Didi Gstrein: The Vision Behind a Collection

The New Collectors is pleased to announce an upcoming interview with Didi Gstrein, an art collector and entrepreneur whose vision places contemporary art at the centre of new cultural experiences. Through his collecting practice and his ambitious project at Hotel Mazaggs, he is exploring new ways to bring art into dialogue with architecture, history and hospitality. In our forthcoming conversation, Gstrein will share insights into his collecting philosophy, his relationship with emerging artists and his vision for the future of contemporary art.

Didi Gstrein

SR Every collector has a beginning. How did your journey into

contemporary art start, and what was the first encounter or experience

that made you realise collecting would become an important part of

your life?

DG Believe it or not, my collecting journey started with Kermit the Frog!

In 2014, I was on a cruise with my children when we discovered three Pop Art works

by Andreas Schiller in the ship's gallery. My kids immediately fell in love with the

Kermits, and we ended up buying all three. Not exactly the sophisticated beginning of

a contemporary art collection, but a wonderful one!

For years afterwards, collecting remained rather spontaneous. I bought what I liked,

whenever something caught my eye, without thinking too much about the bigger

picture. The real turning point came about five years ago, when a friend sold me a substantial

part of his art collection. Suddenly, I found myself surrounded by works that made me

want to understand much more about the artists, the market, and the fascinating

ecosystem behind it all. I started taking courses and workshops, including programmes at Christie's and Sotheby's, to develop a better understanding of the art world. What began as curiosity gradually turned into a real passion. Looking back, perhaps it was always meant to happen. My father was an artist, and I grew up in a small family-run hotel in the Austrian Alps, where my mother taught me the importance of hospitality and human connections. Today, art and hospitality have become the two worlds that define much of my life. And it all started with three Kermits!

Kaan Ege Önal: “Wings of Change”

SR As your collection has grown, how have your tastes and criteria

evolved? When you discover an artist for the first time, what qualities

in their work or artistic development convince you that their practice

deserves a place in your collection?

DG My taste has changed enormously over the years. From those first colourful Pop Art

works, my journey has taken me towards emerging and ultra-contemporary art, which

is now the clear focus of my collection. But one thing has never changed: the artwork has to speak to me. I don't buy an artist's CV, Instagram followers, or market hype. I buy art that moves

me. Of course, my approach has become much more structured. Today, I look for a

recognizable artistic voice, technical and conceptual quality, an interesting narrative,

and consistency in an artist's development. I also pay attention to education, professional attitude, and, perhaps most importantly, genuine commitment. I want to feel that an artist is serious about their practice and determined to develop it over the long term. But I don't believe that a university degree is the only way to become a great artist. There are different paths to artistic excellence.

I love discovering artists at an early stage, when their artistic language is still evolving. There is something incredibly exciting about recognizing potential before it becomes obvious to everyone else. And while I certainly appreciate a well-researched artistic practice, I don't think art should require a twenty-page explanation to be meaningful. For me, the work must convince me first. The story behind it should deepen that experience, not replace it.

Kaan Ege Önal: “Crimson Reverie”

SR Looking back at the works you have collected so far, is there a

particular artwork or acquisition that has given you the greatest

personal satisfaction? What makes that experience especially

meaningful to you?

DG Without hesitation: "Brothers 3" by Robert Sturmhoevel. This artwork changed the way I look at art. It opened my eyes to what extraordinary technical execution, artistic quality, and a compelling narrative can achieve together. Before encountering this work, I was already interested in contemporary art, but "Brothers 3" helped me develop a much deeper appreciation of what makes an artwork truly exceptional. It taught me to look more carefully, to question what I was seeing, and to appreciate the difference between an attractive image and a powerful artistic statement.

And that's exactly what I love about collecting. Sometimes a single artwork can change your entire perspective. Of course, I have many works in my collection that mean a great deal to me. But

"Brothers 3" holds a special place because it was an important step in my development as a collector. And I think that's something we sometimes forget: collecting is not only about the

development of artists. It's also about our own development as collectors.

SR Which contemporary artists do you believe deserve greater

international attention today? Are there any artists you would

particularly recommend to collectors who want to discover new and

compelling artistic voices?

