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H ow extensive are your collections, and what is your main focus?
One of my main collecting focuses is post-war art, particularly in relation to the Stutt-
gart State Academy of Fine Arts. The collection includes works by Walter Gutbrod, Walter
Wörn, Ida Kerkovius, Gustav and Berta Schleicher, Hans Brasch, Hans Fähnle, Klaus Heu-
ser, Reinhold Strohhäcker and Ben Willikens. The second major focus of my collection
is contemporary works from the Stuttgart Academy’s artistic environment. These inclu-
de pieces by Tesfaye Urgessa, Ivan Zozulya, Leandro Cultraro, Shalva Gelitashvili, Nigatu
Tsehaye Mola, Thomas Heger, Cordula Güdemann, Hartmut Landauer, Jan Hendrik Pelz,
Sangho Park, Tyler Heidenwag, Cinyi Joh and Dirk Reimes. The collection also features
a series of works by Leipzig-based painter Mathias Perlet, as well as LGBTTIQ+-related
graphic art, including works by Clément Legrand and Daniel von Alkier. The art collection
comprises over 3,000 works. In addition, I collect German and European post-war cera-
mics, both utility and studio ceramics. A particular focus is on regional firms, artists and
manufactories from Baden-Württemberg, such as van Daalen, Karlsruher Majolika, Stützel
Sachs and Keicher. Another key area of interest is the work of Swiss ceramicist Gustav
Spörri, both from his time as artistic director at Ziegler AG and his later independent works
from his Trubegüetli studio. The ceramics collection includes more than 5,000 pieces.

r How do you discover artists you want to work with, and how do both parties
ultimately come together?
I have a vast network of artist friends that I draw upon. My studies at the Stuttgart Acade-
my and my teaching experience at Burg Giebichenstein in Halle have provided me with
numerous contacts that I can turn to. In recent years, social media has also taken on an in- Foto: Karl Amann
creasingly important role in discovering new artistic positions. If I come across something I
like, I reach out to the artist directly and try to get to know them. I find the personalities be- Galerist Karl Amann auf der Art Karlsruhe, auf der er ... • Gallery owner Karl Amann at Art Karlsruhe, where…
hind the art just as decisive as the art itself. More and more often, artists are also applying
directly, sending portfolios and introducing themselves. Occasionally, these applications
include very surprising approaches that I take a closer look at. That’s how I got to know
Monika Supé, for example, who opened this year’s exhibition programme.
„Seit ich mich erinnern kann, habe ich immer
r You have been running your gallery in Stuttgart-West since June 2023. How did it
all begin, and how often do you hold exhibitions? etwas gesammelt. Ich habe den Jäger und
The gallery got off to a fantastic start with the first exhibition featuring the Basel-based Sammler irgendwie in den Genen.”
artist collective Protoplast. This was partly due to the fact that the exhibition was exten-
ded into the urban space with actions on façades and advertising columns. Fortunately, Karl Amann
the Stuttgart Department of Culture provided funding for public art, for which we are
very grateful. By early November last year, we had already opened our eighth exhibition.
In addition, more works have been created in urban spaces, such as a wall piece near
Schöttleplatz by Daniel von Alkier and an art poster campaign with Protoplast during Art
Basel. In 2025, alongside participating in Art Karlsruhe, we have four exhibitions planned ... mit seiner Galerie Sammlung Amann vertreten war. • … his Galerie Sammlung Amann was represented.
at the gallery. One of them will be curated by Tesfaye Urgessa and will showcase young
Ethiopian artists, which I am particularly looking forward to.

r What synergies exist between your architecture firm, no w here architekten I desi-
gner, and your art gallery?
Naturally, no w here architekten I designer was responsible for designing the gallery. In
2023, we received a Special Mention at the Baden-Württemberg International Design
Award “Focus Open” for our exhibition system. In October 2024, we also used the gallery
space for a small exhibition of our projects for GSP – Gesellschaft für Soziales Planen.
This was part of an event on welfare, housing and care taking place at our premises. In
principle, I wouldn’t rule out an exhibition on architecture, architectural drawings, or
similar topics in the future. I’m very open to the idea.

r As an architect, do you see the gallery as a business model, a second professio-
nal venture, the best hobby in the world, or rather as the fulfilment of a long-held
dream?
The gallery is a long-held dream because it would be a shame for the collection to remain
hidden away in an archive. The idea was to create a platform that would give the artists
represented in the collection an opportunity to show their work on a larger scale. At the
same time, this allows for new artistic positions to be included in the collection, conti-
nuously expanding the circle of contributors. For me, the gallery is the best pastime in the
world. And after a successful first year, the overwhelmingly positive feedback motivates Foto: Karl Amann
me to continue curating a strong programme.

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