The Art Bystander

Today on The Art Bystander, I speak with Marlies Wirth, Curator for Digital Culture and Head of the Design Collection at the MAK in Vienna, about one of the most quietly radical figures of late-20th- and early-21st-century culture: Helmut Lang. Our conversation turns not to his later sculptural practice, but to the architecture of a legacy that reshaped how we understand design, communication, identity, and the very idea of what a fashion house could be.The MAK’s new exhibition, Excerpts from the MAK Helmut Lang Archive — running 10.12.2025 → 03.05.2026 — reflects on the years 1986–2005, a period in which Lang’s vision dissolved the boundaries between disciplines. His work unfolded across clothing, graphics, architecture, staging, branding, and digital experimentation — not as separate gestures, but as parts of a single cultural language. Long before he stepped away from fashion, Lang had already begun to operate like an artist moving across mediums, using every surface as a site of meaning.This retrospective reveals how deeply his ideas anticipated the world we now take for granted. It recalls the moment he livestreamed a runway before the internet had become a stage; the years when he turned New York itself into an extension of his voice; the way his presentations and stores became environments rather than commercial spaces. Lang’s legacy is not simply a story of minimalism or aesthetic restraint — it is a study in how form can become communication, and how identity can be constructed with both precision and quiet intensity.In speaking with Marlies, the past becomes newly vivid: not nostalgic, but architectural. We explore how Lang’s decisions — from the shape of a jacket to the rhythm of a campaign, to the destruction of his own archive — can be understood as part of a larger narrative about authorship, memory, and the courage to redefine oneself.This episode looks back at the cultural landscape Helmut Lang helped build, and the echoes of his vision that continue to structure how we see and experience the world today.

Welcome back to The Art Bystander, the podcast that explores the stories, ideas, and people shaping the world of contemporary art. Our host Roland-Philippe Kretzschmar is taking you behind the scenes of one of the most influential art fairs in the world — Paris Photo. Founded in 1997, it has become the leading international fair dedicated entirely to photography, a place where artists, collectors, curators, and institutions converge to celebrate and challenge the medium.Joining me are Florence Bourgeois, Director of Paris Photo, and Anna Planas, Artistic Director. Together, they’ve been redefining what a photography fair can be — expanding its cultural scope, international reach, and curatorial ambition.In this conversation, we’ll discuss the evolving role of photography in the art ecosystem, how Paris Photo bridges artistic and commercial worlds, and what it takes to curate a fair that remains both relevant and visionary. So whether you’re a collector, a photographer, or simply curious about how images shape our times — this episode is for you.

Today on The Art Bystander, our host Roland-Philippe Kretzschmar is joined by Francesca Grima — Creative Director of GRIMA Jewellery, and the guardian of one of the most influential design legacies in modern jewellery.Her father, Andrew Grima, changed everything. Often called the father of modern jewellery, he treated gold like sculpture, embraced raw stones in their natural form, and pushed the art of adornment into the realm of architecture and abstraction. His pieces were worn by royalty, collected by icons, and displayed in major museums — yet his spirit always remained independent and quietly rebellious.Francesca has carried that legacy forward in her own way. Since taking over the house in 2007, she’s reimagined GRIMA as a contemporary atelier — producing small, handcrafted collections and bespoke pieces alongside her mother, Jojo. Each work still bears that unmistakable GRIMA DNA — sculptural, textured, and fearless — but now infused with Francesca’s own sensitivity to form, emotion, and modern life.In our conversation, we’ll talk about what it means to inherit and evolve a creative legacy, the emotional side of making wearable art, and how Francesca balances intuition, heritage, and innovation in a world that moves faster than ever.

The art world is undergoing a profound transformation. Traditional models of collecting and dealing are giving way to new players, platforms, and hybrid business models that blur the lines between galleries, auction houses, advisors, and digital marketplaces. At The Art Bystander, we are closely following these shifts—where technology, luxury, and creativity intersect to redefine how art is experienced, bought, and sold.In this context, our host Roland-Philippe Kretzschmar is joined by Elliot Safra, a figure at the forefront of these changes. Safra is the co-founder of The Art Marketplace, an online platform facilitating global private sales, and the founder of AndArt Agency, a creative consultancy dedicated to building collaborations between luxury brands and the art world. With a background that includes leadership in the Chairman’s Office at Christie’s and as Senior Director of Global Strategy at Lévy Gorvy (now Lévy Gorvy Dayan), as well as early experience in Management Consulting and Private Equity, he brings a unique vantage point on how the evolving art economy is reshaping opportunities for collectors, brands, and cultural institutions alike.