DG That's a dangerous question to ask a collector who loves every single artist in his

collection! There are so many outstanding artists I would love to mention, so please forgive me

for limiting myself to just three. If I had to choose today, I would highlight Robert Sturmhoevel, Lori Urbanski and Kaan Ege Önal. Three different artistic voices, each with a distinctive approach and an artistic language that genuinely fascinates me. And yes, I suppose these choices reveal something about my personal taste: I clearly have a soft spot for figurative art!

But I don't want to turn this into a ranking. Every artist in my collection is there for a reason, and I genuinely believe in their work. My advice to other collectors would be to stay curious and look beyond the names that are already receiving the most attention. Visit smaller galleries, follow emerging artists, explore their studios, and don't be afraid to trust your own eyes.

Some of the most exciting discoveries happen where nobody is looking yet.

Robert Sturmhoevel: “brothers 03”

SR Your open call on social media attracted an extraordinary response from

artists around the world. What did that experience teach you about the current

relationship between artists and collectors, and how do you approach the

challenge of identifying meaningful artistic practices among so many

submissions?

DG More than 10,000 artists responded to my open call. Honestly, I never expected

anything close to that!

It was exciting, inspiring, and at times completely overwhelming. But above all, it taught me how much extraordinary artistic talent is out there and how difficult it can be for emerging artists to get noticed. I believe social media has fundamentally changed the relationship between artists

and collectors. And personally, I see that as a tremendous opportunity. Today, an artist working in a small studio somewhere in the world can reach a collector on another continent with a single Instagram post. That's quite remarkable when you think about it. Around 80% of my artistic discoveries now happen through Instagram. Does that mean I believe Instagram can replace galleries? Absolutely not! I deeply respect the work of good galleries. They provide context, professional guidance, and long-term support that social media simply cannot offer.

But I believe Instagram has democratized access to visibility. And that's a good thing.

Of course, there is a downside. Visibility doesn't necessarily mean quality, and a

beautiful Instagram profile doesn't automatically make someone a great artist.

When reviewing submissions, I look for the same qualities I would look for anywhere

else: a distinctive artistic voice, quality, consistency, and something meaningful to

say. And I have learned to trust my first impression. If a work catches my attention, I want

to know more. But with thousands of submissions, you also have to accept that you cannot discover

everyone. I'm sure I have overlooked some fantastic artists, and that bothers me.

One thing I would love artists to understand is that a rejection is rarely a judgment

about their artistic quality. Art is subjective, and every collector has their own interests

and direction. Sometimes it's simply not the right fit.

And perhaps the most important lesson from this experience is that the art world

could benefit from being a little more accessible, a little more open, and a lot more

connected.

SR With Mazaggs, you are developing a project that brings contemporary art

into a historic setting through exhibitions and artist residencies. What inspired

you to pursue this vision, and what would you like this project to contribute to

the artistic community beyond your own collection?

DG I sometimes joke that I'm building a hotel because I needed more walls for my art

collection! But seriously, Mazaggs brings together two of my greatest passions: hospitality and

contemporary art. I grew up in a small family-run hotel in the Austrian Alps. My mother was a wonderful host, and my father was an artist. So perhaps combining these two worlds was

almost inevitable. Mazaggs is a historic property dating back to 1899, beautifully reimagined by

architect Siegfried Mazagg in 1929. We are now transforming it into a five-star boutique hotel at Lake Achensee in Tyrol. My original vision was to create a hotel where contemporary art would play a central role, rather than simply decorate the walls. But as the project developed, I began questioning something. Can art really develop its full potential when it is primarily perceived as part of a hotel interior? I came to the conclusion that my collection deserved its own independent platform. That's how REFRAME 29 was born. The name refers to 1929, the year Siegfried Mazagg transformed the historic building, while REFRAME reflects our ambition to explore new paths in art.

Our philosophy is quite simple:

DISCOVER - New artistic positions.

CONNECT - Bring artists, collectors and audiences together.

We are creating an independent contemporary art space next to the hotel, with exhibitions, collaborations with galleries and curators and an international artist-in- residence programme.

I want to give emerging artists opportunities to develop their work, gain visibility and

build meaningful connections.

