Meyer Riegger Wolff gallery space in Seoul, view from outside. Photo: JangMi
As he actively prepares for the upcoming edition of Art Basel Paris, which will gather 206 international galleries this year, Jocelyn Wolff continues the expansion of his gallery with a new strategic outpost in Seoul. The result of a close collaboration with Berlin-based gallery Meyer Riegger, the newly established joint space, Meyer Riegger Wolff, reflects a shared ambition to establish a lasting presence on the Asian art scene. Located in the sought-after residential district of Hannam-dong, the gallery was designed by Korean architect Choi Wook (One O One Architects), who envisioned a bold, sculptural space. Artistic direction was entrusted to Gaia Musi, Jocelyn Wolff’s partner, and the inaugural exhibition, unveiled during Frieze Seoul, adopted the format of 18th-century European salons, with a focus on drawing. Featured artists included Meret Oppenheim, Jonathan Monk, Miriam Cahn, Elodie Seguin, William Anastasi, and Laura Lamiel, in a display that was both scholarly and accessible.
In Paris, the Wolff gallery also reached a new milestone with the opening of a 300-square-meter space on Avenue Matignon, a project Jocelyn Wolff had previously discussed, and one symbolized by a landmark exhibition devoted to Franz Erhard Walther, a major figure of conceptual art. The warm reception received by the gallery has been particularly encouraging, according to Wolff, especially in a context of general uncertainty.
While the ArteBA fair in Buenos Aires proved especially dynamic, Frieze Seoul, on the other hand, fell short of expectations. Jocelyn Wolff offers a clear-eyed analysis of a global market under pressure, where the effects of correction are most evident at the very high end—even as the number of collectors continues to grow.
What are you planning for Basel Paris?
I’m sticking to a method that’s consistent with my overall approach: selecting works based on their availability and maturity, rather than following a predetermined plan. I always build the presentation around what’s ready or in production.
Among the projects currently under discussion are a major work by Francesco Tropa, as well as a new piece in development by Katinka Bock. I’m also considering the possibility of beginning to show Marcelle Cahn, a historical figure of abstraction.
Exhibition view Franz Erhard Walther « Les couleurs sont des actions de la lumière… » Galerie Jocelyn Wolff Credit Fabrice Gousset
Are we witnessing a market adjustment or contraction in your view?
We’re living in an anxious climate where crisis is constantly being discussed, even though the demand for art remains real, particularly outside purely speculative zones.
The number of collectors has never been higher than it is today. What’s changing is the dynamics at the very high end. Is it still possible to sell a trendy artist for €500,000 or $500,000? Probably less so than before. But does that mean works priced around €25,000—like those of Franz Erhard Walther are harder to sell? Quite the opposite.
It’s the top tier of the market that’s feeling the greatest effects of the current cooling, while the mid-range segment (between €15,000 and €100,000) remains stable. I only hear about price drops in the multimillion-euro spheres, where I don’t operate. The segment I’m in which has never been comfortable, does not lend itself to speculation.
The adjustment will happen naturally through pricing. Because even in a tense environment, very fine works continue to sell. What’s problematic is the pricing policy of fairs, which keeps rising in a market undergoing correction. Service providers are trying to maintain or even increase their margins, creating a disconnect with the economic reality we face.
The expansion to Seoul with Meyer Riegger: when did the project begin?
This new venture has its roots in a long-standing friendship and over fifteen years of collaboration between our two galleries. Together, we represent major artists such as painter Miriam Cahn and sculptor Katinka Bock, and have carried out numerous joint projects, notably through shared booths at art fairs.
Driven by a shared desire to strengthen our presence in Asia, we gradually began considering a pooling of resources on the continent, focusing on strategic placement of artworks and symbiotic operational methods.
We were already established in Shanghai, with a fully operational office, while Meyer Riegger had begun developing a presence in Seoul, though without fully structuring it. Meanwhile, Gaia Musi, my partner in Shanghai, had personal reasons for wanting to settle more permanently in the South Korean capital.
A fortunate alignment of circumstances paved the way for this joint project. Seoul offers an ideal platform for regional outreach while sidestepping the censorship and regulatory hurdles inherent to mainland China. Its business climate, more closely aligned with European standards, brings the kind of fluidity and openness that are essential to our ambitions.
Why was Hannam chosen as a strategic location?
