The G2 Kunsthalle: Steffen Hildebrand on Collecting as a Dialogue with the City of Leipzig
What motivates people to collect art? And what paths lead them there?
In our Private View series, art collectors offer insights into the personal stories behind their collections: What first sparked their interest in art? Which works have accompanied them over the years? And how do artists, social developments, and individual life paths shape a collection?
In this edition, we speak with Steffen Hildebrand—entrepreneur, collector, and managing director of the G2 Kunsthalle Leipzig. Having lived in Leipzig for more than twenty years, he is deeply committed to increasing the visibility of and support for contemporary art. His collection is shaped by intuition, diversity, and a strong connection to Leipzig as a center for the arts.
Mr. Hildebrand, what was the first work you acquired—and what significance does it hold for your collection today?
The first work in my collection was, in fact, a gift. I was still quite young when I encountered artworks at an acquaintance of my parents’ home that immediately fascinated me. I asked my parents whether it might be possible to wish for something like that for my birthday—I had no knowledge of the art market at the time. As a result, I was given Learsch’s Portrait (1987) by Leipzig-based artist Jost Giese.
I like to describe this anecdote as a goosebump moment, because I could not have known then that Leipzig would one day become the city where I have lived for more than twenty years and truly feel at home.
Exhibition view of the permanent exhibition at the G2 Kunsthalle, featuring works from the Hildebrand Collection. From left to right: Inna Levinson, Melike Kara, Alvaro Barrington, and Marina Perez Simão. Photo: dotgain.info
How did these early experiences lead to the idea of making your collection public?
The idea of making my collection accessible to the public was inspired by my friend and fellow collector Gil Bronner from Düsseldorf, who at the time was presenting his collection in the former Leitz factory. The way he engaged with his collection encouraged me to open my own to a broader audience in Leipzig. With the G2 Kunsthalle, a place was ultimately found where this could become a reality.
Your collection does not follow a specific thematic focus. What is decisive for you when acquiring a work of art?
For me, there is no single decisive factor. A work of art has to speak to me immediately and trigger something within me. Collecting is, above all, an intuitive decision—less a rational process than an emotional impulse that comes from the gut.
Installation view of the permanent exhibition at the G2 Kunsthalle with works from the Hildebrand Collection. From left to right: Dana Schutz and Neo Rauch. Photo: dotgain.info
What role does Leipzig play for you as a collector—also in comparison to Berlin or other international art centers?
Leipzig has become my home city, a place that has offered me many opportunities and where I very much enjoy living. It is one of the most dynamic cities in Germany, and art and culture have always played—and continue to play—a significant role here. Leipzig has a strong art scene, shaped by its institutions, galleries, and the Academy of Fine Arts (HGB).
At the G2 Kunsthalle, you also present exhibitions that are not part of your collection. How does this aspect fit into the overall program?
The exhibition program is curated by the Kunsthalle’s director, Leo Wedepohl. The G2 Kunsthalle operates entirely independently of my collection. However, Leo Wedepohl can draw on the collection at any time if it makes sense for a particular exhibition. That said, it is by no means a requirement that exhibiting artists be part of my collection. The Kunsthalle is a vibrant space for contemporary art—and it is welcome to show works from my collection where appropriate.
Are there any Leipzig-based artists or positions that have been particularly formative for you?
There are so many that it is difficult to single out individual positions. For me, the appeal lies precisely in this diversity. As a collector, I consciously hold back when it comes to highlighting specific positions—that is something I prefer to leave to the curators.
How do you see the role of collectors in today’s art system—and what significance does direct exchange with artists have in this context?
Direct contact with artists plays a very important role for me and is one of the reasons why I focus on contemporary art. Whenever possible, I seek out conversation and value the insights artists share into their thinking and working processes.
At the same time, collectors are an essential part of the art system—they support artists and help make art visible. For me, it therefore felt only natural to make parts of my collection accessible to the public and to lend works for exhibitions. Both are, in my view, integral to a responsible approach to collecting.
Which themes or artistic positions do you see becoming more important in the future—and how do you envision the development of your collection in the coming years?
I approach every work of art and every artistic position with openness and without preconceptions, and therefore prefer not to define in advance which themes will become particularly relevant for me in the future. What matters more to me is to continue developing existing positions within the collection and to discover new artists for it.
Steffen Hildebrand in front of a painting by Norbert Bisky (Unrest, 2018). Photo: Foto Rechtnitz
What three pieces of advice would you give to young collectors?
Always stay open to new ideas.
Only buy what you truly love.
And don’t approach art as an investment aimed at financial returns. Art is an investment that offers a constant emotional return—and that is far more valuable.