AI: How can we characterize the scale and level of activity?
MM: The number of participants, working with art, to sensations, about a hundred. Plus, even a fairly large number of jewelry galleries (This section is very large). For squares TEFAF - this is probably four of our Antique salon. The section devoted to old masters, the size of approximately the same as our second floor of an antique showroom. There is modern art, there are decorations, arts and crafts. At this time, even made a section of designer furniture. According to statistics, the fair is visited by 70 thousand people.
On the level: of course, TEFAF is apparently the most expensive, luxurious antique interior of all European trade fairs, which I saw. Not in Basel, and anywhere a no, as in Maastricht.
AI: What has been the luxury of this?
MM: At TEFAF always amazing overall design. Thought through every detail: it looks like the entrance to the salon (this time he was decorated with thousands of roses, and last year grew up living trees), how to leave the spacious aisles between the stands. In the center of the hall are exquisite hothouse flowers, every year different. Entries for each booth at all the same, that is decorated in the same style. But even they are not just satisfied, as can be seen at the salons of Russian (three walls and the passage), and with a design solution. Colors, stools, rugs, which is covered floor - all this creates the effect of luxury. In this sense, TEFAF closest to our Moscow Fine Art Fair (The Moscow World Fine Art Fair). "Kitchen" last I know inside - gallery "Elysium" participated in MWFAF in the Manege. It uses the same conceptual idea - outside of all galleries about the same, but inside all his own.
Interestingly, the seemingly complex, where the TEFAF, - it is quite unpresentable modern building, exhibition complex, more like a hangar. But the interior is adapted for the submission of antiques. In the section of the old art of all especially chic: walls and floors are covered with velvet. In these environments, it is understandable and works of art look a little different.
AI: On TEFAF because there are no Russian galleries? What prevents them from participating in Europe's premier fair of art?
MM: Russian galleries among the exhibitors did not happen and no. Historically, it so happened that in order to become an exhibitor, you must obtain a recommendation of at least four gallerists - participants of the fair. Something like a private club, so that some galleries are in the queue for ten years. That was until recent years - from one year to the backbone of the participants did not change. But this year several galleries had refused to participate, which enabled several new galleries to become exhibitors at TEFAF. Russian among them again did not materialize, but the reasons for this are unlikely to organizational nature.
AI: Maybe the point here is to expensive? How much does it cost involved in foreign looking at?
MM: The export abroad - it is always expensive: transportation, liability insurance "from nail to nail." But renting space in Maastricht, strangely enough, is lower than in the Moscow Manege at the Salon des Beaux Arts. If the Manege booth rental cost about 600 euros per square meter, on TEFAF, I am told, 300-400 euros per meter. The cost is quite acceptable, but not in this case. Question - what with Russian galleries to go there? For purposes of participants pragmatic: there are going to sell, not people see and be seen. If we talk about that, because of Russian art in demand in the West, perhaps the only thing they need - is the vanguard. Popova, Udaltsova, Exter, Rozanova, Lissitzky - that their work in the West will buy with pleasure. But, you know, where are them? Actually, historically TEFAF come people who collect old masters and modernists. If you want to sell something else, that is more suitable for the profile of the fair. For example, if you are buying contemporary art, the Karlovy Vary in Basel.
AI: Describe the background on the price "Russian Abroad". How many requested this year for the famous Russian names?
MM: The subject of Russian art was not much. From the famous Russian artists living abroad was Polyakov, Lanskoy, de Stael, Chagall, Soutine, many Yavlensky. The prices were very high. You can guess why. For example, Polyakov was very good, let him like crazy and totally money (about 700-800 thousand euros). The owner explained that this is a masterpiece, a rare thing. Average Polyakov large cost about 450 thousand euros. For other artists, too, on the sensations, the prices were higher than at the auctions. Lanskoy - 160 thousand euros. "Mythic head" Yavlensky - 1,2 million euros. List Chagall - about a million. So prices solid.
AI: If prices in Maastricht above auction prices in London, what's the point to go there?
M. M.: You can buy there, and we bought. First, the high - this is the offer price, but may of course be lower. Secondly, in recent years in small galleries you can find suitable work and cheaper. The same Yavlensky. We need to look, to bargain. And just look interesting. TEFAF - is in fact cut antique market. A representative trade event than in Maastricht, does not happen. There comes a lot of clients - come specifically to find and buy. Buy at auctions, not all are ready, and there is an opportunity to look like and comfortably to bargain in the best galleries in the world. Then, at TEFAF can find things that just do not go to auctions. We have seen there and Rubens, and Van Gogh. These masterpieces can be found at auctions every year. In Maastricht, they are.
AI: Can you say that in 2009 prices TEFAF adjusted downward?
M. M.: According to our observations, the prices rose, but not fallen. According to the old masters prices have not changed (we have something to ask), the Russian diaspora, too, in general, nothing has changed. Generally, the old masters feel fine. Perhaps the greatest number of sales was just there (namely the number of sales is an indicator of health). But other segments all bad. Before our eyes, sold expensive Maurice Vlaminck. The French Impressionists, too, do not feel anxiety. It is interesting that at this salon was not enough good Expressionists (the average work were, but they do not weather). There was, as in former times, nor a good brand, not Kirchner. Most likely, the outstanding work hoard. Incidentally, this year, supposedly at TEFAF was very little masterpieces. Previously used to come home - and in front of you in the class museum exhibit on many different fronts. Masterpieces Modigliani, Soutine - please. But this time no. Vendors are not brought. Cheap sell masterpieces no one wants, but expensive to buy now, do not want. They're bringing them do not show off and sell.
