in two cultures. We meet him at the gallery in Ixelles.

How did your background influence your career?

My mother is French and my father is German so I have both nationalities. I grew up in Munich but went to a French school. My father studied at the Academy of Arts in Munich and was an antique restorer. And my mother was editor-in-chief at a German publishing house, so it was an artistic environment. I always loved art, but I wasn’t sure what to do when I finished school.

I’d always wanted to go to Paris and had always felt torn between the two places, so I started studying psychology there, but eventually I decided to return to Munich and study art. I did an MA in art history in Paris and I got a fellowship at Christie’s Education in Paris, after which I started my first job at Galerie Cazeau-Béraudière, one of Europe’s most renowned impressionist and modern art galleries. During my years with Daniel Templon, I met my wonderful partner, who is from Antwerp, and we thought, let’s meet in the middle, in Brussels. I had the opportunity to start at MOT International just over six months ago.

How would you describe MOT International?

It’s quite different to other galleries. We’re a mix of emerging and established artists, but with lots of dematerialised art: video art and performance art, which isn’t always as easy to access. But I like challenges, and a gallery is all about challenges. It was founded by Chris Hammond, who started as an artist in London. He teamed up with other artists to create their own space to exhibit themselves and other artists.

Unlike many galleries, MOT International is strongly backed by academics, art critics and museum curators. Chris Hammond is a teacher at Goldsmiths in London, one of the most renowned art colleges. We’re still commercial, everything you see is for sale – you have to make sales to make a living – but in the end, what makes this gallery is the curatorial side. We always try to make the most relevant shows; that’s what people like us for.

What are the trends to watch in the art market?

There are so many. Installation and video art are going very strong. New American Abstraction – which is based in New York and LA – is very interesting to follow. In Europe, alongside conceptual art, there is a strong return to figurative painting, which hasn’t been seen here in decades. Social media plays a very important role in video art. The border between social media, film and art is blurring at the moment, towards a new genre.

What do you think of intermediaries in the art world?

Taking pictures of art influences people, of course. The advent of new media has had a tremendous effect – the new generation are creating a new culture, a new visual world, a new acoustic world. The art market is developing but it’s not changing radically at the moment. Gallery space will always be needed. You need a relationship, a gut feeling, an emotion, created between you and the artwork – you don’t have emotion with an image on a phone. Artists will always want to show their artwork in a space. It’s good to play with the new media, but for the moment I don’t see how gallery space can be replaced by virtual space.

Can art be an investment?

The best investment, and the best return, is when you buy what you like. Buy an artist you believe in, and even better if the market believes in him. It’s a good investment for people with passion – you’re not buying a house, it’s not a way to become wealthy quickly. Hugh Grant bought a Warhol for £2 million and sold it for five times that price, but that’s on a high level. In a more normal sphere, as an investment it’s difficult. You can’t expect every artist to be the next Jeff Koons. Art is good as an investment but only if you have invested in all other possibilities – diversification is important. You can’t sell artwork like you sell a stock option. By selling an artist too quickly, you devalue the artist and the works you have.

The first thing you should have in your mind as a small private investor is to buy with your heart, not necessarily just with your brain. That would be a bad start. Buy art you love. First thing in the morning, your work of art should put a smile on your face. On a more professional level, you should do your homework about the artist and the market if you can. It can be a complex world. Research online and don’t be too shy to push open gallery doors. Know the market, know the artist and their CV, see if you like their practice, and find a gallerist you trust who’s not just trying to sell you something.

Why do you think art can seem inaccessible?

Maybe it’s because a gallery is behind closed doors. You have to ring a bell, people are looking at you… there are things that could put you off. The art world is seen as glamorous as it’s related to fashion, business, movies, but behind the scenes it’s hands-on. You end up driving trucks to transport the art, you do everything yourself. But people shouldn’t think that they can never be part of it. It can seem elitist but I’ve never understood that policy; it was never mine.

I am an art specialist and I can offer insight and advice to anybody who would like to enrich their life with art. I certainly greet people, whether they are connoisseurs or are coming in to browse. So I would say, overcome your shyness, just see a gallery as an easy, accessible opportunity to discover something new. I encourage everybody to come in. A good gallerist would be happy to meet anyone. You can just have a conversation, and don’t be afraid to look stupid because you don’t think you have the right questions. Go and see the art, that’s what it’s for!

Is there a need for the state to subsidise the arts?

I’m in favour of subsidies for the arts. Budgets are being cut more and more each year, so it’s a difficult time for cultural institutions. As a gallery it’s a little different – a gallery is a commercial business. In Belgium you can have subsidies, but we are a British gallery so we’re not eligible. But it’s very important to support art. What would humanity be without art? Even as cavemen we were using it as a form of expression. Life without art, I would say, is meaningless in a way. Art is a fascinating filter for what surrounds us, for all the things that are not expressed in daily life. The people cutting budgets are very short-sighted. Art makes us human and helps us to comprehend life. For me, it’s what makes our lives worth living.

What do you do when you get free time?

I try to have one day off during the week, to spend with my partner, family and friends. I love culture, I like to read about art, and I listen to music a lot. That’s probably my first passion. I play guitar, and that’s a very important part in my life. I go to concerts at La Monnaie, Bozar and AB. But I never really stop working. It’s all entwined. I love my job, which is very satisfying. During the holidays we find a remote place for a few weeks and recharge our batteries, relax and reflect on the past year. In August the gallery is closed and we do all the summer opera festivals.

What do you like about life in Belgium?

I like the people very much. I find them friendly, good-humoured and welcoming. I also like how it’s binational. I always felt a bit torn inside; I’m now trying to take the best of both worlds, so I relate very much to that and feel quite at home here. And aesthetically – well, Brussels is different to Paris. Paris gives itself to you the first time you go there. Brussels is not like that; Brussels is a city that wants you to discover it. At first I thought it was ugly, but now I stroll around and think it’s amazing because of its cultural and historical past. I love Forest, where I live; the park there is amazing. I also like the abbey in Ixelles and there are very nice places in Saint-Gilles, Uccle and around the Bascule area. Brussels is an amazing city that should be discovered, and not just the Grand Place.

This article first appeared in ING Expat Time