Zanzibari doors. The largest and earliest of
these was collected in the 1930s, while the
remaining four were acquired in 1945 by the
Modernist architect Norman Eaton. On Eaton’s
death in 1966, two of the doors were bequeathed
to artist Alexis Preller, who built his own
mudhif to house them, referring directly to
the ancient tradition of the reed guest houses
created by the Marsh Arabs of Iraq.
Preller died before the doors were ever
installed, and they were auctioned off and
disappeared from knowledge. Then, many
years later, Karel tracked them down, and they
became the inspiration for his studio. This
is where Karel prepares for his exhibitions,
surrounded by a collection of historical, sacred
objects made by artists from around the world.
In light of this collaborative energy, we
wanted to see how Karel’s closest colleagues
and friends view his home, in order to better
understand its importance. Fashion designer
Marianne Fassler and visual artist Joni Brenner
share their thoughts and memories with us.
MARIANNE FASSLER
‘I remember when Karel lived in a tiny room in
his parents’ home, which is still on the property.
He has been a collector for years, but I had no
concept of just how much he had accumulated
until it was “revealed” in the larger space.
‘My overriding memory is not necessarily
the bricks and mortar of the building. It is
the warmth and glow of the long dinner table,
and the delicious vegetarian dishes Karel
conjures up in his all-black kitchen. I have
many memories of the conversations around
that table, of the people who stay over on that
Mies van der Rohe daybed. They are scientists,
astronomers, photographers, protectors of apes,
and collectors of fossils and stars.
‘Karel has an eye and a heart. I remember
when he acquired the library of a friend fallen
on hard times, and installed it in the entrance
of his home. I remember the times we cried,
the times we bowed our heads and the times we
laughed and celebrated. I remember the giant
leaves, the single frangipani flower, the sprig of
prunis in a vase. I remember the solitary futon,
the Eileen Gray screen, the altar around the
bed, and the projected consciousness and inner
journeys while dreaming in this bedroom.’