A FRANK CHAT WITH MICK NIEUWENHUIS
In our interview with Mick Nieuwenhuis, who presents a curation of contemporary art and collectible design, with a focus on women artists, she gave us an honest look into her world. Mick started as an agent for women artists in 2021 to take part in bridging the gap between men and women in the art scene. We had the great honour of having majestic pieces by the great artist Santiago Pani featured in our listing on the Emmastraat and in our Amsterdam Office.
What inspired you to establish Newhouse Gallery in Amsterdam, and how has your mission evolved since opening in 2021?
Newhouse Gallery was born from a desire to shift the tone of the art world. After working in fashion and media, and going through a personal burnout, I found myself unexpectedly drawn into the art world — initially by supporting one artist, which later evolved into an agency advocating for women artists and, eventually, a gallery. What started as MICK Agence became a space where art, design, and craftsmanship converge. The mission has evolved from artist representation to creating meaningful connections between artists and audiences, disciplines, and within the space itself.
Your gallery represents diverse artists working across various media. What is the connecting element or thread that unites all the art pieces and artists you choose to represent?
The connecting thread is a deep sense of materiality — or rather, the soul within the making. I'm drawn to artists who work with a certain intensity and tactility, whether they create paintings, installations, or collectible design. There has to be a layered quality to the work — something you don’t just look at but truly experience. I also find the personal connection with artists one of the most important things — if we don’t click, it simply doesn’t work for me. My life is deeply intertwined with my work, so it needs to be enjoyable and fulfilling, not filled with constant friction or negotiation.
How would you describe your curatorial approach, and what makes Newhouse Gallery’s perspective distinctive in Amsterdam’s art scene?
My approach is intuitive and relational. I curate exhibitions like storytelling — not just based on aesthetics, but on rhythm and atmosphere. I try to move away from the traditional "white cube" by creating a space that feels warm and intimate. In that sense, Newhouse is perhaps less about impressing and more about inviting. I want people to feel something — to be moved, not intimidated.
Could you share your process for discovering and selecting artists? What qualities or characteristics do you look for when deciding to represent someone?
Most connections happen organically — through other artists, studio visits, or serendipitous encounters. I pay attention to how someone works, how they look at the world. There has to be a certain dedication and a distinct voice, but also openness. I prefer long-term collaborations where there’s room for dialogue and mutual growth. Representation, to me, is a partnership, not just a transaction.
Your gallery recently participated in SCOPE Miami with Lotte Ekkel and Sanne Terweij. How do you approach creating meaningful dialogues between different artists’ works?
I see exhibitions as choreographies. It’s not just about showcasing individual works but about how pieces speak to one another. With Lotte and Sanne, that dialogue emerged naturally — they both have a sensitivity to material and to the ephemeral. Their work began to converse without me needing to force it. That’s always the aim: to create context, not contrast. More and more often, collectors end up buying the combination of works, which to me feels like the highest compliment to my curatorial process.
The art world can be notoriously exclusive. How does Newhouse Gallery work to create a more accessible and welcoming environment?
To me, accessibility doesn’t mean lowering the bar — it means raising empathy. People feel when they’re genuinely welcomed, when someone is actually listening. I put a lot of thought into how people feel in the space. No jargon, no pretension — just openness, depth, and room for wonder. Art should be something you can connect to, whether you're a seasoned collector or just curious.
After traveling to art fairs from Amsterdam to Basel and Shanghai, what have you learned about the global art market that has influenced your gallery’s direction?
Every city has its own codes and context, but ultimately, it always comes down to connection. I’ve learned that the most impactful presentations are those rooted in authenticity. Not the biggest booth or the flashiest concept, but the story that rings true. I try to carry that with me in everything I do, even in more commercial environments.
Is there a particular exhibition or artist collaboration since opening that has been especially meaningful to you, and why? Every artist collaboration requires its own rhythm — each connection has a different kind of energy, a different way of existing. I try to approach each one with openness and curiosity. That said, the first solo exhibition we hosted and opened last weekend, with Matthew van Liessum, was particularly meaningful on a personal level. It felt like a real milestone for the gallery and for me as a gallerist. A solo show is a commitment, a statement — and honestly, I found it both terrifying and exciting. You're making a choice and putting something out into the world without knowing how people will respond. It also reveals your taste and vision in a very exposed way, which makes it feel both vulnerable and incredibly rewarding.
PAREIDOLIA 4 - Santiago Pani (2024) on Emmastraat 38B.
How do you balance the business aspects of running a gallery with maintaining your creative vision and supporting artists?
For me, the business side is part of the creative process — it’s about finding ways to sustain the vision without compromising it. I’m fully aware that growth requires financial stability, and I do engage in commercial activities to keep the gallery running. But I always try to do so in a way that aligns with my values. Success, for me, isn’t just about numbers — it’s about depth, consistency, and creating meaningful opportunities for the artists I work with. It’s a constant negotiation between what’s necessary and what feels right, and that tension often leads to the most thoughtful decisions.
What new directions or initiatives are you most excited about as Newhouse Gallery continues to grow?
I’m especially excited about exploring the space where disciplines meet — where art, design, and material research blend into something new. That openness allows for unexpected connections and richer stories. A great example is our upcoming presentation during Amsterdam Art Week (20–25 May), where we’ll transform the gallery into a kind of underwater world. The central installation by Sandra Keja Planken will be surrounded by works from Santiago Pani, Rive Roshan, Sanne Terweij, and others, highlighting themes of care, ecology, and the fragility of our oceans, especially coral ecosystems. It’s this kind of collaborative, immersive storytelling that I want to explore further as the gallery grows.
How do you envision the relationship between physical gallery spaces and digital platforms evolving, and how is Newhouse Gallery adapting to these changes?
Digital platforms are an extension, not a replacement. I use them to share stories, give glimpses into the process, and invite people in. But the physical experience remains irreplaceable. You need to feel a work — how the light touches it, how it breathes in the space. That kind of presence can’t be replicated onlin
What topic are we not talking about that should be talked about more?
Mentorship. In a world obsessed with visibility and speed, we often overlook the value of guidance, time, and passing on knowledge. Both artists and galleries benefit from a culture of sharing rather than competing. That’s something I’d love to see more of and be part of myself.