Interview Directory 

ART

Name: Timo Miettinen

Chairman EM Group Oy, art collector

Did you begin collecting landscape paintings in the 1970s?

As a child, I collected stamps and coins. My mother began acquiring Finnish landscape and floral paintings, and as my father was often occupied with his business, I accompanied her to auctions and galleries, offering my opinions on her choices. One of our first significant acquisitions was a landscape painting of a Finnish lake with rocks and forest. Later, André Butzer became the first German artist whose works I collected. 

Did you share your mother’s taste?

Indeed, very much so. My mother collected as a hobby, and I was captivated by it. It was only 25 years ago, when I purchased an apartment in Helsinki and sought to transform my life, that I began collecting seriously, developing an interest in international art and acquiring works accordingly. 

“When the walls of my apartment could no longer accommodate my collection, and works began to be stored, I had to acknowledge, somewhat unexpectedly, that I had become an art collector.” 

When did you realise that your passion had become a serious pursuit?

When the walls of my apartment could no longer accommodate my collection, and works began to be stored, I had to acknowledge, somewhat unexpectedly, that I had become an art collector. In Berlin, I met curators, gallerists, art advisors, and collectors like Florian Peters-Messer. Through him, I was introduced to the international art world. Florian, with whom I share a friendship, has co-curated the current Philara exhibition alongside Linda Peitz. 

Leiko Ikemura, Reclining Face Orange, 2008, Tempera Leinen, 50 x 60 cm, © the artist, Courtesy Miettinen Collection

Secundino Hernández, Lupis Ipsum #1, 2013, Gouache, Acryl, Harz. Öl auf Leinwand, 130 x 90 cm, © the artist, Courtesy Miettinen Collection

“The cultural and social connection between Germany and Finland is very dear to me.” 

How did this special connection to Germany develop?

The cultural and social connection between Germany and Finland is very dear to me. My parents spoke fluent German, and it was my first foreign language at school. Over the past 60 years, I have frequently visited Germany, as well as Switzerland and Austria, and lived in Lüdenscheid and Baden-Baden. In the 1980s, I was often in Düsseldorf, fostering numerous social, professional, and personal ties. 

What are your thoughts on Germany and its people?

Life in Germany is not markedly different from Finland or other Nordic countries. Germans are reliable and somewhat more reserved than Spaniards or Italians. I now cherish the Mediterranean, spending part of the year in Capri, but my fond memories of West Germany, the former Federal Republic, endure. 

Was that before the fall of the Berlin Wall?

Yes, I first visited Germany in the 1960s, as well as the 1970s and 1980s. I lived in Lüdenscheid during that time, as we collaborated with a German company. I only came to know Berlin from 2005 onwards. 

Design also plays a significant role in your life, alongside art.

Leading a company is a creative process. Developing new products or marketing them internationally has always fascinated me. Our company, OPA Oy, produced stainless steel household goods and electrical distribution systems. I was particularly interested in design in the context of household products, which I managed for several years. We prioritised design quality, collaborating with Rosenthal and Finnish designers. Design remains an important part of my daily life. 

How did you meet Gil Bronner, and how did your collaboration come about?

Florian Peters-Messer introduced me to Gil Bronner. Through my frequent visits to Düsseldorf, I became acquainted with his collection and observed how he makes it accessible to the public. We shared a mutual interest, and a few years ago, we decided to collaborate. My collection, with its Finnish flair, is now on display in Düsseldorf, while the Philara Collection, with its Rhineland accents, is exhibited in Berlin from late April until the end of July. 

“Private collections and foundations should collaborate more, as this benefits the art, the artists, and, most importantly, the public.” 

Why are such collaborations important?

Private collections and foundations should collaborate more, as this benefits the art, the artists, and, most importantly, the public. My collection comprises around 2,000 works, but in our premises at Marburger Straße 3 in Berlin, despite the size of the Gründerzeit building, I can only display a small portion. Collaborations with like-minded individuals allow the art to be shown in other venues, making it accessible to a broader audience. A museum of my own would be ideal, but it is beyond my means. 

How do you manage your collection activities between Berlin and Helsinki?

In addition to my role as a “salonnier” in our Berlin house, our family maintains a townhouse in Helsinki, where our Family Office is located. There, we occasionally curate exhibitions. The next one, curated by my daughter Anna, opens at the end of August. I am eager to see how her generation interprets the collection and which aspects she highlights. These business premises, however, are not open to the public. 

Your collection is notably diverse. How has it evolved? What followed your interest in Finnish landscape painting, and what is your favourite work?

After Finnish landscape painting, I turned my attention to international contemporary art. I deeply admire Leiko Ikemura’s works, whom I have known personally for over a decade and whose art I collect with great interest. If I had to choose a favourite, it would be one of hers. Reclining Face Orange, a smaller painting executed in tempera on linen with a distinctive technique, is the key visual for my current exhibition in Düsseldorf and one of my most cherished works. 

Secundino Hernández’s interpretation of the Twelve Apostles and Jesus Christ, inspired by El Greco, also impresses me greatly. We have around 70 of his works in the collection. These are two central figures in my collection, prominently represented in Düsseldorf alongside numerous German and Finnish artists. 

You did not study art or art history. Why is it important to you to engage so deeply with this field?

Engaging with art is essential to my life. Being a collector also entails a responsibility towards the artists whose works I acquire. I consciously chose art and, in doing so, embarked on a new chapter of my life. I visited exhibitions, travelled abroad, met Finnish and German artists, and over 25 years, I grew into the art world. 

Anselm Reyle, Untitled, 2012, Mixed Media auf Leinwand, Acrylglas, 182 x 122 x 21 cm, © the artist, Courtesy Miettinen Collection

Installationsansicht „WHERE ARE WE NOW. Highlights der Miettinen Collection in der Sammlung Philara, Düsseldorf”, Sammlung Philara, 2025, Foto: Kai Werner Schmidt

You run an artist residency programme?

Yes, I have done so in Berlin for many years, and now at my house in Anacapri, near the Blue Grotto, where I spend three months each year. I invite artists to stay for one to two weeks to draw or paint. I plan to present an exhibition of these works in 2027 in Italy, Helsinki, and Germany. 

Which artists are coming to Capri?

This year, they include Adam Lupton, Leiko Ikemura, Zohar Fraiman, and Anna Retulainen. 

Do you buy and sell artworks?

I rarely sell, having parted with only a few works to acquire pieces by younger artists, thereby supporting their development. My aim is to evolve the collection and provide greater visibility for artists and their works. 

“I see myself as a cultural ambassador for Finland, collaborating with the Finland Institute and the Embassy in Berlin. In essence, I am a ‘salonnier’.” 

How do you view the role of your collection in an international context, and which social, cultural, or political themes does it address?

I see myself as a cultural ambassador for Finland, collaborating with the Finland Institute and the Embassy in Berlin. In essence, I am a “salonnier”. My salon aims to foster cultural dialogue through music and art. Art should be accessible to all. In challenging times, landscape or floral paintings can offer an escape from reality. Yet, I also value politics and follow international developments closely. One room in the Philara exhibition addresses war and protest, such as Felix Dröse’s abstract work on the Yugoslav crisis of the 1990s. Gender issues are also represented, for instance, through works by Tom of Finland. Art is about beauty, but it also serves as a medium to reflect on societal issues and share diverse perspectives. For me, collecting art is a form of social engagement.