Gallerist Q&A - Kristin Bråten & Espen Ryvarden

Could you start by introducing yourselves and sharing how you first became involved in the art world?

Espen was a hanger-on in the alternative music and art scene in Trondheim and began as a janitor and technician at Trondheim Kunstmuseum in the early 1980s, which at the time was a dynamic and culturally inclusive institution. He joined Galleri Riis as director in 1984.

Kristin was an art history student who had dropped out and worked as a bartender before starting part-time at the gallery in 1997. She soon became a director, and in 2009, a partner.

Both of us were exposed to art growing up, but the real interest came through working with artists in the making of exhibitions and generally spending time with them.

Has there been a particular exhibition or artist that has influenced your journey as gallerists?

Of course there have been exhibitions at museums and galleries over the years that have influenced our way of seeing and thinking about art and making exhibitions, but throughout, the collaboration with our gallery artists has been the greatest source of inspiration, knowledge and development.

Since Galleri Riis was founded in 1972, what have been some of the defining moments that have shaped its success and relevance over the past four decades?

The gallery was founded by the collectors Inger and Andreas Riis, who wanted to share their interest in artists from the Ecole de Paris, as well as Cobra and leading Norwegian artists from the 60's and 70's.

Under Espen's direction, from 1984 and onward, the gallery took on a new generation of Nordic artists and started collaborations with galleries in Stockholm, Helsinki and Copenhagen, and participated in the various art fairs that emerged in the region, as well as Art Basel.

From 2011-2017, we operated a second space in Stockholm, which further manifested our standing on the Scandinavian art scene.

Has the gallery met any prominent challenges and how did you overcome it?

Over the last four decades we lived through the art business' (international) downturns in the early 1990's, 2000's and the late aughts.

For us, without a wealthy backer, these were difficult times and looking back it's hard to understand how we survived. But somehow, we and the artists managed to adapt and we scraped by.

As we speak, with a growing sense of uncertainty in the world, we must again (and always) be prepared to adjust to a shrinking market.

As co-owners of Galleri Riis, how do your strengths complement one other in running the gallery?

Kristin does most of the talking; mediation of exhibitions and artworks, recruiting collectors and looking after clients and curators.

Espen is more oriented towards administration and operational tasks, production, logistics, and installing exhibitions. We are equally invested in curatorial decisions and artist relations.

How would you describe Galleri Riis’ programme to someone unfamiliar with the gallery?

Historically, the programme has been centred on leading artists from the Nordic countries, occasionally featuring exhibitions by internationally renowned modern and contemporary artists. The gallery has always shown a wide range of media and modes of expression, from straight photography, painting and sculpture, to installation, material-based and conceptual art.

Are there certain elements you look for in the artist's practice or approach?

Honesty, truth and beauty.

A gallery plays many roles in supporting artists—what do you consider the most vital aspect of that support?

Curatorial and strategic guidance; criticism and encouragement, as well as practical and financial support towards realising artworks, exhibitions, projects and publications. We meet and discuss with artists when projects or exhibitions come up, for example in their studios or at the gallery, or locations like workshops/production facilities/sites for commissions.

Looking ahead, what does the future hold for Galleri Riis?

Change is inevitable but we are not very good at making (big) plans or setting specific goals. However, over the years, we and our artists have found inspiration in new exhibition spaces... and new artists will definitely be added to the programme.

To conclude, sustainability is an increasingly important issue in the art world. Has the gallery introduced any new initiatives to reduce environmental impact?

We do what we can in-house, like saving energy, recycling waste, and re-using wrapping materials and crates when possible.

Unfortunately transport by vehicle and air is difficult to avoid, but thanks to the internet and the generally excellent standard of documentation and information available online, we travel less to see exhibitions live, and several meetings can be conducted online instead of in real life. But obviously in real life is the ultimate for experiencing both art and people.