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New Post Goes Up every Wednesday. October 28, 2015 by Jack Dziamba

le-corbusier--menace -catCorbusier – Menace, 1938 Oil on canvas 162 x 130 cm. Landau Fine Art, Montreal Canada & Meggen Switzerland

FIAC Art Fair

Art Fairs have become on of the premier venues at which to see and buy art. BlumbergBusiness, in an article published in August, 2015  titled, The Galleries That Transformed Chelsea Can’t Pay the Rent,” reported on the increasing popularity of art fairs as an important business model for Art Galleries moving out of Chelsea due to high rents.

Art fairs are playing a growing role as a revenue source. Sales at these shows accounted for 40 percent of all sales by dealers in 2014, up from 33 percent a year earlier, according to the latest figures by the European Fine Art Foundation.”

In an article published in October, 2015, BlouinArtInfo, in an article titled, “Can the Single-Venue Gallery Survive? noted that the closing of traditional art galleries has swept the entire art world from New York, London, Paris, and China. Indeed the business model of the single gallery is being called into question. The popularity of the Art Fair can be seen from the following quote from Artsy,

“Just days after a high-volume edition of Frieze London and Frieze Masters came to a close, the art world hopped on the Eurostar for the 42nd edition of FIAC. Held under the glass ceiling of Paris’s Grand Palais, the fair welcomes 170 galleries from 22 countries in 2015—down from 191 in 2014, with reductions having allowed for larger booths, particularly upstairs in the section for younger galleries. By all accounts, in Paris, the market continued at the rampant pace set during Frieze Week, shrugging off expectations of a slow fall season.”

We’ve chosen to take an in-depth look at one art fair, FIAC,   recently held at the Grand Palais in Paris.

First, “60 Works in 60 Seconds” [click to see video] a quick view of what was on offer, and second, to view some of the works up close. For many, it will be a first experience, and, thanks to the tools of the New Media, you can visit FIAC right from where you are now.

The ARTSY article continued,

White Cube logged “just under £1 million in sales on the opening day,” according to the gallery’s Sharis Alexandrian, including works by Etel Adnan, Imi Knoebel, Baselitz, Sergej Jensen,Eddie Peake, Mona Hatoum, and Theaster Gates.

“Over at Hauser & Wirth’s stand, which Paul Schimmel curated in homage to the Charlie Hebdo terrorist attack, things also got off to a pacey start. Isa Genzken’s untitled mannequin sculpture from 2012, which recalls revolutionary movements in Germany, led the pack, selling for €200,000. Works by Mark Bradford, Mike Kelley, and Philippe Vandenberg were also transacted upon during opening day.”

Installation view of Hauser & Wirth ’s booth at FIAC, 2015. Photo by Marc Domage, courtesy FIAC and Hauser & Wirth.

Sprüth Magers also made an early splash, selling George Condo’s Large Female Portrait (2015) to an American for $600,000. In light of the recent red-hot market for young painters making surrealist-inspired work, the painting screams out “anything you can do I can do better.” Condo’s 2012 bronze, The Philosopher, sold to a Middle Eastern collector, with the gallery also reporting the sale of multiple Louise Lawlers for between $10,000–85,000.”

“Gordon VeneKlasen of Michael Werner reported FIAC being “particularly good for us this year,” having sold several works by Gianni Piacentino (ranging from $50,000–350,000), Markus Lüpertz, A.R. Penck, Baselitz, and Enrico David, by Thursday afternoon. Piacentino’sDull Orange Portal I (1966) is of particular note. “It was acquired byLucio Fontana but then he died so it ended up staying in the studio,” said the gallery’s Gyonata Bonvicini of the work.”

Installation view of Gladstone Gallery (left) and Sprüth Magers’s booths at FIAC, 2015. Photo by Marc Domage, courtesy FIAC.

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