Perspectives from Gallerists. Interview with Kinga Zobel from Galerie Biró

We had the opportunity to grasp the vision of the owners of Galerie Biró. Internationally renowned as one of the leading galleries dedicated to showcasing contemporary jewellery and featuring a top list of known artists in the field, Biró is a must-see stop when visiting Munich.

Galerie Biró's inception in 1992 was ignited by Olga Zobel Biró’s curiosity to explore new ventures and capture the zeitgeist (spirit of the times). Since then, both Kinga Zobel and Olga Zobel have been driven by the pursuit of the highest quality and new artistic ideas.
With a calendar brimming with up to seven exhibitions annually, predominantly featuring solo showcases, Galerie Biró goes above and beyond to engage in an intimate dialogue with its audience. From newsletters, dynamic social media presence, exclusive events for its VIP clients, and now, with the exciting addition of podcasts, each exhibition is brought to life with captivating interviews, thought-provoking reviews, and stimulating discussions.

To keep ensuring the spread of contemporary jewellery, the gallery actively engages in projects, both within and outside its premises, through collaborations with galleries, festivals, and museums, further enriching the cultural landscape.


Could you share with us the artists and/or pieces that have particularly impacted you in discovering contemporary jewellery?
Initially, artists from the Netherlands, such as Gijs Bakker, Emmy van Leersum, Paul Derrez, and very soon Peter Chang, played a significant role. Later, Karl Fritsch and Lisa Walker had a profound impact on the gallery.


Could you describe the artist-gallerist relationship?
For us, the personal relationship with the artists is extremely important; we're almost like a family. If we cannot rely on each other, we may have to end the collaboration. It's difficult to generalize how the approach should be. Personal contact is crucial; sometimes, years pass before we hold the first exhibition.


Can you tell us more about your clientele? Could you let me know what type of people you are targeting and who is interested in your choice? 
Our clients are mostly women over 60. The majority of our customers are connected to us through friendly relationships. Jewelry is very intimate, and we especially feel that. We would love to expand our clientele to include men and especially a younger audience.

However, contemporary jewelry seems to appeal to a certain personality, which may require a certain age. Wearing contemporary jewelry often prompts challenging questions, requiring stability, which likely comes with age.


Does it happen that customers buy something purely for investment? 
Our field would benefit from academic studies and market research. Perhaps 20 years ago, collectors believed that prices of contemporary jewelry would rise, and some may have bought jewelry as an investment. However, today's auctions demonstrate otherwise. Pieces on the secondary market often sell for much less than their value, indicating that jewelry is not a short-term investment, at least currently. It's hard to predict if this will change in the future and if jewelry will become comparable to fine art. After all, our field is still relatively young.


Do you have any special relations with museums or cultural institutions?
We collaborate closely with the Grassi Museum for Applied Arts in Leipzig, the Musée du Bijou Contemporain in Cagnes-sur-Mer, France, and several local museums in Bavaria. We have various partnerships with other galleries, especially in Munich.

For instance, we participated in the Highlights fair in Munich with Jordanow Gallery, collaborated with Belleparais, and showcased works by Lisa Walker and Daniel Kruger in exhibition projects there. Recently, we partnered with Kunzt 66 to present Misha Kahn during SCHMUCK 2024. In November 2024, we plan to hold an exhibition in cooperation with several museums and galleries in Munich, initiated by Boutwell Schabrowsky Gallery. Two years ago, we co-founded MUC/Schmuck with our colleague Ellen Maurer Zilioli, an annual event promoting contemporary jewelry to a broad audience in Munich.


Like John Martins in the New York Times in 2018, would you say collectors have a preference for attending art fairs than going to galleries? Or, given that Biró is located in the heart of the contemporary jewellery scene, do you perceive it differently?
Firstly, I'd like to dispel a myth: Munich may be an international jewelry metropolis, but few here are aware of it. From this perspective, whether we're in Munich or elsewhere doesn't make much difference. There's certainly a similar trend in our field as observed by John Martin.

However, the lack of adequate platforms for contemporary jewelry complicates matters further. Jewelry still resides in the grey area between craftsmanship and art. There are no trade fairs for jewelry nearly as attractive as those for fine art. We're also noticing a growing reluctance among young people to enter galleries, so we must find ways to approach them; otherwise, we risk becoming obsolete.


In today's context, virtual space serves as an exhibition venue. I'm wondering, what is your opinion on the digitization of exhibition methods?
This question would make for a compelling research topic. My personal opinion isn't significant here.


Contemporary jewellery auctions are on the rise, particularly in Munich. How do these events typically unfold? Are you actively involved in them? And have they attracted a different audience?
There have been several auctions in Munich recently, largely because we've raised important collectors over the years. As far as I know, the auctions haven't attracted a new audience, but of course, I don't see people betting by phone or online.


After more than 30 years of curating and presenting your collection and selection in various contexts, what do you think can be improved in the contemporary jewellery art world, particularly concerning the art market?
The contemporary jewelry art market needs to be developed. Art historians, gallerists, and researchers must collaborate to create the market, similar to what has been done for fine arts and photography.


Could you share some of the highlight events planned for Galerie Biró in the upcoming year?
We're working on many interesting projects within and outside the gallery. In addition to our upcoming summer exhibition with Cécile Feilchenfeldt, Olga Zobel Biró is curating a project in Cagnes-sur-Mer featuring Lithuanian jewelry. During the Munich Akademie's annual exhibition, there will be another MUC/Schmuck and a diverse autumn program in Munich with Svenja John and Veronika Fabian.
But it's challenging to pinpoint highlights. For us, every project we undertake is a highlight. We dedicate all our energy to each exhibition as if it were the only one, and each exhibition is absolutely unique!