Timo Kappeller’s Superpower Is Merging Institutional Rigor With Commercial Momentum

Last month, Pace Gallery announced that Timo Kappeller would join its New York staff as senior director. Kappeller has held roles at Hauser & Wirth, Andrew Kreps and König Galerie, but is best known for his most recent job as artistic director of The Campus, the former school in Hudson now operated by Bortolami, James Cohan, kaufmann repetto, Anton Kern, Andrew Kreps and kurimanzutto. The Campus has helped solidify the upstate art scene, and we caught up with Kappeller to hear about his plans for his new role with Pace.

Congratulations on the new job! What can you tell us about your new day-to-day?
Joining Pace Gallery means entering and absorbing a history of artistic production spanning over six decades. As much as I am used to this kind of work, it is incredibly inspiring and energizing to connect to a new universe. The day-to-day is both inward- and outward-facing. My focus is to connect my past experiences with what’s going on at Pace—to understand its legacy, artists and teams while building relationships and continuing conversations externally.

You organized the first two shows at The Campus, which has become a must-see happening in the art world. To what do you attribute its popularity?
The Campus exhibitions were driven by artists living and working upstate. In the 1950s and 1960s, many of the conversations between artists were centered around Manhattan—in apartments, bars and informal gatherings. A large part of that dense discourse has moved upstate. We tried to highlight the vast artistic communities around The Campus. Even though we were lucky to show major contributions by local artists, we only scratched the surface. I think the success was based on that idea.

What do you make of the broader upstate New York art scene? Last year, it felt like everyone did the Stan Douglas-Sky High-Biennial-Campus day trip challenge.

Upstate New York is one of the most culturally rich regions in the country. Institutions such as Dia Beacon, CCS Bard, Storm King Art Center, Art Omi and Sky High Farm form an extraordinary cultural infrastructure. At the same time, there are rapidly evolving communities not only in Hudson and Woodstock, but in Kingston, Poughkeepsie, Catskill and many other towns. Younger generations are moving in. Writers, musicians, restaurateurs and entrepreneurs are creating a remarkable density of cultural activity. One of the most amazing experiences at The Campus was its diverse audience. It was a mix of families who have lived there for generations and creatives who had moved upstate recently—folks from all backgrounds and ages came. It was truly special.

You’re someone who’s worked at both galleries and institutions. What are the unique challenges of working in each of these contexts?
Documenta, KW and The Campus share similarities in their origins. All three are non-traditional institutions initiated around historic sites that were transformed to inspire responses from artists, curators and visitors. I have spent most of my career working in galleries where the vision is typically long-term and focused on supporting artistic trajectories over the course of decades. Galleries often operate at a faster pace and can respond very quickly to new ideas. Projects discussed during a studio visit can sometimes be realized almost immediately. This kind of immediacy was also possible at the institutions where I worked, and those moments—when ideas move straight from conversation to realization—have been among the most rewarding in my experience.

How did the German art scene prepare you for our version in New York, and what similarities are there? Pace says your German background aligns with its commitment to expanding its activities in German-speaking territories. Why is Germany ripe for growth?
When I moved to Berlin in the late 1990s, there was immense international interest in the city as a creative breeding ground where artistic production was accelerating. Many people were reminded of New York in the 1970s—a moment defined by experimentation, affordability and a strong sense of community among artists. That experience prepared me well for working in New York.

Beginning this new chapter is about identifying where and when personal experience can create the most energy through new connections. At Pace, I feel there are strong opportunities for that across its global galleries. Berlin has transformed and established itself as a cultural beacon and is still growing today. Pace’s Berlin gallery and its successful exhibitions reflect that development.

What Pace artists are you most excited about working with?
At The Campus, I installed works by some of my favorite Pace artists such as Richard Tuttle, Kiki Smith, Arlene Shechet, Alicja Kwade and Silvia Plimack Mangold, which prompted a wonderful dialogue with the gallery and its teams.

I remember picking up Richard Tuttle when he came upstate to install his room at The Campus. During the car ride, we spoke about his early exhibitions in Cologne as a young artist with his German dealer and exchanges with artists like Joseph Beuys, not to mention his deep knowledge of German history and philosophy. Conversations with great artists like Richard always somehow transcend physical place and time. I am excited to continue these conversations with the artists on Pace’s roster.

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