Galila Barzilaï-Hollander’s journey into contemporary art began unexpectedly after her husband’s passing when an emotional connection to a single piece at New York’s Armory Show in 2005 sparked a lifelong passion. Guided by intuition rather than market trends, her collection spans over 2,000 artists and celebrates dialogue, creativity, and universal connections. In this interview, she shares how her space P.O.C. (Passion, Obsession, Collection) in Brussels has become a tool for well-being and her hopes for its future.

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viennacontemporary: How did your collection journey begin?

Galila Barzilaï-Hollander: My story is unique because I never intended to start a collection. My late husband was passionate about antiquities, and that was our world for 30 years. After he passed in September 2004, I faced a difficult time in March 2005, with his birthday and our wedding anniversary approaching. To distract myself, I traveled to New York, where I stumbled upon an ad for the Armory Show. Naively, I assumed it was an exhibition on armor! Once there, I realized it was a contemporary art fair. It took me 20 minutes, then I bought my first work by Tom Fowler. The piece immediately connected with me: “WHY?” written 11,522 times in ink. It mirrored my inner turmoil. I took it directly with me.

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viennacontemporary: And that was the start of you being a collector?

Galila Barzilaï-Hollander: I always describe my contact with contemporary art as a rebirth. That moment awakened something dormant within me. As I walked through the fair, I felt not just comfortable but as though I belonged. I didn’t understand the market—I acted like a complete novice—but people were very kind to me. I quickly grasped some essential points.

While I didn’t have the knowledge, I probably had the “eye”; the concept of quality is universal.

It quickly became an addiction—my first ever. I began attending fairs worldwide, from Europe to the Far East. Curiosity and intuition guided me, and I trusted my gut feeling.

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viennacontemporary: So your approach to buying is an intuitive one?

Galila Barzilaï-Hollander: Absolutely. For me, it’s about whether the work resonates personally. Until today, I first decide to buy a piece, then I ask about the price, and only after that do I ask about the artist. I don’t want to be swayed by names or reputations.

The three mistakes I made in my 20 years of collecting were because I listened to other people. Curators advised me against certain artists, and today I can’t afford their work because they’ve become so successful. So I decided I’d rather make my own mistakes.

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viennacontemporary: Over the years, you have gained quite some experience. Has your approach changed since then?

Galila Barzilaï-Hollander: I continue to say I’m not knowledgeable, and I don’t feel that I’ve changed dramatically in my approach. Maybe I’ve become a little more sophisticated, but there are works I wouldn’t buy today. That said, I’ve never sold a piece. Each work is part of my story, part of the family. You wouldn’t give away a child just because they’re different. Every piece finds its place in the collection, like a less polished sibling shining beside a clever brother.

My collection includes artists of all levels: final school works, mid-career talents, and blue-chip names—but I don’t display name labels. Each piece exists in dialogue with the others. It’s about respect, listening, and opening your mind to different perspectives.

I have three small monochrome chairs with collages of objects. I bought them for a ridiculously low price and later discovered they were made by kindergarten kids. But no curator or museum director who visits my space has ever noticed. They fit seamlessly, communicating with the other works. This proves how biased our perceptions can be when we have too much information.

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viennacontemporary: How would you describe your collection?

Galila Barzilaï-Hollander: I don’t follow a specific line, but the collection is a non-verbal image of me. It’s like a puzzle—every piece has its specific place, and when the puzzle is complete, it forms an image. Often I feel like the pieces have found me. My collection is about life, relationships, choices, connections, living together, and dialogue. The messages are universal, and visitors often feel an immediate connection. They don’t have to like everything, but they leave feeling happy and inspired.

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P.O.C. – Credits: Diego Ravier

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viennacontemporary: Tell us about your space P.O.C. (Passion, Obsession, Collection).

Galila Barzilaï-Hollander: I work in real estate and bought the building 17 years ago when the area was run-down, planning to sell later on for a profit. In the meantime, I gave it to a group of curators rent-free to create studios for artists and designers. Later, after showing my collection in institutions and experiencing demand for more, I decided to renovate the building in order to share my collection and support young artists.

In 2019, I received an unexpected request from the patrons and friends of the Guggenheim Museum to visit my collection. The precise date they chose—March 13—was surprisingly my late husband’s birthday. It felt like a message, and I couldn’t say no. We rushed to finish renovations, and I curated the first exhibition myself, naming it “Overdose.”

Until today, the title remains unchanged, as it has acquired a deep meaning. I never remove a work from the original exhibition—I only add more and more! Yet, no visitor has ever experienced an indigestion! (laughs)

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viennacontemporary: What are your hopes for the collection’s future?

Galila Barzilaï-Hollander: My main concern is what will happen to the collection after me. There is a general acknowledgment of its social and educational role. It opens minds to creativity, problem-solving, understanding, and many human aspects. People say it should remain a place for the public. I’m not a museum and don’t have the structure to create one, but I hope it can continue serving as a space for creativity and inspiration.

In the meantime, I tell myself I should buy less art. Every 31st of December, I swear I won’t buy any more art. But each year, I still do. I don’t know what will stop me. Maybe I should put myself in prison, or on an isolated island without internet. (laughs)

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viennacontemporary: We hope you find a good solution. It sounds like a truly inspiring space – a testament to the transformative power of art, without an attitude.

Galila Barzilaï-Hollander: Thank you. I feel it resonates with people. After participating in last year’s talk at viennacontemporary, visitors told me they really identify with my intuitive, ‘naive’ approach to art. Many people don’t dare to express it, but I think it relieves them of the pressure to appear extremely knowledgeable or sophisticated. Art is for everybody.