Paris galleries respond to crisis martial beginning of the season

[LCR]

This paper is your long-standing acquaintances - Arri Belle, who loves vodka, Malevich and Seva Nekrasov (I'm sure that in that order) and Philip Dazhan, which seems to do something very few people like - gives the prospect opens season Paris.
I think that soon you'll be able to see Belle in reality: he would not miss the opportunity to visit Moscow at the Biennale and Art-Moscow government expense - if only to satisfy his passion for the first of the above objects of love.
Incidentally, I am also going to parties, yesterday took a ticket for 19-e (but in their blood) - let them know that I am still alive

Le Monde
4.09.2009

Arri Belle, Philip Dazhan

Here's the scene could be observed on September 2: only Korean artist Lee Yufan hung their works and gallery Tazheusha ropac as it entered the collector Francois Pinault. He carefully examined the exhibition, then held a dialogue in a half whisper. Interest Pinot to Yufan known as ropac exposes canvases, watercolors and sculptures of the highest level. In the spring of this year's show Li Yufana in New York was a great success, as evidenced by the price: 220,000 euros for a large canvas, 250000 euro in one of the wonderful sculptures made of iron and stone.

Читать дальше... 

But why this scene is confined to our notice? Yes, because its members were one of the most famous current collectors, a major Austrian art dealer and painter with an international reputation, and place it in the Marais quarter of Paris (where the focus Gallery of Modern Art).
Ask: Does not recover its former importance Paris a world center of modern art and engo market? In this you can even believe in a program for opening days early in the season: after Lee Yufan, the opening of the exhibition Annette Messager at Marian Goodman on Sept. 4 and Mike Kelly have Gielen Yusno 5 September and 15 th at Emmanuel Perrot will show works of Murakami and at Jerome de Nuarmona - Shirin Neshat.
It is in all these cases of very famous artists, the permanent participants of different Biennale and fairs. They show in Paris, his last works, is very significant: both the installation Annette Messager "in one breath" and "Take away in her room - her latest work, design and execution of which is a new one. "Games of Desire", the Iranian artist living in New York, Shirin Neshat is a video captured in Laos in 2008, Murakami's works - paintings and sculptures - nowhere before been exhibited.

Disturbing rumors

All this is very good. But can not get euphoric, because one question arises: Is this policy in our time of crisis - to open the season showing these expensive products? Do not it absurd? Asking this question is senseless artists, they have enough other worries. Marchand respond to it willingly.

Ropac in response to smiles and gives a comment: «Our exhibition of Baselitz in Zal'tsberg this summer was a great, very great success» . Emmanuel Perrot, representing both Murakami at his gallery and Gzave Whelan in Versailles, recognizes that the «in the first half, it was unclear whether both these projects to be implemented, all convinced me that it is better to cancel them, All I had predicted a complete failure, all were confident that Wena on Murakami will fall like a stone ... I have already sold 80%of the exhibited items, and the exhibition has not even opened. I'm not trying to deceive you, I admit that sometimes we were close to panic, because we could lose everything and be forced to simply close the gallery ». Who bought the 80%? French customers? «Among the buyers are the French, but not only. I sell in Asia, the United States, in Europe. For twenty years I have been involved in all the fairs, so that the clients I have to figs, but Murakami does no more than 30 - 50 works a year. So, there are applicants who have to stand in line ».

However, disturbing rumors continued. «Even the most well-known, media artists reduce speed. For example, Damien Hirst has dismissed a fair number of assistants » - notes gallerist Georges-Philippe Vallois. However, the effects of the crisis can be positive: «Now, less than before, people tell us" I'm not going to buy X or Y, because they can not go up in price by 30%a year! "It is now it is possible to argue that the W or Z, which they bought, lost 50%of its price ... ».

And in general, whether to use the term "crisis"? Mr. Vallois shares his doubts: «In Europe, economic recovery is not always so great as in the U.S., but its decline and less sensitive. One can say that the market is restrained. Of course, there is a crisis, but in the sector of modern art I've seen a lot worse. People are beginning to buy our art, collectors come to us, and came back and gatherers from the provinces, which before the crisis had not dared to appear in galleries, so they were afraid the crazy prices. At the moment the situation is quite decent ».

With regard to Mr. Perrot, he even sees the current situation benefits for Paris: «When I opened the gallery of twenty years ago, was also a crisis. Yes, hard times now, we are afraid of the future, but not his hand, on the contrary, we are fighting hard to carry out such exhibitions. This summer, Gagosian opened a gallery in Athens, office in Hong Kong, will probably soon be something in Paris. While this is only speculation, but I think that if he does, it will be right: currently Paris - one of the best places in the world market for contemporary art, and not only because in the coming years in Paris, will open five carpets . Soon we will be able to offer its artists to exhibit with us - he has no reason to give us such an opportunity ».

So the mood is quite combat - nobody thinks about how to hide and wait, on the contrary, everyone thinks about lobyuovoy attack, everyone wants to redraw the map, because in the artist continue to operate. Here are the words of Mr. Perrot: «In the beginning of the crisis, many gallery owners have decided that they would not take risks, try to reduce the cost of organizing exhibitions, to cancel all more or less risky projects ... But it is precisely such gallery owners and suffer from crisis more than anyone, because artists are not particularly interested in the crisis. Compared with the history of art economic crisis - this is just an epiphenomenon ».

[Кирилл Сызранский]

Сообщение от LCR

In comparison with the history of art of the economic crisis - this is just an epiphenomenon.

It would be nice.

[fross]

Сообщение от LCR

[I] in, however, the crisis may be positive: «Now less than before, people tell us" I'm not going to buy X or Y, because they can not climb in price by 30%a year! "Because now they can at this object that W or Z, which they bought, lost 50%of its price ...» .

So still fall? And then what positive consequences? That did not grow those who did not buy?

[Кирилл Сызранский]

Сообщение от fross

So still fall? And then what a positive impact?

W & Z and bought a bankrupt, means can be made on the purchase of X & Y. Very positive. : D

[fross]

Сообщение от Cyril Syzransky

W & Z and bought a bankrupt, means can be made on the purchase of X & Y. Very positive. : D

Then we can consider the art market as a medic Finance.