Art World Shifts: Gallery Split, Russian Resilience, and a New ‘Museum Theory’
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A wave of change is sweeping through the art world, marked by a prominent gallery partnership dissolving, the bold opening of a new museum in Moscow, and a growing debate over how we experience art in an age of overtourism. These developments signal a recalibration of priorities and approaches within the global cultural landscape.
A 35-Year Partnership Comes to an End
After 35 years of collaboration, Michael Werner and Gordon VeneKlasen are amicably separating their joint business venture, according to a statement released to ARTnews. The pair will, however, continue to collaborate on select artist projects and museum exhibitions involving the gallery’s established roster of artists.
Werner will continue to lead Galerie Michael Werner in Berlin, building upon a legacy that began with Werner & Katz in 1963 and expanded with Galerie Michael Werner in Cologne in 1969. VeneKlasen, who joined the gallery in 1990 and became a partner in 2005, will launch a new international gallery operating under his own name. He will assume control of the gallery’s existing locations in New York, London, and Los Angeles. The changes are set to take effect in February, with VeneKlasen expected to unveil his program in early 2026.
Zilart Opens in Moscow Amidst Political and Economic Challenges
Despite a challenging climate for private museums in Russia, a new cultural institution, Zilart, is set to open in Moscow on December 2nd. Founded by billionaire couple Andrey and Yelizaveta Molchanov, the museum will showcase a diverse collection spanning Russian avant-garde, Soviet nonconformist art, international contemporary works, photography, design, and decorative arts. The collection boasts pieces by artists such as Vik Muniz, Mike Kelley, and Helmut Newton, alongside over 1,000 African artworks.
The opening of Zilart comes at a time when many Russian private museums are struggling due to political repression and sanctions, with some owners and curators choosing to relocate abroad. However, the Molchanovs maintain close ties to the state, and Alexander Borovsky of the State Russian Museum serves as an advisor to the new museum. Supported entirely by LSR, the Molchanovs’ property development company, Zilart reportedly holds around 10,000 works. The museum’s path to fruition wasn’t without obstacles, including a dissolved partnership with the Hermitage and a redesign led by architect Sergei Tchoban after an initial concept by Hani Rashid was abandoned. Irina Tolpina, formerly of Moscow’s Manege exhibition hall, will serve as Zilart’s director.
Art on Display: Rembrandt at the Norton and More
In other art world news, over 70 paintings from the Leiden Collection, owned by Thomas S. Kaplan and featuring the largest private collection of Rembrandt canvases, are currently on display at the Norton Museum of Art in South Florida, as reported by The New York Times.
Additionally, during a recent performance by Pussy Riot’s Nadya Tolokonnikova at the Museum of Contemporary Art Chicago, the Russian Ministry of Justice moved to classify the collective as an extremist organization, according to the Associated Press. The Biennale de Arte Paiz, celebrating its nearly half-century of existence, recently launched its 24th edition with a focus on expanding its global reach, Artnet News reports.
“Museum Theory”: A New Approach to Art Consumption
As winter city-breaks gain popularity and the highly anticipated Grand Egyptian Museum, housing 100,000 artifacts, draws closer to opening, a new concept is gaining traction: “museum theory.” Inspired by the online “airport theory” – the idea of arriving at the airport shortly before boarding – this approach suggests a more strategic and streamlined method for experiencing museums.
As The Times’s Huw Oliver notes, the frustration of navigating crowded museums and struggling to appreciate art placed too high can be avoided by limiting oneself to one museum per day. “I once slogged through Madrid’s big three—the Prado, the Reina Sofia and Thyssen-Bornemisza—back-to-back, and now I never want to see a Goya again,” Oliver writes. He emphasizes the importance of booking tickets in advance to avoid lengthy queues, advocating for a more focused and enriching museum experience.
