A potential agreement between the Hilma af Klint Foundation and mega gallerist David Zwirner stands to separate the artist’s work for profit. The family of the Swedish artist oversees her foundation, which is responsible for the preservation of her artwork and legacy.
A proposed deal between the foundation’s board and Zwirner would likely lead to further commercialization and distribution of af Klint’s works which, according to family members, goes against her personal wishes as well as the statues of the foundation itself.
The statutes state that the series, “Paintings for the Temple” (1906–15), with a total of 193 works, cannot be sold; other works, however, can be sold in order to preserve those remaining pieces.
The artist’s great-grandnephew and chair of the board, Erik af Klint, has described the move as “a hostile takeover.” The board is comprised of four additional members who do not share his views and are in favor of the proposal. “The first paragraph of the statutes says the board needs to ‘care’ for the work and now they’re selling it off,” he told the Guardian.
Internal tension is not new for the af Klint foundation, which has been embroiled in legal battles since it was set up nearly 30 years ago following the artist’s passing in 1944. In recent years, there have been a number of cases and accusations of attempting to profit from af Klint’s rise to fame.
For his part, Zwirner, who is known for spearheading one of the largest global enterprises of its kind, claims, “The family members are operating against the best interests of Hilma af Klint.” Zwirner told Artnet News, “This is a power struggle within the board—we have a standoff between the four board members and one board member who is trying to sabotage them.”
Zwirner says proceeds from the sales of af Klint’s works would be invested back into the preservation of the 1,300 pieces under the foundation’s care in Sweden. Additionally, Zwirner would offer a solo exhibition at the gallery next year, as well as new research on af Klint’s work and publications memorializing these efforts.
Due to the spiritual aspect of the paintings, however, Erik, along with the former foundation chair and the artist’s great nephew, Johan af Klint, have argued that they need to be kept intact. Most of the work is in the possession of the foundation, as opposed to private collectors or institutions.
“We will not comment on the work being carried out within the foundation’s board, other than to express regret that confidential information and drafts are being leaked and discussed, as this harms the foundation’s reputation,” a spokesperson for the foundation said.
There was allegedly an unsuccessful attempt to sign an agreement with Zwirner last week. Zwirner has overseen the sale of af Klint’s work so far and, if signed, would become the gallerist for the foundation. A spokesperson for the gallery confirmed with ARTnews, that they are still in “advanced discussions” with the Hilma af Klint Foundation working towards collaborative representation.