But there is another aspect that is equally important to me. I love luxury hospitality, but I dislike the attitude that sometimes comes with it. That feeling of exclusivity, where people are made to feel they don't quite belong. And frankly, I think the art world can sometimes suffer from exactly the same problem. I want REFRAME 29 to be different. A place where you can encounter ambitious contemporary art without feeling intimidated. Where artists, collectors, curators, hotel guests, and curious newcomers can meet on equal terms. Serious art doesn't have to mean taking ourselves too seriously. If we can create a place that encourages discovery, genuine conversations and new

friendships, I think we will have achieved something meaningful.

SR Collecting involves both personal conviction and uncertainty, particularly

when supporting artists who are still developing their careers. How do you

balance intuition, artistic quality and long-term potential when deciding to

support an emerging artist?

DG I think collecting emerging art requires a healthy combination of passion, curiosity,

and a willingness to be wrong. Let's face it: nobody knows which emerging artist will become internationally successful in ten or twenty years. And anyone who claims otherwise is probably

trying to sell you something! For me, everything starts with the artwork.

I need to feel something. I need to be curious. Sometimes I can't even explain

immediately why a particular work fascinates me. But that first emotional connection is essential.

After that, I become much more analytical. I look at the artist's development, technical and conceptual quality, artistic consistency, education, professional environment and commitment to their practice. I want to understand whether I'm looking at an interesting individual artwork or an

artist who is building a meaningful long-term practice. I also believe good galleries play an essential role. They help artists develop, establish sensible pricing and build sustainable careers.

And pricing is an interesting subject, particularly with emerging artists. Collectors naturally enjoy discovering talent early and acquiring works at accessible prices. At the same time, they hope those artists will become successful and their works more valuable. There's a certain contradiction in that, isn't there? We want emerging artists to succeed, but sometimes we are reluctant to pay the

prices that would actually allow them to build sustainable careers.

I think we should be more conscious of that. Personally, I don't collect with the intention of selling. I have invested a significant part of my savings in art and I fully intend to keep my collection throughout my lifetime. Of course, I would be delighted if the artists I support become internationally recognized. But the greatest reward isn't a rising price tag. It's seeing an artist develop, receive recognition and succeed. An artist's success is balm for a collector's soul.

And if an artist never becomes famous? Well, I still have an artwork I love living with.

That's a pretty good outcome, too.

Lori Urbansky: “Pink Orbit”

SR Looking towards the future, what would you most like to achieve through

your collection and your work with artists? And what advice would you give to

a new collector who wants to build a meaningful collection while genuinely

contributing to the careers of the artists they support?

DG I would love the dd.G Collection to become something that remains meaningful long

after I'm gone. Not necessarily because of its financial value, but because of the artists, their stories

and the relationships behind the works. I'm fascinated by the idea that collecting emerging art means becoming a small part of an artist's journey. Sometimes you meet someone at the very beginning of their career, without knowing where that journey will lead.

Twenty or thirty years later, the artwork might tell a much bigger story.

That's why I believe documentation, provenance and preserving the context of a

collection are incredibly important. I want future generations to understand not only

what I collected, but also why. With REFRAME 29, I hope to take that commitment one step further.

I want to create opportunities for artists, encourage dialogue and bring people

together who might otherwise never meet. And if we manage to introduce people to contemporary art who previously felt it wasn't for them, that would make me particularly happy.

As for new collectors, my advice is quite simple: First, fall in love with art. The rest can follow.

Don't start by asking which artist will be the next big thing or which work might double

in value. Start by looking. A lot. Visit galleries, exhibitions, art fairs and artists' studios. Talk to people, ask questions, and don't be afraid to admit what you don't know. I certainly didn't know much when I bought those three Kermits back in 2014! And I'm still learning every single day.

Take time to develop your own taste. Don't let the market, social media or other collectors tell you what you should love. And remember that collecting is about more than buying.

Support the artists you believe in. Visit their exhibitions. Share their work. Introduce

them to others. Build relationships with galleries and treat everyone involved with respect. You don't have to be a millionaire to become a meaningful collector. You need curiosity, commitment and a genuine love for art. And perhaps one final thought: Don't collect to impress others. Collect because art makes your own life richer. That's certainly why I do it.

@All images courtesy of Didi Gstrein.