Articulate, passionate and effortlessly charming while possessing a certain strange magic that one can only find alluring, art dealer extraordinaire, Natalia Goldin Lundh stands at the forefront of scandinavia’s thriving contemporary art scene. As director of the Christian Larsen gallery in stockholm, considered one of the leading contemporary art galleries in Sweden, Natalia represents a team that is currently busy creating one of Scandinavia’s most exciting art venues.

Exploring the theme of Contemporary Art for this edition of Narcisse, I quickly discovered that the authoritative contemporary art guru and point of reference was a woman of Russian origin who had decisively made her mark in the European art world and was currently based in Sweden. Natalia, I was told, used to run a gallery of her own, relentlessly introducing new young artists to the scene for nearly a decade. Today she is running Christian Larsen, a gallery known for some of the finest and most sophisticated of museum quality exhibitions.

It was initially her voice on the phone, which piqued my interest. She was impeccably mannered, friendly and accommodating to my request for a meeting while at the same time maintaining a certain positive professional warmth. She extended an invitation to the upcoming opening reception of artist Anders Krisár’s debut exhibition at the gallery entitled Flesh Mirror.

When I first arrived at the reception and entered the stark white rooms of the gallery, I immediately knew that the matriarch holding court was Natalia. I waited patiently, not wanting to impede on her work as she efficiently catered to various VIP guests. However, once we made eye contact, she approached me confidently and extended her hand to shake mine, “You must be Gerrard from Narcisse.”

I loved the way she pronounced my name. I couldn’t help but think that she reminded me of a Russian spy from a James Bond film with her sleek shoulder length jet-black hair, beguiling onyx eyes, tailored black dress and spiked heels. Her attire accentuated the splash of red on the soles of her Louboutins. She was the femme fatale par excellence.

Read the full feature in the ART issue