In Seoul’s already well-established art landscape where many galleries hold prominent positions—no one was expecting us. Moreover, in a society where social codes are more pronounced than in France, location is a decisive factor. Unlike in Paris, where a more alternative or underground presence can enhance a gallery’s credibility, Korean collectors tend to gravitate toward specific neighborhoods that are closely associated with prestige and status.
It was with this in mind that we chose Hannam-dong—a chic residential district that is both central, accessible, and already well-regarded within the art community. It’s no coincidence that major international galleries, such as Thaddaeus Ropac, have already set up there. It’s a choice one might describe as conservative, but ultimately thoughtful and based on strong local recommendations.
The inaugural exhibition revisited the codes of an 18th-century European salon — what was at stake?
Titled « Heute Nacht geträumt – Dream last night », the gallery’s inaugural exhibition stood out for its unique approach: a tribute to 18th-century French salons, with a focus on drawing.
Rather than seeking obvious parallels between European artists like Colette Brunschwig and historical Korean abstractionists such as Lee Ungno, my aim was to foreground the gallery’s experimental and research-driven character. Each wall was conceived as an autonomous theme—a critical journey through dialogues between contemporary artists and transhistorical, sometimes anonymous, figures. The result was a dense display, designed as a visual laboratory.
This curatorial approach follows in the footsteps of previous exhibitions I’ve conceived—such as those centered on grisaille painting or the show on Eugène Carrière with Serge Lemoine—developed in the spirit of major Musée d’Orsay exhibitions from the 1990s. That spirit was echoed through embedded iconographic references on the walls, mirrored relationships between works, and layered systems of comparison… a dispositif that subtly evokes Aby Warburg’s Mnemosyne panels, whose methodology quietly informs our proposition in Seoul.
It’s a curatorial principle I’m deeply attached to: creating tensions, associations that activate the viewer’s critical thinking. Everyone is free to project their own interpretations. It’s a very Western exercise, but one I found fascinating to transpose into an Asian context.
How was the exhibition received ?
The exhibition was met with strong enthusiasm, both critically and commercially. Sales were solid, supported by a deliberately accessible pricing strategy.
The works—high-quality drawings—were offered starting at €500, a price point below what is typically seen at French salons specializing in works on paper.
We were very mindful of this aspect: offering strong, compelling works at fair prices, in order to build long-term credibility and establish a methodology rooted in trust.
And what about Frieze what’s your takeaway ?
In contrast to the excitement generated by the opening of the new gallery, our participation in Frieze Seoul was more mixed.
In an increasingly uncertain Asian context, commercial results were modest, far from the performance of previous years. It’s also true that our attention was heavily focused on the gallery opening, which may have stretched our resources.
Exposition view Franz Erhard Walther « Les couleurs sont des actions de la lumière… » Galerie Jocelyn Wolff credit Fabrice Gousset
Paris / Matignon: How have your peers responded ?
We’ve received a very positive response from our peers and the professional art world, quite a contrast to our previous locations. In Belleville, our presence was sometimes met with suspicion, particularly around the issue of gentrification. In Romainville, the challenges were more related to our complicated relationship with the landlord, despite our best efforts. We also felt a lack of support from the local ecosystem. That said, the community built by the galleries at Komunuma remains a deeply enriching human and professional experience.
At Matignon—an emblematic district of the Paris art market, our arrival resonated with an established clientele, network, and identity.
The Franz Erhard Walther solo show: a landmark event
A rare presence in Paris, all the more meaningful as the artist, now 86, traveled to the city to personally oversee the installation and remained closely involved throughout the opening week. It was truly special to have him with us, he was deeply pleased with the experience.
The exhibition also echoes institutional programming, as the Bourse de Commerce – Pinault Collection prepares to unveil a major show dedicated to Minimalism. It’s a timely moment to spotlight Walther’s foundational role in the development of that movement—one could argue that, by the very definition of the term, he belongs within such a narrative.
Practical Infos :
Art Basel Paris
October 23-26, 2025
https://www.artbasel.com/paris
Currently at the gallery :
Franz Ehrard Walther
Les couleurs sont des actions de lumière…
Jusqu’au 29 octobre
https://www.galeriewolff.com/media/pages/exhibitions/les-couleurs-sont-des-actions-de-la-lumiere
At Seoul :
Heute Nacht geträumt
Dreamed Last Night
September 2 – November 7, 2025
Address
1F, 6 Dokseodang-ro 29-gil, Yongsan-gu, Seoul (Hannam-dong)