Perspectives from Gallerists. Interview with Leo Caballero and Amador Bertomeu from Hannah Gallery

中文版 - Chinese version      

When I asked Amador and Leo about their what’s the concept of contemporary jewellery, they both define the notion with a sense of detachment. 'We are not very fond of the concept of Contemporary, nor of Contemporary Art Gallery, nor the concept of contemporary jewellery... it is a mischievous concept, which is good for understanding those of us who are already familiar with this term, but it may bring misleading connotations, deceitful groupings, and not very interesting projections in terms of communication in the global market.’

Because these two guys, the founders of Klimt02, which launched in 2004 as a comprehensive database dedicated to contemporary jewellery, are also behind Hannah Gallery, established in 2007. While Klimt02 aims to explore and document the world of contemporary jewellery, Hannah Gallery reflects their personal vision, offering a more curated and intimate approach to showcasing art.

In this interview, Leo Caballero and Amador Bertomeu share their insights on the role of the gallerist, the relationships between various actors of the field, the crucial role of trust in building the market, and the differences between the Klimt02 platform and their gallery. 

Although both projects aim to communicate the current artistic language, their approaches are different. 'The work of the Gallery is very different from the work of the platform.' they explain.

'At Klimt02, throughout a selection, we outline the international scene of professionals and organizations dedicated to jewellery and arts & crafts. At the gallery, we focus on the specific proposal of a selection of artists with whom we work by invitation, following their work and becoming part of the relationship between the creator and the client.'


What might be the ideal role of a gallerist for you?
Being consistent with the gallery's line through the selection of artists, artworks, and our exhibition programs. Being smart contributes a bit to understanding and enjoying what artists and art, in general, offer us. Acting as a bridge between the artist's artworks and potential clients. Facilitating access to artworks to the widest possible audience. Establishing a solid foundation in the field.



Hannah Gallery space in Barcelona.



You said in a previous statement that the artist needs in its work, to tackle the notions of disobedience, transgression, drainage and breaking away from a system with which they must be familiar. Is the role of the gallerist similar?
Yes, adding a strong sense of professionalism and openness to collaborate with other galleries and/or entities, other artists and also clients.
The concepts of disobedience, transgression and rupture... must be applied primarily to the language that we fortunately acquire with the knowledge of art history. We acquire a set of tools that we have to work with, us gallerists, of course, artists and clients included.

Beyond what we call taste, personal and particular, we gallerists among others (teachers, scholars, art lovers, etc.) must work on an almost-scientific basis... observation, comparison, to decipher, contrast, structures, symbology, equivalences... to give a foundation to what we have in our hands and which is part of a culture and an interpretation of the world and life, works of art... and power explain it, share stories.


Please give 3 pieces of advice to encourage someone thinking about opening a gallery.
Have a long-term vision. Have a clear criterion. Keep an open mind and be in permanent contact with the history of art, or in permanent contact with everything that is produced and done in the art world.


How would you describe the artist-gallerist relationship, and what roles do each play for those who want to know more? How do you expect an artist to approach your gallery to be represented by you?
It must be a relationship based on trust, with the freedom to speak as equals and open to disagreements as well. Smooth communication is also important, not only when there is an exhibition.

When an artist approaches the gallery, first, he/she must demonstrate that they know the gallery, the gallery's line, the artists we represent, the exhibitions we hold... through their interest. Second, they should explain why they believe their work fits with our concept, why they want to work with us, and what they expect. But the usual way of working is by following artists and, at some point, inviting them to join us.


How about gallery-gallery? Could you share your comments about the galleries relationship? 
We have had a wide range of experiences. We've encountered galleries and organizations that are mind-open to new proposals and initiatives, as well as those that are more mind-closed and prejudiced, fearing the loss of existing customers rather than considering the potential to attract new ones.

From the very beginning, we have been keen on interacting as much as possible with other galleries. This includes exchanging work and clients, and seeking exclusivity in certain works rather than exclusive agreements with artists. We believe this approach is beneficial for both customers and the market.

The market itself is fraught with prejudices, both from certain gallerists and artists. Pricing artworks is another critical issue. To attract new generations of collectors, prices must meet two key requirements: transparency and accessibility. Without this information, we cannot cultivate a diverse customer and collector base. These market participants need to feel confident that their investments are sound, that they are not being taken advantage of, and that their purchases are made with complete trust. We cannot continue to rely on an elitist view of the market; it is a naively snobbish perspective with little future.

For us, it is clear that without a market, there is limited creation, or at least not all the possible creation, which is what interests us. A healthy and vibrant market is essential for everyone to thrive.


Can you tell us about your clientele? What type of people are you targeting, and who is interested in your selection? Does it happen that customers buy something purely for investment?
The common point is that they usually already have some knowledge, and there are also people interested in art, design, crafts, and architecture, so they value the artists' proposals. The age is around 40 years and older, mostly independent professionals, and we could say it is not mainstream. Surely, there is the idea of investment, but not as the main reason for buying.



Exhibition Covers 2 by Tore Svensson at Hannah Gallery.



As a gallery which communicates its projects through an international platform that you two founded before running Hannah Gallery, I noticed that you do not participate in international events like Schmuck or art fairs. Why?
In a way, we could say that we haven't found the occasion or excuse yet, but we do not rule out participating in the coming future.


