Art Market Magazine
The "I" standing for "international" in FIAC has only taken on its true sense very recently, as an aspect promoted by the organisers in order to stay on the map of the world's most important fairs. Of the 173 galleries united beneath the cupola of the Grand Palais, only 25% are French (42). It's a policy that pays off, as we are told by François Dournes of the Lelong Gallery: "The FIAC has occupied a leading position for several years now, in both our calendar and that of international collectors, particularly from America. It also benefits from an excellent dynamic hitherto only seen in fairs like Art Basel." Nathalie Obadia agrees: "The FIAC is now as important on the international stage as Frieze and Art Basel. It attracts a well-informed public as well as the top institutions and collectors." For further confirmation, you need only look at the list of artists and galleries in Art Review's 2014 Power 100, a line-up of the most influential figures in the art world…
.Content - Number 51
In the run-up to the 42nd FIAC and its battalion of fringe fairs, the Gazette Drouot talks to three key players in contemporary creation, who describe the sometimes very different landscapes of collections dedicated to living art. What does a collection represent today? What are its aims and issues? What is the role of the public collector? What future is there for the private museum and the corporate collection? Are there any obstacles or meeting points between the three worlds? Is the private collector the only one to take risks?
Sylvain Lévy, collector
What do you think of the FIAC?
For me, the FIAC is one of the world's four top fairs. It has acquired an extremely impressive reputation, partly due to its location, Paris, and its venue, the Grand Palais. It attracts not only the best galleries (which are mainly French), but also the leading collectors, through an extremely rich and varied fringe. The quality of the works exhibited goes from strength to strength. Personally, I regret that so few Asian galleries have been invited. But this year, this dearth will be offset by the new fair Asia Now, which is entirely devoted to the emerging Asian scene.
The somewhat bizarre world of fashion is a fascinating one, with its codes and myths, its stars and its unseen workers. Exhibited in Lyon during Fashion Week, and going on sale on 9 October (Bérard-Péron-Schintgen aution house), this collection of clothes and accessories by Christian Dior was amassed by one of the inner circle, himself a fashion designer. It comprises around 100 pieces that appeared in shows of collections by designers such as Gianfranco Ferré and the young John Galliano. Ferré is represented by a dress from the 1995…
Drawing on the excitement of this high feast of contemporary art, French auction houses are tailoring their programmes accordingly, offering collectors a range of high-quality works. Between 20 and 30 October, Drouot is laying on a collective exhibition of the pieces up for sale in the autumn, many from famous provenances, including the Pierre and Jojo Restany collection (Digard Auction), and that of Germaine Richier's studio (Morand). Autumn in France has a distinctly modern and contemporary feel!
ASIA NOW. A newcomer in the contemporary art fair landscape, the young Paris Asian Art Fair is making its first appearance this autumn. We talk to its co-founder, Alexandra Fain.
Why a fair devoted exclusively to Asian art? To share a passion, provide excitement and perhaps challenge a few received ideas – because the image we have of Asian art is sometimes a bit of a fantasy. The basic pictures we have of contemporary Asian art, where we often know more about its market value than its rich and varied scene, are perhaps worth exploring. So Asia Now's first outing is somewhat of a "reconnaissance" mission.
Dedicated to the emerging art scene, YIA found its audience after just five years. Its creator, Romain Tichit, managed to create an event dedicated to emerging art around the same time as FIAC and many other satellite fairs are buzzing. "My inspiration is neither Cutlog nor Slick (two of FIAC's satellite fairs)", specifies Tichit, "but rather Volta in Basel." Last year, some 15,000 visitors flocked to the Carreau du Temple, the new location of the fair in the heart of the Marais. Everyone agrees that the "luminous and cosy" space is a true asset, much like the parcours hors-les-murs, which showcases the works of young artists in fourteen institutions of the neighbourhood…
It would be hard not to be aware of this event. Ai Weiwei at the Royal Academy of London is rather like Jeff Koons at the Château de Versailles, but without the controversy, and with the bonus of true legitimacy. Because the artist has been somewhat at home at Burlington House ever since he joined Jim Dine and William Kentridge as an Honorary Member of the Academy. Ai Weiwei was elected in May 2011, in reaction to his detention by the Chinese authorities. Faithful to a policy that pays tribute to its members, the Academy is presenting the first large-scale exhibition devoted to the Chinese artist on British soil. This radiant show provides a concentrate of his work after 1993, the date of his return to China.
Virtual internet exposure can very quickly lead to momentum, which, thanks to platforms such as Kickstarter, translates into real cash. It is not surprising therefore that the phenomenon has spread like wildfire in the arts, a field in which fundraising is often the most arduous part of realising a project. Since Kickstarter launched in 2009, over 80,000 arts projects have raised $1.5 billion thanks to the website. In recent years artists, galleries, museums and art fairs have all begun to use crowdfunding platforms.
October 2015 Edition
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