Lilian and I met at EKKM on a random Thursday, and as we sat down to chat, I told her that I'd actually been to her basement. How come? We reminiscent of the time when Lilian had her own gallery – a contemporary art gallery located in the basement of a residential building called Hoib Gallery. I visited one of the first exhibitions in these rooms in 2020, "Sheets of Past and Layers of Reality," with Alice Hagenburch, Raluca Manaila, Denisa Štefanigova, Lisann Lillevere, and Johanna Ruukholm. Without a doubt, an exciting experience for an art rookie like me! But this time, we were not planning to talk about underground places but art connoisseurs and art auctions.
Lilian, it’s super lovely to meet you! For those who don’t know you, tell us about your journey in the art world. You’re a gallerist and a curator - which came first, and what preceded it? And do you see collecting art as a part of your work?
I initially studied fine arts at the Estonian Academy of Arts, but during an internship at Temnikova & Kasela Gallery in my early twenties, I quickly realized that I could work more effectively on the other side of the equation. I would have been a mediocre artist, but as a gallerist and curator, supporting and working for the artists, I felt I could contribute more meaningfully to the art world. I completed my master’s degree in art theory with a focus on curatorial studies. I worked alongside Olga Temnikova for years, and I have learned everything I know about the international art scene and its mechanisms from her. I’ve been involved in complex exhibition productions, participated in major art fairs like Art Basel and Frieze London, and learned the power dynamics between galleries, institutions, collectors, and artists.
Is “art collector” written into your job title?
Absolutely. If you, as a curator or gallerist, don’t believe in an artist enough to buy their work, why should collectors do that? Whenever possible, I purchase works from the exhibitions I curate and from the artists I work with. I primarily work with younger artists, so their prices are definitely more accessible.
But what kind of art do you collect yourself?
My collection focuses on contemporary works by living artists, ensuring that my purchases directly support their practices. I approach collecting with a sense of intuition, guided by what resonates with me personally. After 13 years immersed in the art world, my experience has refined my eye, allowing me to follow my instincts confidently. Many of the pieces I’ve acquired come from artists I’ve had the privilege of collaborating with on exhibitions. Most recently, I purchased a work from my dear colleagues at the Asni Gallery in Riga.
Let’s jump straight into the subject of art auctions. I’m familiar with the fact that before the Christmas shebang, another auction season will occur in some Estonian galleries. Maybe you could shatter some stereotypical beliefs about art auctions and the art dealers who participate in them.
One myth that definitely needs debunking is the notion that prices at auctions always skyrocket into the tens of thousands. Yes, it happens, and that’s what makes the headlines, but a significant number of works are sold at starting prices. Take the upcoming Vaal Gallery auction this December, where contemporary pieces will open with bids as low as €300. Collecting art isn’t about possessing vast wealth—it’s about nurturing a passion for art and the artists behind it.
Describe the mechanics of art auctions, when they take place in Estonia, and where you can get information about them?
Estonia's art market comes alive twice a year during its major auction seasons—spring and autumn—with the latter now in full swing as we enter November. This year, the auctions will be as follows: Haus Gallery, E-Kunstisalong, Vernissage Gallery, Allee Gallery, and Vaal Gallery. Rather than relying on open submissions, gallerists work behind the scenes, leveraging their networks to secure rare and exceptional pieces. This process is meticulous and tailored, often involving direct outreach to private collectors who possess artworks of interest. While there’s no central online portal aggregating all auction details, each gallery provides information on its website, including catalogs with pricing released before the auction.
If an interested party, like myself, has never been to an auction but wants to participate for the first time, then what should they know? Are there any golden rules for participating in an auction?
I would tell anyone interested in participating in an auction to go for it! Attending doesn’t obligate you to place a bid – you can just observe the process. But I always encourage people to bid if a work resonates with them. Prices rarely move downward, so if a piece speaks to you, especially from a trusted gallery, now might be the time to act. There isn’t a golden rule, but it’s important to note that you must register and provide identification to participate in an auction. This is a legal requirement for auction houses to prevent money laundering or other suspicious activities. Nowadays, much of the action happens online, with most collectors and art enthusiasts bidding on the web.
Got it! And what is or has been your role in organizing an art auction? What actions have you been involved in?
