In the heart of the Engadin Valley, theStable stands quietly yet with conviction—a place where contemporary art finds belonging amid the clarity of mountain light.
Founded by Fritz Steinhart in 2022, the gallery is housed in a converted barn in S-chanf, a setting where raw timber and open skies meet the precision of conceptual thought. Both rooted and outward-looking, theStable cultivates dialogue between Swiss and international voices with understated confidence.
Here, art is not an intervention but a conversation—a natural exchange with the surrounding landscape and community. Steinhart’s curatorial vision harmonizes rigor with empathy: he builds lasting relationships with artists, curates exhibitions that engage transformation in both material and idea, and positions the gallery not only within the Engadin, but in thoughtful dialogue with the global art world.
In the conversation with Whitewall that follows, he reflects on theStable’s founding aims, its architectural spirit, and the trio of current exhibitions by Michael Fanta, Jacob Ott, and Clemens Wolf—as well as his recent curatorial project “sans mélo” in Zürich—offering a vision of a gallery that is present, probing, and always unfolding.
Fritz Steinhart, founder of theStable, S-chanf. Photo courtesy of theStable.
WHITEWALL: When you founded theStable in 2022, what vision guided you, and what did you hope it would contribute to the cultural fabric of the Engadin?
FRITZ STEINHART: Initially, we focused on presenting artists born after 1989. Starting with a young program meant that our well-trained clientele encountered exhibitions and works they hadn’t seen before. Offering younger artists a stage and challenging both their perception—and my own—of the traditional gallery model was something visitors appreciated.
I deeply admired the quality of exhibitions hosted by the more established galleries in the valley, and this admiration only strengthened my motivation. The collegial spirit among these galleries, all members of the Engadin Art Guide association, was something I wanted to support in every way I could.
WW: The gallery inhabits a former barn, where the rustic and the contemporary coexist. How has the architecture and atmosphere of this place shaped your approach to curating exhibitions?
FS: When we first started out, we exhibited only in the open barn, which meant spending each morning and evening moving the works between the barn and the house to protect them from the elements.
Once the gallery’s conversion was completed, we chose to keep the barn for sculptures and more robust pieces. I generally try to keep a low profile when curating—the artists I have the privilege of working with often see the unorthodox space as a challenge and respond with the most fascinating ideas.
“The artists I have the privilege of working with often see the unorthodox space as a challenge and respond with the most fascinating ideas,”
Fritz Steinhart
WW: You’ve emphasized working closely with artists and fostering enduring relations. How do you see that role, and how does it extend beyond the exhibition walls?
FS: As a general rule, I see myself as a vessel of support—hosting challenging exhibitions and presenting meaningful works. At times it feels like a caretaker’s role, though often it feels as if I am the one being cared for. I consider myself extremely fortunate that most of the artists I work with are also people I get along with beyond the rhythm of exhibition schedules.
Ultimately, as a gallerist, and beyond the gallery walls, I see myself as a facilitator—someone supporting each artist’s ecosystem in whatever way I am capable, and in whatever way is needed.
New Exhibitions and Vibrant Dialogues at theStable
Installation view of Sophie von Hellermann at theStable, S-chanf. Photo courtesy of theStable.
WW: theStable is currently presenting exhibitions by Michael Fanta, Jacob Ott, and Clemens Wolf. What drew you to bring these voices together, and what dialogue did you hope might emerge between them?
FS: Michael Fanta is a phenomenal painter I’ve been fortunate to work with since the first year of theStable. I discovered his work through another great artist, Costanza Chia, who spoke of him with immense admiration. His emotionally charged paintings, impeccable technique, and relentless pursuit of quality immediately drew me in.
I met Jacob Ott through Baldassarre Ruspoli, another artist who presented a beautiful exhibition with us last winter. Jacob is remarkably versatile—his practice spans impromptu performances, monumental installations, orchestral collaborations, painting, and drawing. His energy and ability to captivate viewers are a refreshing breath of air that I thoroughly enjoy.
Installation view of Baldassarre Ruspoli at theStable, S-chanf. Photo courtesy of theStable.
Clemens Wolf and I have worked together since the very beginning. The first work of art I ever sold was one of his blue pigment paintings. After more than five years away from his figurative style, having him return to portray the Morteratsch Glacier cave was truly special. Clemens has an extraordinary sense of materiality and an uncompromising eye for quality. We’ve stayed in close contact over the years, and I’ve always wanted to present another exhibition of his work.
From the outset, it was important to me that the three exhibitions by Fanta, Ott, and Wolf remain completely distinct—three individual solo exhibitions in dialogue through proximity rather than design.
Installation view of Clemens Wolf at theStable, S-chanf. Photo courtesy of theStable.
WW: Taken together, these exhibitions seem to engage with states of transformation—whether through psychogeographic wandering, fragile equilibria, or the paradox of “glacial time.” Do you see transformation as part of the gallery’s identity?
FS: That’s an interesting and very valid point. There certainly is a sense of transformation with each exhibition. For the gallery, I believe transformation is not only inevitable but integral to its growth and evolution. Adaptability, resilience, and endurance are, in many ways, the cornerstones of the gallery’s (hidden) identity.
Curating on the Global Stage and Nurturing Artists
Installation view of Yves Scherer at theStable, S-chanf. Photo courtesy of theStable.
WW: In addition to your Engadin program, you curated “sans mélo” in Zürich, bridging artists across generations. How do you envision the relationship between being rooted in this Alpine context and extending outward into international dialogues?
FS: Curating “sans mélo” was a true honor. Working alongside the team at Thomas Ammann Fine Art was an incredible experience. While I don’t usually seek out the international stage, there are moments when it feels extremely beneficial for the artists—to step beyond the mountains and try new things, especially in collaborative settings. Participating in art fairs also broadens the gallery’s international viewership, and I’m very much looking forward to Art Cologne this coming November.
“While I don’t usually seek out the international stage, there are moments when it feels extremely beneficial for the artists,”
Fritz Steinhart
WW: Looking ahead, what future do you see for theStable? What excites you most about its direction?
FS: I hope to continue supporting and nurturing the artists I work with. Seeing them grow and achieve success after success is a joy. I try to take things as they come—it may sound cliché, but I find that I’m enjoying the journey most of all. What excites me most is curating challenging, ambitious exhibitions, working closely with artists, and presenting their strongest works.
