"Without art, we're all screwed."

By way of introduction, would you like to tell us a few words about yourself? What is your name? Where are you from and what do you do?

I am Selim and I come from Düsseldorf. I work as a host and as an entrepreneur. But above all I am a hunter and gatherer.

In your opinion, to what extent does work for "out there" differ from work for galleries and other indoor spaces?

Yes, there are not only differences in the works, there are also differences in the artists. There are artists who are anti-art market, who don't want to go into the galleries in the museums. For them, art belongs on the street, and transience is also part of it. 

And then of course there are artists who say that in order to be able to create art "out there" and make a living, I also need the gallery. That gives the art market a role again. 

So it's actually about the issue of financing art. Who finances the artists who do their work in public spaces? Of course they can take their name, make a tag and mark their territory. We know this in Düsseldorf from NEU or ONG, for example. That's the pure, original form of graffiti, of "tagging". 

This is not what the masses see as art, as street art. The artists who spray their names large and colorful go back to "Dondi White". The New Yorker was the first artist to invent style writing in the late seventies. 

And then there are the people who make art on the street, i.e. away from graffiti and towards street/urban art, who also use materials and techniques other than cans.

There are very different models of financing models for artists. Some actually only sell canvases to make a wall. They have something in mind that they really want to paint. A project that artists then finance by selling a work of art. Without ever being financially remunerated for this wall, which is not for sale. Many artists finance their entire studio per se through the sale of unique pieces and art editions with or without galleries. Others only use the works in public space as an advertising platform.

There are many different stories, especially now in the field of digital art. But for me, it's always the storytelling behind the work and the artists that matters. And that usually only works with the haptic work. I think art on the street is good, but it's ephemeral. Of course, only things that can be bought, archived and therefore exhibited again work in the collection. 

But it doesn't always have to be the gallery, the museum or the street. With What's Beef in Düsseldorf and Frankfurt, I have found a gastronomic approach to bring art closer to people. The motto here: Street art meets street food. 

What motivates you to exhibit art and thus make it accessible to other people and inspire them?

To tell the stories behind them, of course. First and foremost, I collect stories. And what's more, I also tell the story of my life through them.

And exhibiting and curating is above all my passion, because it allows me to share stories. And not only to share stories, but of course also to spread the stories of the people behind the artist. And that is the very first task. It's not about me as a collector, it's about the artists you show in order to pass on their projects and their message. And I'm always happy when my collection comes to light and gets a stage where people can experience it.

Art in urban spaces is transient and often only visible for a short time. How does that appeal to you?

Transience becomes part of the work by being painted over, pasted over or otherwise altered by external influences. And I think that's partly a good thing, because you can use surfaces several times. But paper also has an effect. Especially with an artist like JR with his Inside Out Project, for example, which has become the largest art project in the world. At the opening of the exhibition, the NRW-Forum was completely covered in portraits of the participants. The process of transience began after just one week and after two weeks almost everything was gone. That's also nice to see. Nothing is for eternity. That's part and parcel of art and life.

What do you associate with Düsseldorf?

Of course, there are a few artists who play a role for me in Düsseldorf, like "Magic". One of the first in the graffiti scene. Also Ben Mathis, L.E.T., Oliver Räke or Klaus Klinger or Andy and his Hood Company, THE graffiti store in Düsseldorf, which has built up very close contact with the local and international scene over many years. The notorious twins from Brazil - "Os Gêmeos" - have found a second home in Düsseldorf through him. There is the Strom-Häusschen on Hermannplatz, the giant mural in Oberbilk, and they will be back this year. They are now part of Düsseldorf's cityscape.

And ...of course my collection is a bit louder now too, after the exhibition at the NRW-Forum/Kunstpalast. That was really important and we really made a difference there. It is the most successful exhibition under the current management that the NRW-Forum has ever had. In the end, there will certainly be more than 60,000 visitors. That's great to see. Because that also spreads the message of the art and the artists. And it's also great for me, and not just in Düsseldorf, to exhibit such a colorful bouquet after three years of Corona Tunnelblick, with something for everyone. It's not just the highbrow art. The curatorial approach that we developed with Alain Bieber was to make the exhibition accessible to everyone. And I think that's really the most important thing. That everyone can access it. Over 30% under the age of 18. An estimated 20% with a migrant background, which has never been seen before in Germany.

There is also a very young scene in Düsseldorf. There are a lot of newcomers. But there are also names that have been around for a very long time. I couldn't begin to list the names, there would always be important ones missing.

Is there anything else you would like to say?

I came to art through collecting toys and pop culture. No matter what medium an artist uses, the most important thing at the beginning and at the end is the idea.

We all need the inspiration of artists, and I think that without creativity, without art, we're all screwed. This is really something that everyone needs to understand. Without the creative approach in art, without the realization of ideas, whether visual or textual, humanity will not continue. Without creative exchange, the economy will also not be able to develop further and the origin of every further development is the creative approach, is art. 

In every guided tour I have given in my exhibition so far, I say: "Art is the most important thing we have." And in this context, you can perhaps say this afterwards: I personally see art as the most important school subject, and perhaps even the most important thing in our world. Art is the foundation of our existence.

Thank you for taking the time!

Your Instagram:
https://www.instagram.com/toykio/

Your website:
More about Wonderwall's exhibition: https://www.duesseldorf-tourismus.de/veranstaltungskalender/wonderwalls-art-toys-2bd7fd18de

This article is funded by REACT-EU.