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current | 19.12.2013 | Galerie Peter Herrmann |
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On a first trip to Accra, we visited Kofi Setordji and his Nubuke Cultural Center. During a stay in Cotonou, we saw Meshac Gaba and were delighted by a look at his public library. We've already brokered the first works by Sokey Edorh from Lomé to our most loyal collector in southern Germany. We can mock and commend the new small museum of the Zinsou Foundation in Ouidah… |
We have big plans to be executed in little steps, and we've already laid the first foundations. We want to be there when the old German Governor's Palace is transformed into a cultural center with botanical garden. We want to be a part of the creation of a new museum for contemporary art in Lomé. |
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We want to serve in an advisory capacity to emerging collections of old art in order to broker repurchases from Europe. To that end, we will travel to Nigeria early next year. There is much to discover and on which to focus our energies beyond the usual gallery operations. We'll promote artists, stimulate trade, treat you, the reader, to new texts and become a cultural policy contact point for the newly emerging interests of German politics in Togo. We'll raise questions as to why, for example, no cultural concept beyond bureaucracy exists in either the EU or the ECOWAS, and we'll also continue to occupy uncomfortable positions. We've already been active in the Art Bakery in Douala and Les Ateliers Sahm in Brazzaville. We have plans for the Biennale in Dakar and a burning interest in the Nigerian art market. Film festival in Ouagadougou, photography biennial in Bamako…All in affordable reach by air or road from Lomé. Adventure art. |
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The Hub |
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Villa Le Colombier |
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Our new home sits in the center of Lomé, in the Tokoin neighborhood – a house in the European ‘60s style with echoes of the Bauhaus. A large garden welcomes visitors. From this base, we're already starting to trade art and will continue our exhibition program shortly. With the Villa "Dovecote," we're continuing the gallery's tradition of working in historically significant buildings. The name is an important one in Lomé, and for us, nomen est omen. |
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Website | French |
We're using the geographical relocation as the occasion for a long overdue update of our website, which is, after all, little changed since 1995. The homepage is now also available in French, and there's a new menu bar. We've also added a new item to the menu, a special section for texts. Confusing navigation ran counter to high traffic. In this regard, too, things will be further reorganized in the coming months; many elements will undergo an overhaul and expansion. |
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We are very pleased to welcome our francophone readers, for whom Audrey Peraldi has already translated the homepage, several articles and parts of the News section. Read about old art in Datation de bronzes, our highly regarded article on the age determination of bronzes, or Derrière la façade d'un collectionneur, a consideration of the questionable dealer Udo Horstmann. Light is shed on another questionable character in La référence des ethnologues - Les tests d'authenticité, an explanation for why we completely reject the unscientific Pb-210 testing method of Professor Ernst Pernicka. These articles are, of course, also available in English and German. |
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This and That |
- We're on the search again for a small showroom for old art in Berlin or another German city. It should be economically located and well secured for showings by appointment. - When we left Berlin, a few very nice “obituaries” were written on the occasion of our departure. For those who don't speak German: a shame that you can't read them, but they're still worth a look. We hope to have similar resonance in the francophone countries. Click here for a look at the press reviews of Bye Bye Berlin. - Art needs journalism. For our future public relations work in West Africa, please put us in touch with the appropriate contacts. - Germany: starting 1 January 2014, the VAT for art will be 19%, up from 7%. This change will not, however, affect the gallery; in the past, we either paid the 7% for artists out of our own share as a gift to the bureaucracy or were compelled to use a margin scheme, which always came to 19% for our share anyway. Now everyone must live with one of the many disadvantages that we had to endure for so long. For sales in Lomé, we no longer pay into the German Artists' Social Welfare Fund (in the past, +/- 5% of the gallery share). But resale rights apply internationally, a fact to which we pay very close attention on behalf of the artists we represent! - Should the foreigner flat-rate taxation be put into effect in Germany, we look forward to welcoming many new colleagues in Lomé. - Please get in touch if you're interested in an artwork. Whether it's an old piece or one by a contemporary artist: we're happy to make you an offer. - Our website has always been designed as an archive, not a sales platform. If you're interested in a piece, please keep in mind that as a gallery, we operate without public funding and live from our sales. The Galerie Peter Herrmann stands for appreciation in value. Research will support this claim, which we issue as a call to African businessmen and collectors. We're your advisors! |
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The Gallery |
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For almost 25 years, the Galerie Peter Herrmann has offered contemporary artists with African roots in Germany a successful platform for international networking. When we started out, African artists were seen only in an ethnological context, and female artists from Africa didn't exist at all in the German perception. Since mid 2013, we've extended our activities to West Africa by way of Lomé. In a few weeks, it'll be not “for almost 25 years,” but rather “for over 25 years!” Our pioneering work – first in Stuttgart, then in Berlin – has now borne fruit, and artists from Africa have been largely freed from both exoticist and ethnological confines. On a cultural policy level, we've lobbied hard for this result, serving in an advisory capacity to various political bodies. Contrary to the usual market practice, we treat the second pillar of our work – that is, classical African art – in an art historical context and have presented many provocative hypotheses as new foundations for an international discourse. |
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| Audrey Peraldi & Peter Herrmann |
As an organizer, Peter Herrmann has planned and implemented more than 300 exhibitions in Germany – in his own gallery, in museums and at art associations. In 1995, the Galerie Peter Herrmann became the first gallery in Germany – and, probably, the world – to have an internet presence; the website has become an important source of information with more than 4 million visitors and about 30 million page views. In 1995, Around and Around became the first exhibition documented on the web, sustainably promoting the careers of the participating artists. For years, we've supported the further training of both our interns and our research staff…
Learn more in essays, columns, press clippings and references
Galerie Peter Herrmann |
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