Dutch photographer Erwin Olaf was a pivotal figure in the realm of photography, with a style that synthesized fine art, fashion, and commercial visual elements, resulting in highly recognizable, even iconic images. Over the past decade, Olaf has been the subject of dozens of solo exhibitions around the world, solidifying his place as one of the most influential photographers of his generation.

A longstanding champion of the artist’s work, Galerie Ron Mandos is currently presenting a dual-artist show that places Olaf’s work in dialogue with conceptual artist Kendell Geers, “Tender Fury,” revealing new connections and parallels between the two artists’ approaches to themes like intimacy, activism, and personal and collective histories.

Mandos himself maintained a close personal relationship with Olaf, and following the artist’s untimely death in 2023, has played a significant role in propagating the artist’s legacy. Timed to the present exhibition, we reached out to Mandos to learn more about his experience working with Olaf as well as the ongoing projects that center on the artist.

Left: Ron Mandos (2025). Photo: Feriet Tunc. Right: Erwin Olaf (2021). Courtesy of Galerie Ron Mandos.

When did you first encounter the work of Erwin Olaf, and what was your impression?

I first encountered the work of Erwin Olaf in the early 1990s at an exhibition at the Kunsthal Rotterdam (1993–94). It was a revelation. His series “Joy” (and especially the photograph Joy, showing a naked young man exuberantly opening a champagne bottle) felt radical. At a time when the AIDS crisis cast a shadow over the queer community, he dared to depict unapologetic queer happiness. It was sensual, provocative, but also political: a statement that joy would not be erased by fear. Later exhibitions at the Groninger Museum reinforced this impression. His appearance on the television show Zomergasten in 2010 revealed the activist behind the work: thoughtful, sharp, bold, and unyielding in defending LGBTQ+ rights.

Erwin Olaf, Im Wald – Auf dem See (2020). © Erwin Olaf Estate. Courtesy of Galerie Ron Mandos.

On a personal level, how would you describe your relationship with Olaf? When did you first meet and begin collaborating?

Although I had admired Erwin Olaf for many years, 2019 was a true turning point. That year, he had two major institutional moments: “12 x Erwin Olaf” at the Rijksmuseum and a large survey at the Kunstmuseum Den Haag. After these milestones, he was reflecting deeply on legacy and whether it was time to slow down.

Our formal collaboration began in 2020, during the pandemic. Around that time, he had been invited by Kunsthalle München and spent time in the Bavarian Alps, immersed in the forests. There, surrounded by overwhelming natural beauty, he conceived “Im Wald.” He had considered retiring after The Hague, but instead he said to me: “I will show ‘Im Wald’ with you, and I will give myself another ten years, but only in total freedom. No commissions. No boundaries.” That was the foundation of our partnership.

Left to right: Ron Mandos, Hans van Manen, and Erwin Olaf (2022). Courtesy of Galerie Ron Mandos.

How has Olaf figured into the gallery’s exhibition program? Which shows do you consider most significant?

Erwin Olaf became central to our program from 2020 onward. Our first exhibition together was “Im Wald,” presented during the pandemic. Despite the circumstances, it was very well received. Visitors responded well to the introspection of the series; at a moment of global uncertainty, Erwin’s attention to nature felt timely and sincere.

One exhibition that remains a personal favorite is “Dance in Close-Up: Hans van Manen seen by Erwin Olaf” (2022), which honored his long friendship with Hans van Manen and brought dance and photography into a thoughtful dialogue.

More recently, “Nowhere but the Night” (2025–26), curated by Gemma Rolls-Bentley and inspired by his life and work, brought together international artists in conversation with his themes of queer community and freedom.

Currently on view is “Tender Fury” (2026), pairing his vision with that of Kendell Geers, underlining how his work continues to challenge and inspire.

Erwin’s work is bold and theatrical, but it always holds space for exchange. That dialogue is essential to our program.

Installation view of ““Erwin Olaf – Freedom” (2025–26). Artworks © Erwin Olaf Estate. Photo: Peter Tijhuis. Courtesy of Galerie Ron Mandos.

What was your role in the retrospective Freedom at the Stedelijk Museum Amsterdam?

The retrospective “Erwin Olaf – Freedom” at the Stedelijk Museum Amsterdam was an important moment, not because of any single person, but because it honored what Erwin stood for: freedom, visibility, and resistance to intolerance. The exhibition was shaped by curator Charl Landvreugd in close collaboration with the estate, bringing together iconic works, lesser-known images, and archival material to reflect the full scope of his artistic and activist practice.

A presentation at the Stedelijk had been a wish Erwin carried throughout his career. Although he exhibited internationally at many leading institutions, this recognition in his own city had particular meaning for him.

In that context, my role was supportive and connective. I have long advocated for Erwin within institutional settings, and after his passing, I remained closely in dialogue with Shirley den Hartog to help facilitate communication with the museum. Our curator, Lars Been, contributed to the catalogue, and we are grateful we could play a part in realizing something that mattered deeply to him.

Cover of Erwin Olaf Magazine (2025). Courtesy of Galerie Ron Mandos.

Can you tell us a bit about the mission of the Erwin Olaf Foundation, as well as the development of Erwin Olaf Magazine?

The Erwin Olaf Foundation plays a crucial role in safeguarding and activating Erwin’s legacy beyond simply archiving his work. The Foundation supports initiatives that reflect his lifelong commitments to freedom, equality, diversity, and giving voice to those too often overlooked. It also funds educational and creative programs in line with his values, particularly for emerging makers.

Erwin Olaf Magazine was created as both an homage and a practical support tool. More than a catalogue, it combines never-before-published images with stories about love, celebration, loss, courage, and queer identity, told by friends, collaborators, activists, and fellow artists. These narratives help make Erwin’s work and ideas accessible to a broader audience, opening dialogue between his art and society. All proceeds from the magazine’s sale go directly to the Foundation, helping to fund its activities and cultural initiatives that continue his voice in the world. I was proud to contribute in a small way by sharing one of my favorite works and reflecting on what it has meant to me personally!

Installation view of “Dance in Close-Up: Hans van Manen Seen by Erwin Olaf” (2022). Photo: Michèle Margot. Artworks © Erwin Olaf Estate. Courtesy of Galerie Ron Mandos.

What defines Erwin Olaf’s enduring relevance?

Erwin’s enduring relevance is that he combined tenderness with backbone. He could be extraordinarily warm and generous, but when something crossed a line (discrimination, hypocrisy, violence), he was willing to be openly angry and to use his public voice.

He insisted on dignity and visibility in representation, especially for the LGBTQ+ community, and he never treated “freedom” as an abstract theme. In interviews, he spoke plainly about homophobia in Amsterdam, including incidents where same-sex couples or drag performers were refused taxi rides during Pride weekend. Those moments were painful precisely because they happened in a city that prides itself on tolerance. Erwin called that out. He argued that homophobia was not disappearing but, in some contexts, becoming more visible again, even in large, supposedly progressive cities.

Personally, I am proud to represent him because his work is not only timeless aesthetically; it embodies a moral position: be loving when you can, and fearless when you must.

That is also why, at TEFAF Maastricht 2026, we are presenting rare vintage and carbon prints by Erwin alongside works by Hans van Manen as a tribute to two towering figures of Dutch culture. It is not nostalgia: it is recognition that their vision continues to shape how we look at the body, identity, and freedom today.

“Erwin Olaf and Kendell Geers: Tender Fury” is on view at Galerie Ron Mandos, Amsterdam, through April 4, 2026.