The publisher and the art

The publisher and the art

«I go into a gallery wi­th the in­­tenti­on of looking at art, so I pre­pare my­self quite consciously for a partic­ular si­tuati­on. In a compa­ny, it’s differ­ent, and I hope that the art just becomes part of peop­le’s or­di­nary life. That has quite a differ­ent ef­fect – it’s just the­re.

 

It stands the­re – it just hangs on the wall and af­fects peop­le’s percep­ti­on very dis­creetly. I can imagi­ne that the ef­fect of the art – in the way that we show it – is even more pro­found than when you go into a gallery.

 

Journalism and art bo­th po­se questi­ons, bo­th awak­en emo­ti­ons. They polemicise, they polar­ise, and perhaps their most si­gnifi­cant common fac­tor is that bo­th have to be high­ly intelligent. Art po­ses questi­ons, journalism po­ses questi­ons – only thus do we have any chance of getting fresh an­swers.

 

Even more important, maybe, is that we let our­selves make subjective decisi­ons about art. Art de­als in emo­ti­ons; art de­als in un­cer­tainty.Actually, when we make decisi­ons about art, we act exactly the same as for busi­ness decisi­ons. Getting in­volved wi­th art is a kind of trai­ning for making decisi­ons in busi­ness.»

Michael Ringier