In this episode of The Art Bystander, the host Roland-Philippe Kretzschmar, is meeting a guest who is one of the most distinctive cultural commentators of her generation: Brenda Weischer, known to many simply as BrendaHashtag.Brenda is a writer, editor, and podcaster whose work moves fluidly between fashion and art. A graduate of Central Saint Martins in London, she has always approached fashion less as a marketplace and more as a form of cultural language and archive.She first made her mark with Disruptive Berlin, a project that treated vintage fashion as living cultural memory. Later, during her time as Fashion Editor at 032c, she developed Brenda’s Business—a series of interviews and essays that quickly became essential reading for their fearless look at designers and creatives through the lens of philosophy, critique, and cultural storytelling.At the same time, she built a wide audience as BrendaHashtag—a voice that is direct, unfiltered, and unmistakably her own. Her sharp commentary, minimalist aesthetic, and instinct for connecting fashion back to art, identity, and culture have made her a reference point far beyond the fashion industry.Today, through her own podcast Brenda Awareness, she continues to create dialogues that are as much cultural reflections as they are interviews.What fascinates me about Brenda is the clarity of her vision: she doesn’t play a role, she embodies it. She shows us how fashion, writing, and culture can merge into one continuous practice of thinking and making.

In this episode, Roland-Philippe Kretzschmar of The Art Bystander is honored to have Camilla Engström as guest—an artist whose bold, dreamlike paintings have captured audiences around the world. Born in Örebro and now based in Los Angeles, Camilla has developed a unique visual language where landscapes, flowers, and the female form intertwine—often playful, always deeply connected to nature, and full of vitality.This September she opens her ninth solo show with Carl Kostyál, Två Hjärtan, at Hospitalet in Stockholm. The exhibition is a true full-circle moment: her very first show with the gallery was also at Hospitalet, back in 2022, and now she returns to the newly restored space as one of their most celebrated artists.What makes this show especially meaningful is that Camilla is expecting her first child. The works are infused with that experience—pregnancy as transformation, as mystery, as strength. As she herself has said, the presence of the female form is intentional, a way to center and give shape to this life-changing journey. After this exhibition she will take a hiatus, making Två Hjärtan the last chance for audiences to see new work from her for some time.In today’s conversation we’ll explore her evolution as an artist, the inspirations behind her latest paintings, and how personal transformation is shaping her practice.

In this episode of The Art Bystander, Roland-Philippe Kretzschmar is joined by Alexandre Diop — one of the most compelling and radical voices in contemporary art.Born in Paris in 1995 to a Senegalese father and a French mother, Diop lives and works in Vienna. His practice spans painting, sculpture, and assemblage, anchored in what he calls “object-images” — emotionally charged compositions made from discarded doors, rusted metal, fabric, and street debris. His work doesn’t just recycle materials — it resurrects them. Each surface holds a memory, each gesture a call to truth, justice, and spiritual reckoning.Diop’s art operates in the tradition of Arte Povera, but is equally shaped by his Afro-European roots, Berlin’s rave scene, and Vienna’s expressionist legacy. At once poetic and political, his works are raw, deeply autobiographical, and grounded in the belief that art should speak directly — “from the street, to the street.”In his most recent exhibition at CFHill in Sweden In Puer Veritas, Diop enters into a bold transgenerational dialogue with Keith Haring’s subway drawings. “In puer veritas” — “in the child lies truth” — becomes a mantra for both artists’ shared commitment to radical honesty, social responsibility, and art as public testimony. Diop paints on abandoned doors as Haring once drew on subway billboards — urgent, unfiltered, and unafraid. As Diop puts it:“Children don’t judge. They see with clarity. Haring and I create from that place — not just for children, but through them. They inherit the world we paint.”In 2022, Diop was selected by Kehinde Wiley for the Reiffers Art Initiatives mentorship, leading to major solo exhibitions and a residency at the Rubell Museum. In 2026, he will become the youngest artist ever to have a solo show at Vienna’s Albertina Museum.This is an artist who doesn’t just challenge the art world — he reimagines its materials, its histories, and its soul. Let’s dive in.

The Art Bystander No27: Marcus Jansen. In this episode our host Roland-Philippe Kretzschmar, sit down with internationally acclaimed artist Marcus Jansen whose work has been exhibited at the Bronx Museum of the Arts, the Smithsonian Institution, and Documenta among others. From his early years between the Bronx and Germany to serving in the U.S. Army and later becoming one of the most important painters of his generation, Jansen’s journey is as compelling as his art.His new exhibition Faceless at CFHILL, Stockholm, in collaboration with Almine Rech and the Marcus Jansen Foundation, dissects power structures, anonymity, and the systems that shape our lives. Jansen’s raw, gestural abstraction meets a deeply political and emotional narrative, making his work a powerful lens through which to view contemporary society.We talk about: His transition from soldier to artist; the unseen forces of control in today’s world; how his art challenges historical narratives; the intersection of street art in his practice and the socialist structure of the military.Jansen’s work has been described as a 21st-century response to Jackson Pollock and Robert Rauschenberg, but his voice is distinctly his own—urgent, fearless, and unfiltered.