After all, if I remember, what matters to me is what might happen tomorrow.
As you can see on the picture in this post, since March 2018 on Instagram I’ve been on my way to museums, art galleries, foundations, art places, artist studios, schools, residences but also in the streets…
I have seen a lot of beautiful things last year but above all a lot of things in the making, art fairs whose model is saturated, auction houses that are slowly but surely breaking through the ice of online sales, art galleries that are too small and disappearing, others that are oversized and becoming international operators with flagships worthy of the luxury world.
The world is concentrating, the art market too, finance and sales targets are very present, but it remains an ecosystem with local, atomic and very often family businesses. Art is not and will probably never be a real industry. I will talk about this soon in my blog or on Youtube: Would you prefer to read or see a video?
I heard in 2019 that we need to help young galleries to enter the fairs. I still don’t believe that prizes and even fairs are the solution.
I saw the Brexit arriving and the export laws changing between the US and Europe: See what the consequences of these political demonstrations will be in 2020.
I’ve also seen women artists go up a little more in 2019. Good, it was about time.
I’ve seen fairs take off, almost by magic, as with African or Urban art. To be continued.
I saw the figurative take a large part of the sales and I saw many of the future Basquiat be acquired by discerning collectors, while telling me that many very promising artists are still accessible ⚡
Paris 🇨🇵 will become a key location on the art market in 2019: infrastructure, history, skills and geopolitical issues attract investors.
I’ve seen China change, show who it is, the Chinese are curious and invest in foundations, but I’ve also seen it wiped out by the tumult of Hong Kong. See you in 2020.
There is also artificial intelligence, and many other subjects I will come back to, such as the management of artists’ collections after their death, which is an asset but also a cost for operators.
And then I saw my perspectives, thanks to you, take an unexpected turn: From art advising, my activity, I do more and more communication where I mix my skills in social networking, my experience of the last two years in writing and directing and my skills on the art market. In January 2020, for example, I collaborate with @ateliercrespin and the Musee du Louvre for the communication on the entry of Elias Crespin in the collections of the Museum.
This is historic and a magnificent challenge.
Wishing you a ⚡ beginning of January !