What motivated you to start?
The motivation behind Super Dakota was first to represent artists, manage their careers and build a thoughtful and consistent program in a laid back environment. We wanted to do things our way, with attitude and integrity.
How do you develop your artistic programme?
The program is built around the synergy between emerging and established artists, always with the idea of discovery or rediscovery. The underline is to always bring relevant works to the public.
Could you describe your relation with artists?
We are very close to our artists, we act as managers so we have a special bond with them. We have known some of them since way before the gallery opened. We are friends and partners, and their involvement in Super Dakota goes beyond the traditional gallery-artist relationship.
How do you get in touch, how do you work with them?
Phone, emails, social media messengers and traditional letters with one of our older artists. We keep an open line of communication with each and everyone of them, we make sure that we are available all the time. And honesty is the foundation of this relationship.
What advice would you give emerging artists?
Be patient.
What do you think is your most valuable or unique aspect?
The most valuable aspects are the artists we are working with and the energy we put in to promote them.
What do you consider to be your biggest challenge?
Surviving the over saturated art market.
What do you find the most rewarding?
I would say the most rewarding aspect is collectors trusting our program and engaging with the works we are presenting.
What does the future hold?
We are getting ready for Independent art fair in Brussels, as well as our upcoming exhibition (DYS)-TROPISM, which is a collective show created as an instinctive reaction to the current crises, it will aim to engage in dialogs on culture, politics, environmental issues and technologies.
