You can love a work of art and still question its price. You can support an artist and still want to understand what happens when you need to sell.

In this episode of The Art Bystander, Roland-Philippe Kretzschmar joins collector and Artscapy co-founder Emilia De Stasio in London for a conversation about the emotional convictions and financial decisions that shape a collection.

With a background spanning the European Central Bank, Moody’s and technology investment, Emilia brings an analytical eye to a deeply personal pursuit. Together with her husband, Alessandro, she owns around 200 works, with one firm rule: they buy living artists. Their collection explores identity, social politics and the relationship between humanity and the natural world.

We discuss what draws her to difficult, demanding art; how galleries and institutions influence an artist’s market; and the uncomfortable gap between buying a work and being able to sell it. We also examine why useful technology can struggle to gain acceptance in an industry built on personal relationships.

Those questions led the couple to establish Artscapy. Now, the platform is entering the auction market: its first Modern and Contemporary Art sale runs online from 2–12 November 2026, with 0% seller commission and a 16% buyer’s premium.

I ask Emilia whether those economics are sustainable, how the model serves collectors over time, and what support remains when a work fails to sell. Throughout our conversation, one question persists: whose interests does the art market actually serve?

Hosted on Acast. See acast.com/privacy for more information.

What happens when you spend enough time with a painting to imagine living with it? In this episode of The Art Bystander, our host Roland-Philippe Kretzschmar speak with David Rothschild, Sotheby’s Head of Contemporary Art Private Sales in the UK and Global Lead for Private Sales Exhibitions, and Valerio Polimeno, founder of _POLIMENO, about Chez Sotheby’s.

Taking place from 19–24 October during Art Basel Paris, the project brings nearly $150 million of art into an apartment on Rue de Rivoli overlooking the Jardin des Tuileries. Works by Picasso, Matisse, Warhol, Richter, Bacon and others inhabit rooms conceived for dining, conversation and the pleasure of looking. The curation is just perfect.

Our conversation follows the collaboration from its beginnings in Gstaad and London to the personal experiences that shaped Valerio’s approach to hospitality. He recounts how a dismissive remark about the pasta served at an earlier exhibition helped inspire this project, and why creating a welcoming space begins with the intentions of its hosts.

David discusses sourcing works from private collections and the connections that emerge when different periods share a room. Among them is a pairing both guests would happily take home: Degas’s ballerinas and a painting by Cecily Brown, whose encounters with Degas helped inspire her work.

We also discuss the business behind the invitation. Everything is available for private sale, and the setting allows collectors to consider art within the rhythms of everyday life. Drawing on Paris’s history of salons, homes and restaurants, Chez Sotheby’s asks how the company we keep, the rooms we inhabit and the time we give a work might influence what we see.

Chez Sotheby’s | Paris | 19–24 October 2026

Viewing enquiries: chezsothebys@sothebys.com

Address supplied on request.

Exhibition details and catalogue:

https://www.sothebys.com/en/digital-catalogues/chez-sothebys

Hosted on Acast. See acast.com/privacy for more information.

Collector Karen Boros joins Roland-Philippe Kretzschmar in the latest episode of The Art Bystander podcast. Karen Boros and her husband Christian began by collecting artists of their own generation. As they grew older, they made a deliberate decision to keep following younger artists, eventually those of their son’s generation. Collecting became a way of staying engaged with experiences and ideas beyond their own.

That willingness to remain curious runs through our conversation, recorded in Karen’s home above the Boros bunker in Berlin, after she had taken us through the collection downstairs.

Opened to the public in 2008, the collection occupies a former air-raid shelter that has also served as a prison, a warehouse and a techno club. Its changing presentations bring contemporary art into spaces where the building’s history remains impossible to ignore.

Karen’s experience extends across several parts of the art world. With a background in psychology and art history, she worked in galleries before joining Art Basel in 2005, working in VIP relations for Germany. Alongside building the collection with Christian, she has spent years engaging with other collectors and the relationships through which people find their way into art.

She is candid about how their own decisions happen. “Sometimes I think we should have a strategy, but we don’t,” she tells me. The collection grows through exhibitions, encounters and conversations, supported by longstanding trust in particular galleries.

I wanted to explore how an initial interest becomes a lasting commitment to an artist. What gives you confidence in a practice? What happens when it develops in a direction you hadn’t expected? And what can collectors contribute through the works they buy, the projects they support and the audiences they help artists reach?

Karen makes a point about galleries that deserves more attention: they produce exhibitions that anyone can visit for free. She also speaks about the importance of a work leaving the studio, being seen and entering into discussion. Supporting art involves making those encounters possible.

We talk about Berlin’s changing artistic communities, the challenge of encouraging younger people to collect, and the care involved in opening a private collection to the public. Some people arrive at the bunker knowing the artists; others come for the building and discover the art.

Karen calls them guests. By the end of our conversation, you understand how much work goes into making that word meaningful.

Hosted on Acast. See acast.com/privacy for more information.