How do you organise your time between Klimt02 and Hannah Gallery, and can you explain the difference between them to anyone who wants to know?
Create an optimal schedule, prioritising and investing extra hours when tasks require it.
Klimt02 is a platform that aims to outline and make known, through a selection of work and content, the international scene of creation in the field of jewelry.
It is a broader project and does not need to define what we personally like or dislike. It is a resource site to show most of what is happening, the resources, what is written, who is who, to create solid foundations for the field... and it is constantly growing.

Hannah Gallery is a personal project where we establish and define our more personal interests in the selection of artists and artworks represented as well as in the organised exhibitions. It focuses on the specific work of communicating certain artists to certain clients.

We could make different galleries with different projects related to different lines of work. There is a lot of work, a lot of work and many other artists worthy of being exposed and with whom to work, but our infrastructure right now is what it is and does not give for more. As we said earlier, maintaining a line is very important. A gallery, as we understand it, must do a job of depth, not breadth and superficiality. That's why we sometimes think that simply talking about Contemporary Jewelry as a working framework and not the specific work of each artist is not a good 'story'.


In today's context, virtual space serves as a place of exhibition and communication. Does being present on social media increase people's openness to discovering and buying a piece virtually? 
The virtual space is very important, as it allows you to reach an audience that will never know you.
The social trend is to discover things virtually, and it alters the market in the sense that it makes it wider and more democratic.
Break old concepts/clichés and propose a new way of interacting with customers.
For us, it is very positive.


Do you think that virtual communication has enabled (or will enable) contemporary jewellery to break out of this very closed-off world, which always dialogues with the same protagonists?
It should do it and it is a matter of time even CJ is very specific, and has a very tiny niche. We have to consider we are overwhelmed by so many proposals in all fields.
So we have to work on high-quality products with high professionalism and service standards to make a difference.


Last year, Contemporania, the new title of the arts and crafts fair previously called Joya Barcelona, held its first edition. You were involved in the cultural council. This edition encompassed other disciplines, such as ceramics or high-quality craftsmanship. Could you share with us your opinion on this event and its impact regarding the expansion of attention from various actors in the arts and crafts world, such as artists, gallerists, critics, and collectors? Has it been beneficial for Hannah Gallery in particular?
Any quality event organised professionally and with a good selection is always positive, not just for Hannah Gallery but for everyone.
Organising an event of this type and that big is not easy; we have always backed up people who take risks and try to do something good.
The more galleries open, the better for us all. The more quality fairs there are, the better for us all. In the end, the idea is to enlarge the market.
If Hannah Gallery can interest someone, this person may decide to visit other galleries when travelling abroad, so if it is good for me, it will be good for you, too.



The Cultural Council of CONTEMPORANIA High Craftsmanship Barcelona (from Left to Right): Amador Bertomeu, Leo Caballero, Laura Miguel, Sílvia Serra, David Places and Paulo Ribeiro.


As one of the few international galleries renowned in Spain, especially in Catalunya. Do you feel the state of Spain or the region of Catalunya plays a role in supporting establishments promoting arts and crafts galleries?
Not at all, neither for the gallery nor for Klimt02.
We are a private initiative and have not received any state support, just like many other craft galleries. We don't complain, we know that what we do is 100% our effort.
In particular, we live in a country with little investment in the world of culture, both in terms of private initiative and on the part of the public administration. 
It should also be said that from the beginning, we wanted to be a company with a 'sustainable' business model and self-investment capacity. We believe that all cultural industries should be profitable, without subsidies, to impact the market.

For example, voluntarism is very commendable but any element or actor that does not seek profitability and pretends to be profitable is not good for the livelihood of the rest. This actor (artists, gallery, organization, etc.) distorts the rest (unreliable prices, etc.) This is a reality that we do not like, it is hard to admit but it is not good...


How would you describe the current state of contemporary jewellery, and what do you envision as the ideal future scenario for this field?
On the creative side, it is very healthy.
On the educational side, improvement is needed. It seems to us that the students have two important deficits. They need a cultural background in general and knowledge of art history specifically. In addition, they have a great ignorance of the 'reality' with which they will have to face. It's not just about making exhibitions or reinterpreting the myth of the artist.

The ideal scenario will be to support a strong and professional collaboration between galleries, museums, and organisations focused on common goals. Remove some prejudices. Also, building the secondary market is mandatory for long-term success. Success doesn't magically appear. Everything that has good foundations is hard to do.


Regarding the secondary market, which relies on the primary market and involves intermediaries to establish legitimacy, how do you, as gallerists active in both markets, contribute to it? Have you ever attended an auction?
The secondary market endorses and gives value to all the work being done in the primary market. It is a sign of health and recognition. The secondary market acts as fuel for the primary market.
It is a scenario we are trying to understand how it works and in which we would love to participate and be an active part if it develops as it should from now to the future.


What are the highlights planned for Hannah Gallery next year?
We are working on a compilation exhibition of Fumiko Goto's works. We will hold the exhibition, as every year, of the winner of the New Talent Award organised by Klimt02. We will present a new artist from the gallery, and we will participate in the second edition of Contemporania 2025.



Display at Hannah Gallery with pieces from Manon van Kouswijk.