AI: And it feels contemporary art at TEFAF?
MM: Six years ago at the fair in Maastricht, there was no modern art in general. Now, too little, but encountered. The past TEFAF remember one oddity. Owner jewelry gallery Graff 30 carat diamond sold for $ 5 million and then bought Basques for 4,5 million dollars. And then told me all through the press, as it turned out cheaply and as well complement his collection of Basque Country, which already has several works of American Graffiti-Expressionist over 8 million dollars. I think this is mostly a solid rally on the promotion of contemporary artists. Those who bought something over 8 million do not want to sell it for 800 thousand. And dealers who keep track of this market, will buy at auctions at the right price, to control the situation. And what will happen in twenty years - the big question.
AI: One feels that the fair leaves a lot of positive emotions. Concluding the topic TEFAF, ask whether the fair at least some noticeable flaw?
MM: Perhaps the only drawback - it ugly catering. Within the queue, and on the street not too many restaurants, yet the exhibition and conference center located on the outskirts of the city.
AI: Our thoughts go back to Russia. What undervalued segments is worth paying attention to? Five years ago, "shot" of the sixties, but today what advice would you give to collectors and investment buyers?
MM: We have been actively buying company Easel (GRL), mainly oil. Huge interest in the work of such authors as Pimenov, Deineka, Luchishkin that time. Yes, little work, they are rare, but the demand in this area is very high. If you find OST - buy, will be more expensive. Although we must admit that this trend, unfortunately, is not as massive in terms of supply, as once were the sixties.
AI: All the same, if you try to identify the direction of the mass available a wide range of buyers, what could it be?
MM: Future investment-attractive directions, comparable to the saturation proposals sixties, I do not see. Socialist realism, the massive Soviet art, although it does not lie in the interests of our galleries, but there is noticeable activity, movement, sales are growing - this is undeniable. Consumers like a soft socialist realism, with no social call. It is cheap, accessible to mainstream consumers, there is little problem with authenticity. Buy the work intelligible, those where there are symbols of time, memories of his youth, what has passed, which is no more. At first the names of socialist realism - Arkadiy Plastov, Sergei Gerasimov and Alexander and others - prices have already reached high values.
AI: In "Elysium" recently with a very successful exhibition Society of Artists. Were in the process of preparing some unexpected discoveries or interesting points that you hit or particularly memorable?
MM: Combining the exhibition remained, we are faced with the fact that the works of these artists are very few in private collections. The works went to museums, often were not wanted, to the extent that were destroyed. We had a rare work Pimenova in 1926 and discovered an unexpected thing: he walked through the collectors, redeemed his earlier work and destroyed, because shy.
Of the discoveries, I would call creative Mieczyslaw Dobrokovskogo - the artist who invented the bolt, graphic symbols left. Formerly there were vignettes, alphabets, and the directory OST decorated bolt. People were ideological, singers industrial future. They are soulless instruments, such as a bolt, a scalpel, a lamp - it's poetry. Life Dobrokovskogo soon interrupted. He was shot.
Another of the exhibition opening: we have shown three self-portraits Tischler. Many were convinced that in his work there are no self-portraits, and we have found and published all three.
But perhaps the main opening of the exhibition - is changing the usual look at the GRL. Many at the mention of society Easel imagined Deineko, Pimenov, flying athletes. And those artists have been significant and much more. Labas, Tyshler, Zusman, Lebedeva - they disappeared. After all, they were poets, urban landscapes, their observations. They are not simply not realized in the socialist realism, but in principle could not imagine the creativity in the imposition of the topic. It is clear that they no longer stand, they locked themselves in their studios and worked as best they could. Many of these people, important for its time, had been long removed from the official history of art. Generally, when we started to compile the catalog, it is expected that it would be a solid theme of industrialization. But in the end its something and failed.
The project is rather expensive. The same museum work. We pay not only the insurance, the right to use, but also the right to publish photographs of each work in the catalog. It is expensive (for regular buyers the right to publish is acquired for about $ 100 for each job). The resulting catalog - is an exclusive thing: Eighty percent of the work it published for the first time. Many works in this exhibition came from the store, and the opportunity to see them live audience was not there.
AI: What is your forecast for the coming April's "Russian auction"? How do you rate the quality of the proposals of the leading auction houses and claimed estimate?
MM: I think it will sell well, but not better than last time. Selection of Christie's at this time seemed to me more than Sotheby's. In the forthcoming Sotheby's high estimate, but few outstanding works. At Christie's suggestion a bit better: there are many good works of Nicholas and Svetoslav Roerich, will be a good Burliuk. All the visible things, in my opinion, will be sold. But my overall outlook is this: will now buy the best things for quite a lot of money, but for less than before.
The interview was conducted Vladimir Bogdanov
http://artinvestment.ru/invest/event...ltchanova.html
15.04.2009, 18:13
Art Market in the mirror TEFAF. Interview with Marina Molchanova, gallery "Elysium"
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