The Collector: Feuerle Puig House Enters a New Era

Ten years on from the inception of the Feuerle Collection in Berlin, the private institution, located in a former World War II telecommunications bunker, is entering a new era.

Established by German collector and former dealer Désiré Feuerle in 2016, the Feuerle Collection is known for its multisensory spatial experience, driven by unique juxtapositions of light and shadow, Asian antiquities and international contemporary art.

This summer, the museum changed its name to Feuerle Puig House, signalling a new partnership with Sara Puig, the collector who founded the Sara Puig Institute for the Arts and serves as the current president of the Fundació Joan Miró in Barcelona, Spain.

The name change also reflects the museum’s expansion beyond exhibitions towards a more multidisciplinary blend of art and live cultural events from East and West. The centre recently launched the first edition of Asian Arts Days, a five-day programme bringing together film screenings, dance performances, music and food from the region.

Before that, the House held an exhibition juxtaposing photographic works by British contemporary artist Adam Fuss with an Italian Renaissance drawing attributed to Leonardo da Vinci, on loan from a private collection.

Feuerle revisits his decade-long journey, shares his vision for the future and hints at plans to share his programme elsewhere.

Installation view, “Italian Renaissance DrawingAttributed in the 19th century to Leonardo da Vinci(1452 -1519)”, 15th–16thcentury, Drawing on paper, 250 -203 mm (sheet)Photo: Jiani Yu©Feuerle Puig House

Vivienne Chow: Why did you decide to change the name from “Collection” to “House”? Does it signal a broader change in the institution’s vision?

Désiré Feuerle: I believe the core remains consistent, but “House” is more appropriate. The collection is part of the house. We have been organising events, such as hosting incense ceremonies as contemporary art performances. The name change implies a home for many powerful things beyond objects – performance, film and moving images. We are open to new possibilities, and we seek out special elements that fit, and we do it when it feels right. It’s about creating a space where things happen that we might not even anticipate.

VC: You have assembled a diverse collection, ranging from Han-dynasty Chinese furniture and early Qing-dynasty imperial lacquerware to contemporary works by Zeng Fanzhi and Nobuyoshi Araki. What guides your approach to collecting?

DF: I feel it before looking at it. It’s about whether a work evokes the feeling and energy that enriches my life and my thinking. It can also be something you have never thought of before, like a found object. The other day, I stumbled upon a bird feather. It was so tiny, like a ball, and I thought, what an incredible little feather. With the right lighting, it becomes a work of art.

I focus on quality, not quantity. It’s not necessary to show everything. I prefer to keep portions of the collection private so that I can contemplate what I can create with it. Let’s say I’m like a chef who has a lot of ingredients in the kitchen. He has all these ingredients, but he does not use all of them in every dish.

VC: Are you still actively looking for new “ingredients” to add to the collection?

DF: Yes, absolutely. It is a beautiful process. But I don’t look for perfection. Imperfection is beautiful.

Alexander Graf von Schlieffen Untitled, 1988, oil on canvas, 250 x 85 cmPhoto: Installation view by Jiani Yu © The Feuerle Collection

VC: Beyond exhibitions and events at Feuerle Puig House, have you considered taking its programme elsewhere or recreating the experience internationally?

DF: Yes, there is a chance, but I cannot tell you too much. It’s easy for people to suggest exciting or “cool” ideas, but executing them requires careful consideration of factors such as space, location and climate. The thinking process is not a one-off. I can be sitting wherever I am in the world and make this exhibition in my head. And then I set it aside until I rethink the idea again. For projects like this, you also need a lot of time and have to look for the right moment.

VC: Looking ahead, how do you see the role of Feuerle Puig House evolving over the next decade, particularly as cultural institutions confront new challenges?

DF: For me, it is about continuing to support young talent, artists, dancers and even filmmakers. We need to give them a platform so that their talent can be seen by others.