Dieter Buchhart on art, science, and luxury collaborations

Dieter Buchhart has long been building a curatorial practice that blends rigorous research with an unwavering commitment to accessibility at the intersections of art, science and culture. With dual doctorates in the sciences and art history, Buchhart’s approach to exhibitions takes place through layered narratives, shaped as much by precision as passion. His philosophy is clear: Exhibitions exist for the audience, and the work of the curator is to bring together the finest works with the sharpest concepts, ensuring each show resonates beyond its walls. From an early introduction to art through his father, Buchhart’s career has been driven by a connection to creativity and a desire to explore how culture shapes, and is shaped by, society. This perspective has guided projects ranging from major cultural retrospectives to intimate collaborations across fashion, design, and luxury. He is particularly interested in the convergence of disciplines, where branding, art, and fashion overlap to create new forms of conversation. In this interview with Jing Daily, Buchhart reflects on the influences that shaped his vision, the role of sustainability and globalization in today’s art world, and the evolving relationship between institutions and luxury brands. He also looks ahead to upcoming projects, including a highly anticipated Basquiat exhibition in Seoul this fall. Jing Daily: Can you share a bit about your journey? What drew you to your discipline initially, and how has your background influenced your creative perspective? Dieter Buchhart: Art has been an integral part of my life since childhood, constantly surrounding me and shaping my perspective. From the age of three or four, my father introduced me to a wide array of artworks, immersing me in art from an early age. This exposure not only made me deeply familiar with artistic expression but also played a crucial role in shaping my perspective. From an early age, I knew that my passion for art would guide my path, making it not just an interest but a lifelong pursuit. I studied science — molecular biology, immunology, biochemistry, genetics — as well as art history, and completed two PhDs. Gaining insight into these two distinct systems — science and the arts and humanities — had a profound impact on me. It not only deepened my understanding of the frameworks that shape our world, but also taught me to approach things from multiple perspectives. JD: What is the philosophy, or driving force behind your work? How do you aim to connect with or impact your audience? DB: The exhibitions I am privileged to organize are for the audience, so everything circles around them. Art has the power to transform individuals, shape societies, and influence humankind as a whole — its significance is undeniable. For over 100,000 years, art and culture have been intrinsic to human development, serving as expressions of identity, creativity, and progress. As we move forward, I believe their role will only grow, continuing to inspire, challenge, and connect us in profound ways. JD: How does culture — whether local, global, or personal — play a role in shaping your work and creative vision? What about cultural industries like luxury or art? DB: Branding, fashion, and art have become a significant and evolving theme today. Over the past decade, the convergence of these disciplines has grown increasingly close, sparking a deep interest in their intersection, the creative exchanges they foster, and the inspirations they offer. While our perspective is rooted in a local European viewpoint, it ultimately expands into a broader global vision. JD: Who or what has been the most significant source of inspiration in your career? Have any luxury collaborations or brand partnerships stood out as transformative experiences? DB: First and foremost, always the artists and the designers. Thinking of collaborations, there have been some very powerful ones with luxury brands like LVMH, Dior, Jimmy Choo, Manolo Blahnik, Balmain, or Prada. We’ve also seen powerful collaborations between sneaker companies and artists, such as Vans with Damien Hirst or Nike with Kaws. There is a lot to discover. JD: What challenges have you faced as a creative in your industry, and how have you overcome them? DB: It’s always about passion for us. Of course, there are challenges, misunderstandings, and miscredits, but in the end, everything leads to and emerges from passion, which ultimately brings an exhibition together. JD: How do you balance artistic integrity with the commercial demands of the market — for example, the demands of the luxury industry? DB: This isn’t particularly challenging for us, as we operate on a scientific level, collaborating with leading institutions and renowned artists. Our focus remains firmly on research and artistic integrity, maintaining a clear separation from the commercial aspects. JD: What do luxury brands typically look for when sponsoring museum and art exhibitions? Do their goals often align with those of such institutions? DB: It really depends on the specific project, the nature of the exhibition, and the luxury brand in question, particularly their sponsorship policy. Generally speaking, if a luxury brand chooses to sponsor an exhibition, it’s because there is alignment in values or goals. If there wasn’t, they wouldn’t get involved. JD: Can you share a specific exhibition you curated that involved a luxury brand sponsor? What were the brand’s expectations, and how did luxury influence the project? DB: One example is our Basquiat exhibition at the Brant Foundation in New York, which was sponsored by LVMH. In that case, there were no special requests from the sponsor — it was simply about supporting the exhibition under the usual sponsorship terms. JD: Which luxury brands have shown a long-term, authentic commitment to the arts? What makes their cultural partnerships stand out? DB: I would like to point out LVMH because they are one of the biggest sponsors in the arts globally. They support a wide range of projects — from large-scale “blockbuster” exhibitions to cultural heritage initiatives like the restoration of Notre-Dame in Paris, as well as more experimental art projects. JD: How has globalization affected your work? Do you adapt your projects for different markets (e.g., China, South Korea, Japan), or do you stay rooted in your original vision?DB: For a project to be truly meaningful and successful, it must be deeply attuned to its surroundings — the place, the culture, and the moment in time. Understanding the present context and embracing the nuances of where you are is essential. A concept should never be imposed onto a different culture; rather, it should evolve organically through respect, awareness, and adaptability. JD: What’s next for you? Are there any projects, ideas, or collaborations you’re particularly excited about exploring in the future?DB: Absolutely. The crossover of design, merchandise, and art is a very important theme today, and there are no limits to the possibilities. We are especially excited about doing a Basquiat exhibition in Seoul this fall.

Sectors

Insights

Company

Dieter Buchhart on art, science, and luxury collaborations