What inspires people to collect art – and which paths lead them there?
In our series Private View: Conversations with Collectors, art enthusiasts share the personal stories behind their collections: What first ignited their passion for art? Which works have accompanied them over the years? And how do artists, society, and life itself shape the way they collect?

In this interview, young collector Fabian Kluth speaks about his beginnings, the role of digital art communication, and why he believes authenticity outweighs trends.

Mr. Kluth, you developed an interest in art at an early age. Do you remember the moment it all began?
I was never particularly interested in making art myself – in art class, I was a complete disaster. So collecting was the only option left. I grew up in the countryside, without any artistic background. Out of boredom and curiosity, I started researching, watching documentaries, reading texts. I’m quite obsessive that way – when something fascinates me, I dive in completely. Later, I started travelling to Düsseldorf, started attending openings and the Academy’s annual exhibition – that’s when the spark truly ignited.

Do you remember your first artwork?
Yes, it was a paper work by Rosa Loy. I was fifteen when I bought it. It shows two women creating something – what exactly, I still don’t know to this day. That purchase was the initial spark. Since then, many works have followed, often by female artists – but that’s just coincidence. I’m interested in ideas, not in quotas.

You’ve never joined a collectors’ group – why is that?
I’ve never been part of any clubs or associations. I never really understood the desire to belong to one. But I do believe deeply in collaboration: art emerges through exchange. Collecting isn’t just about the act of acquiring; it’s about bringing together people with different ideas. In that sense, art is, quite literally, a catalyst for dialogue.

What would need to change in the art world to keep it appealing to young collectors?
The traditional art world, as many galleries still run it, doesn’t hold much allure for young people. When we do attend, it’s rarely because we’re surprised by what’s on the walls – we usually know in advance. You have to give us a reason to show up. Champagne and incomprehensible wall texts don’t win anyone over.
We’re looking for experiences: music, performance, straightforward conversations – and formats that feel like events. The art world needs to align itself with the values of the younger generation. Transparency, sustainability, and digital accessibility are key.
Pricing structures, too, are often far too opaque. Too often, conversations only begin with the question of price. Some galleries are now taking new approaches by publishing their prices – that creates a completely different basis for dialogue.
It’s no longer appropriate to ship artworks thousands of kilometres just for them to disappear into storage. Art should become more visible, more alive, and more honest.

Which artists or personalities have had a lasting influence or inspired you?
I’m fascinated by the very concept of the artist—the self-discipline, the constant self-confrontation, the awareness of being a brand. Today, artists are brands in their own right, with merchandise and Instagram accounts. That makes them more approachable, but also forces them to open up more. Many artists have also shaped the vision behind one.—the idea of being in constant confrontation with oneself, maintaining discipline while presenting oneself as a brand. I find that incredibly inspiring.
Anne Imhof was an important entry point for me. Her performances merge art and pop culture in a way that feels truly of our time.
I’m also inspired by Joseph Beuys, especially his understanding of art as a social discourse. And Virgil Abloh, who elevated fashion to a meta level—as a space for thought, not just a product. I see art in a similar way: it must be communicated to remain relevant.

And which artists of your own generation do you follow with particular interest?
I’m drawn to strong-minded individuals who stay true to themselves and don’t get unsettled. I really like the work of Shanee Roe and Pol Taburet. There are so many outstanding young artists, but many go unnoticed—there’s simply too much visibility, and too little genuine attention.

How did your friends and family react to your collecting?
To be honest, they were shocked at first. My parents never had much to do with art – museums were more of an exception. And suddenly I was coming home with works that completely defied conventional ideas of what art should be. The pieces became more conceptual and larger in scale. At school, hardly anyone noticed in the beginning. But when the Instagram account one. went live, many people started asking what it actually was.

How do you envision the future of your collection one. – particularly in terms of public presentations or collaborations with museums?
I want one. to be relevant – but not as a traditional collection. It’s meant to be a platform, a space for exchange. So far, we’ve mainly presented art digitally, but in the future there will also be physical exhibitions – pop-up formats in changing locations around the world. Not just in major cultural centres, but also in places where art rarely reaches. I believe art needs to reach more people – even, and especially, beyond established spaces.

Drei Ratschläge an junge Sammler*innen? Museen?
Do it, do it, do it!
But – when it comes to money, better stay out of it.
Never rely too much on trends – the best collections grow from instinct. Trends fade, authenticity lasts. And if no one invites you to their table, build your own. In the end, that’s where the most interesting people will be sitting anyway.

Fabian Kluth
Founder | Director
Collection one.

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