A stroll through the Lindenau district of Leipzig is a must for any art lover in town - not least because it is home to the art movement known as the New Leipzig School, which is centered around ateliers located in an old cotton mill.

There, Neo Rauch and his contemporaries employ a unique blend of Socialist Realism to create distinctive and thought-provoking works of art.

The D21 gallery - located just a short distance form the mill - embodies typical German suburbia, on the other hand. There is a theater across the street, but in general the neighboring businesses reflect the necessities and habits of modern life: a pharmacist, two bakeries, and a pet shop.

"We consciously moved here three years ago," said curator Michael Moser, 35. "In this underdeveloped area there is the possibility of creating something new. We want to build a counterbalance to the hype surrounding the Leipzig School and sought to create a gallery in this non-commercial district."

The formula has proven to be a success. Slowly but surely the district of Lindenau has been developing. Whoever takes the trouble to explore the neighboring side-streets will stumble across half a dozen other small galleries which owe their existence to D21.

D21 relies on volunteers

The 85-square-meter (915-square-foot) gallery derives its name from its address, Demmringstrasse 21 - a location steeped in local history.

"This used to be a hair salon, but that is going back a long way," said 24-year-old gallery volunteer Regine Ehleiter. Going even further back, the building was once a guardhouse dating from the industrial revolution.

After renting the space, Moser and his team spent the first few months preparing the building, plastering the walls, and tearing out the old ceiling.

"That was a really tough job, and that's why we don't pay rent, just 300 euros ($427) a month for electricity, water, and any other costs that come up," Moser and Ehleiter said. If the price was any higher, the project would be jeopardized.

The non-profit group of artists responsible for financing the gallery consists of 30 members, including seven dedicated curators. Some of them support the project financially by paying a 30-euro membership fee, while others choose to donate their time.

"We need both kinds of people," said Moser.

Funding is crucial

Moser is a photographer and Ehleiter an art student. Most of the other members are also students. Those able to spare time and lend a hand are asked to watch over the exhibition room, advertise the gallery by word of mouth, and help out with the general upkeep.

The group aims for five to six exhibitions a year, but that is dependent on the financial grants it received from the city of Leipzig, and from the regional and federal governments. Michael Moser considers the grants "recognition of our work and as a sign that we are doing a good job here."

Since the members of the association work on a voluntary basis, all of the grant money can be pumped into financing the exhibitions. Organizing a single show can cost up to several thousand euros, including expenses for travel and transport of the artwork, redecorating the gallery space, printing flyers and royalties for the participating artists.

Windows open doors to art

The gallery members don't display their own works in the exhibition space, but look for promising, young artists from around the world who would not otherwise have a presence in Leipzig. Exhibitions of individual artists are a rarity, as D21 prefers to organize thematic shows that highlight works by several up-and-coming artists.

"We want to display art that would otherwise not receive a platform," explained Regine Ehleiter. "We have also sold paintings, but nothing worth mentioning."

Passing trade is practically non-existent as "most residents in the area do not dare enter, even when the door is left wide open," said Ehleiter. "To change this, we take advantage of the building's large windows and try to draw people in to create a customer base. The windows are a tool that can be used to communicate with the public."

There is no intention of ever letting D21 become a commercial gallery, even in the distant future. For Ehleiter, the gallery is not about turning a profit: Her reward is measured in a different currency.

"I profit by simply working here. No seminar in cultural management would be able to teach me what I have learned in the previous three years working here."

Authors: Ronny Arnold / Andrew Shale

Editor: Kate Bowen