Throughout my career, I’ve mainly engaged with the primary market, but this marks my second venture into the auction world—curating Vaal Gallery’s contemporary art section for their autumn auction for the second consecutive year. Vaal Gallery’s mission to showcase emerging artists alongside established masters is something I find deeply important. I am very proud of this year’s works coming to the contemporary section, with some starting prices lower than the cost of dinner at your favorite local restaurant.
How is the starting price of a work formed at an art auction? Who determines it, and on what basis?
A combination of factors determines the starting price of an artwork at auction.
1. Valuation and Appraisal. Professional appraisers evaluate the piece based on provenance, condition, the artist’s reputation, and market demand, providing a range from which an appropriate starting price is chosen.
2. Artist’s Market: If the artist is in high demand, the starting price may be set higher, while lesser-known or underperforming artists might see a lower starting price.
3. Provenance: A work’s history, including previous owners and exhibitions, can raise the starting bid, especially for pieces with prestigious backgrounds.
4. Auction House Expertise: The auction house consults experts, analyzing market trends to set a competitive starting bid that encourages interest.
5. Seller’s Input: The seller often has a say in the reserve price, the minimum they are willing to accept. This figure remains confidential but influences the starting price.
6. Pre-sale Estimates: Auction houses typically publish an estimated range for the work’s expected sale price, and the starting bid is usually set below this to stimulate competition.
7. Market Trends and Economic Conditions: Broader market conditions, such as economic factors, also play a role, with bullish markets seeing higher starting bids.
In short, it’s a strategic balance between meeting the seller’s expectations and generating competition among bidders!
What are the advantages of an auction compared to buying from a gallery or even directly from the artist? Does it add value to the work in any way?
At auction, collectors may acquire artworks at starting prices that may be below their market value. Each piece offered has been carefully evaluated by gallery experts, ensuring buyers can feel confident in the quality and authenticity of the work. Gallerists dedicate significant effort to curating thoughtfully selected works for the auction, often presenting rare opportunities to acquire works that may otherwise be inaccessible on the market.
What is the profile of local art collectors? Are they relatively private? And what are they trying to achieve with their collections?
In Estonia, private collectors abound, but a number of pioneering companies have emerged that not only collect art but actively support the country's cultural scene. For instance, the renewable energy company Sunly collects art and supports some art events that have a significant role in the Estonian art field. Similarly, law firm Cobalt plays a crucial role in backing Estonia's participation in the Venice Biennale, while Synlab partners with emerging artists. These efforts are often driven by visionary CEOs or founders who recognize art's broader cultural and societal value and are usually collectors themselves. What starts as a personal pursuit—acquiring work for their homes—can evolve into a far more ambitious endeavor. While collectors are undoubtedly aware of art's investment potential, they are driven by works that stir them emotionally and intellectually. After all, if it were purely about returns, they might as well invest in stocks—no storage headaches either. Just kidding!
Financial wisdom is currently a prevalent topic among young people–saving, investing, the third pillar, all shebang. As someone who knows art, would you encourage young people to invest in art?
If someone can afford designer clothes and shoes, they likely have the means to invest in art as well. The real issue lies in awareness, interest, and desire. We often spend on luxury goods—sometimes made in troubling conditions overseas—without giving much thought to their broader impact. Yet, there’s an opportunity to support local artists whose work genuinely resonates with us. For example, while my shoes may have been produced under questionable circumstances as I am wearing the most well-known and sold sports brands, I also bought ceramic boots by Lara Welker, with the proceeds supporting a local horse rescue. I invest in traditional stocks, but I also believe in collecting contemporary art and supporting the creators whose visions I admire. Beyond its financial value, art carries immense intellectual, historical, and emotional significance. Each piece serves as a reflection of its time, culture, and the personal narratives of its maker. By investing in art, we not only nurture creativity but also engage with a broader dialogue that shapes our understanding of the world and our place within it.
And lastly. Looking back, how has the art market and participation in auctions in Estonia changed over the past decade? Has digitalization or other trends played a significant role here?
The most significant transformation in recent years has been the growing transparency of art prices online. This increased accessibility invites a new wave of collectors, curbs speculation, and diminishes the gatekeeping traditionally entrenched in the art world. As interest in art continues to surge, more individuals now possess both the financial means and access to essential pricing and provenance information, all of which are readily available online.
