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Nazli Kok Akbas, Art Editor, GENEVA- SWITZERLAND
Between intellectual precision and quiet intuition, Karin Handlbauer has shaped a singular voice within the Geneva’s contemporary art scene. Originally trained as an art historian in Austria, she founded Mezzanin Gallery in Vienna before relocating to Geneva, where she continues to bridge conceptual reflection with the visual language of our time.
Karin studied art history, journalism and philosophy at the University of Vienna. During her studies in Vienna, and after obtaining her masters degree in art history, she worked for Sotheby’s in their Vienna, London and New York branch. In the late 90s Karin returned back to Vienna and started a PhD at the University of Vienna. At the same time, she opened the art exhibition room “Mezzanin“, which was a real mezzanin room, and obtained a real success at that time in Vienna. Mezzanin Vienna became a very popular meeting point for the Viennese art scene in 1997. The second gallery opened in Geneva in 2014, and Karin maintained the Vienna branch until the beginning of the pandemic.
Mezzanine Gallery, Geneva, is known for its strong connections with art fairs, including Art Basel, Miami Beach and Hong Kong, Frieze NY and FIAC, among others.After attending for 20 years at these artfairs the gallery changed the business model before pandemic to reduce to small local fairs, to have more time for collectors and artists relations.
Karin’s Gallery exhibition programme is both discreet and profoundly articulate, contributing to the dialogue between emerging and established artists from around the world. The gallery is renowned for its refined cultural sensibility and its remarkable, rich curatorial exhibitions.
What an amazing opportunity to have Karin Handlbauer in Geneva.
NAZLI KOK AKBAS: Karin from Vienna to Geneva it was a new chapter and context, your Gallery began its journey in Vienna before settling in Geneva.
How has moving from Austria’s cultural landscape to the Swiss art scene influenced Galerie Mezzanin’s identity and rhythm?
KARIN HANDLBAUER; Vienna gave me a strong intellectual and cultural foundation, it’s a city deeply rooted in the art history and critical discourse. Geneva, however, offered a different kind of energy-international, discreet, and highly interconnected.The move was driven next to private reasons, and a desire to place my gallery within a global context, where collectors, institutions and artists are constant dialogue. Geneva’s rhythm suited the evolution I envisioned for the gallery.
NKA; The resonance between art history and your contemporary gallery practice is very strong. Having begun your path as an art historian, your work today still seems guided by a strong sense of historical awareness.
Does your art historian background shape your curatorial decisions?
KARIN HANDLBAUER; Yes, for sure, my art-historian background has deeply shaped my curatorial approach, grounding each exhibition in research, context, and critical awareness. Rather than following market -driven narratives,I focus on building exhibitions that emphasize continuity and long-term development of artistic practices. Studying art history tought me how to see art and recognise interesting art positions.
NKA; As a well established art gallery owner, what is your view on the evolution of art production from the 1990s to today?
KARIN HANDLBAUER; In the 1990s, there was a strong sense of experimentation driven by freedom and uncertainty. Artists were less concerned with visibility and more willing to test limits, materials, and formats without immediate validation. In the 2020s, art production operates within a far more structured and accelerated system. While this was brought a greater professionalism and global connectivity, it has also shifted the focus toward sustainability and context. The challenge today is not experimentation itself but preserving depth and risk within a highly visible and market-aware environment.
NKA; Geneva often stands apart from the major European art capitals, quitter perhaps, yet deeply international and intellectually grounded.
How do you perceive this particular energy today? In other words what makes Geneva and Swiss collectors unique in your experience?
KARIN HANDLBAUER; Swiss art collectors are exceptionally discreet and deeply committed. What I value most is the closeness of the relationship we build-based on trust, continuity, and shared sensitivity rather that visibility. There is a particular Swiss energy in art collecting; thoughtful, precise, and long-term oriented. This approach creates stable and meaningful dialogue around the works and it has been very rewarding for me both personally and professionally.
NKA; You opened the Mezzanin Geneva in 2014, and you have been organizing remarkable exhibitions for more than a decade. The actual exhibition in your gallery is the latest works of Gregor Hildebrandt who is an internationally renowned artist with a very distinctive visual language. What drew you to present his works at Mezzanine Gallery Dear Karin?
KARIN HANDLBAUER; Gregor Hildebrandt’s works operates at the intersection of memory, material , and music, elements that resonate strongly with gallery’s program. The exhibition is concived as an immersive experience rather than a linear presentation. His use of materials such as magnetic tape and vinyl carries traces of sound, absence and the repetition. Within the gallery space, Hildebrandt’s works establish a quiet rhythm, inviting viewers to slow down and perceive layers of time, memory and erasure.His works remind us that, in this essentially world, that memory once had a materiality that we had to take care of.
NKA; How does this exhibition reflect Mezannin gallery’s position within the primary -market and contemporary art scene in Geneva?
KARIN HANDLBAUER; Even when working with an internationally established artist like Gregor Hildebrandt, the role of a primary market gallery remains essential. The primary market is where artistic value is constructed trough context, continuity, and responsibility rather than speculation. My role is to support the artist’s practice on a long term basis, by placing works thoughtfully, maintaining coherence within the collections, and building sustained relationships with collectors and institutions. This commitment allows the work to develop with integrity and reinforces the gallery’s responsibility as a first point of support in the artistic career. Having strong relationships with the artists is the key tool.
NKA; How do Gregor Hildebrandt works resonate with the audience and what has made this exhibition such a great success?
KARIN HANDLBAUER; Thank you Nazli, a good question, Hildebrandt’s works engage strongly with memory and presence, while simultaneously offering a sense of pleasure that is both visual and emotional. This balance creates an immediate yet lasting connection with the viewer. The exhibition has been met with a very positive response.
NKA; Karin, you have been active within the network of fairs such as Artgeneve, Art Basel so on and you developed a strong dialogue with Swiss institutions and associations.
How do these collaborations influence the visibility of your artists, and the positioning of your gallery within the broader European context?
KARIN HANDLBAUER; Being actively present at Art Fairs and working closely with institutions allows me to maintain a strong, visible connection within the art world while staying grounded in Geneva. This positioning is crucial because it enables the gallery to support our artists effectively, connect them with the collectors and institutions, and participate in the broader dialogue of contemporary art. For me it’s not about visibility alone, it’s about sustaining meaningful relationships and ensuring that our program resonates both locally and internationally.
Thank you so much Dear Karin for sharing your vision and your insights with us. It has been inspiring to hear about your journey, your artists, and your thoughts. Our conversation reminds us of the fact that a gallery is more than just a display space: it’s a dialogue, a network and a vision come to life.
Gregor Hildebrandt exhibition.
