On Thursday, March 27 Art Rotterdam opens its doors for the first time at its new venue „Ahoy Rotterdam“. Nicole Büsing & Heiko Klaas talked to Robert Monchen, the director of Pizza Gallery from Antwerp about his expectations, different styles of collecting in Belgium and the Netherlands and the prospects of the art market in times of political instability
Porträt Robert Monchen, Credits: Anneke D’Hollander
Nicole Büsing & Heiko Klaas: Why did you decide to take part in this year’s Art Rotterdam? What do you appreciate about Art Rotterdam? What would you describe as the fair’s unique selling point?
Robert Monchen: I would argue that Art Rotterdam is the leading fair for contemporary art in the Netherlands. It attracts a broad and engaged audience and offers a crucial moment to introduce our artists within a new context. What I particularly appreciate is its accessibility and the direct, pragmatic approach that defines the Dutch art world. There’s a no-nonsense attitude that fosters genuine encounters between artists, collectors, and institutions.
It has often been said that the Dutch art scene leans towards conceptual practices, while in Belgium, there’s a stronger tradition of surrealist sensibilities. As a gallery from Belgium, bringing a dose of surreal magic to this fair allows us to carve out a distinct position within this landscape.
The unique selling point would be the inclusion of the ‘prospects’. An individual art program by Mondrian Fund who supports the presentation of a whole generation starting artists. It really feels like you get a good insight in the future of arts in the Netherlands.
Art Rotterdam 2024, Foto: © Almicheal Fraay
NB & HK: Which artists will you be presenting at Art Rotterdam, and with which media and works?
RM: For this edition, I am presenting Willem de Haan and Karl Philips. Willem de Haan works with large-scale sculptures and interventions. He has a remarkable ability to reframe public space, treating the world as a stage set where he subtly shifts contexts, adding humor and an unexpected aesthetic dimension to the everyday. His work plays with perception, gently destabilizing our understanding of what is functional and what is fictional. Willem will present his new sculpture ‘container bike’ for the first time.
Karl Philips, on the other hand, operates within a more critical framework, exploring the tensions between freedom and the constraints of a market-driven society. His practice began in a deeply nomadic way—considering his home itself as an artwork—and continues to evolve through sculptures and drawings that reflect on mobility, tourism, migration and power structures. His work questions not only the place of art but also its agency within a broader socio-political landscape.
Karl Philips regarding his sculpture, Foto: Pizza Gallery, Antwerp
NB & HK: What do you think characterizes Dutch collectors?
RM: Dutch collectors tend to approach collecting in a strategic and analytical manner. Their collections are often rooted in successful business ventures or philanthropic foundations, which means that their engagement with the art world can feel somewhat structured and formalized.
There’s a certain hesitancy when it comes to the unknown—an initial reluctance that stems from a careful, calculated approach rather than impulsive passion. However, once trust is established, their commitment is deep and long-term. This methodical way of collecting contrasts with the more instinct-driven approach seen in Belgium, where collectors often cultivate direct and informal relationships with artists.
Karl Philips: „Scuba“, 2025, Foto: Lisse Declercq
NB & HK: How important is the fair’s connection to neighboring countries like Belgium and Germany?
RM: Art, by nature, should always transcend borders. The exchange between countries is crucial—not just for market expansion but for the circulation of ideas, artistic practices, and institutional dialogues.
For a fair like Art Rotterdam, international connectivity strengthens its relevance. It allows for a dynamic interplay between different art ecologies—between the conceptual rigor of the Netherlands, the surreal and collector-driven scene of Belgium, and the institutional depth of Germany. At a time when localism is becoming more pronounced, maintaining these cross-border connections is essential to keep the fair embedded within a broader, international discourse.
Art Rotterdam 2024, Foto: © Almicheal Fraay
NB & HK: This year, Art Rotterdam is taking place for the first time at Rotterdam Ahoy. What improvements do you hope to see from this new venue?
RM: This is a difficult question, as I must admit that I truly appreciated the previous location. The Van Nelle Factory has such a strong architectural presence—it was an inspiring and almost cinematic setting for an art fair. Ahoy will be an entirely new experience.
What I hope for is a well-curated off-program that maintains strong ties to the local art scene. The architecture might be less compelling, but if the presentation is well considered, it can still be an exciting shift. On a practical level, I look for technical improvements: sustainable exhibition walls, excellent lighting, and a flexible, responsive production team.
And, I must say—coming from Belgium, where the gastronomic culture is deeply embedded in the art world—I see potential for improvement when it comes to the culinary offerings. The Netherlands has a different relationship to food in an art context, but perhaps this shift in venue is an opportunity to rethink that as well.
Karl Philips: Hand Pump Car, Foto: Pizza Gallery, Antwerp
NB & HK: In general, what are the challenges for the 26th edition of Art Rotterdam, particularly in light of economic uncertainty and political instability?
RM: I would say the market is being redrawn. The neoliberal growth model has driven galleries to expand at an unsustainable rate, and now we are seeing a moment of recalibration. Rather than chasing scale, there’s a need to refocus on sustainability—both in terms of economic models and artistic practices. There is also a need for accessibility, in my opinion we need to speak with everyone about art, not only to our potential clients.
The global crises and uncertainties we are facing today will inevitably reshape the market. We are catering primarily to those who have the privilege to influence the landscape. If we can engage this audience in a way that encourages them to support artists for reasons beyond speculation—if we can shift the focus from trend-driven buying to a more thoughtful, long-term engagement with art—then we might be able to redefine the dynamics of the art world.
It’s a moment that calls for bolder choices, for the creation of new audiences, and for a reassessment of what it means to sustain a meaningful artistic ecosystem.
Karl Philips: ‘La Bataille de Blankenberge’ 2025, Foto: Lisse Declercq
Auf einen Blick:
Messe: Art Rotterdam 2025
Ort: Rotterdam Ahoy, Ahoyweg 10, 3084 BA Rotterdam
Zeit: VIP-Preview (nur auf Einladung) 27. März 2025, 11-21 Uhr
28.-30. März 2025, 11-19 Uhr
Katalog: www.galleryViewer.com
Internet: www.artrotterdam.com
Art Rotterdam 2024, Foto: © Almicheal Fraay
