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Museums that travel everywhere 🗺️🇨🇳⁣


The number of visitors per month in a museum in China is 700k, sometimes the same as the annual number in a museum in France 🤯 A good reason to follow the museums and art galleries which export their collections (and their know-how ^^) outside the borders of their countries (Guggenheim Centrepompidou, etc…) especially to China.⁣

Nothing new for the potential in China, Chinese have a natural curiosity by historical tradition and are very fond of a high level art. ⁣

In addition, the sale of exhibitions abroad is economically and culturally profitable for diplomacy as “soft power” between countries. ⁣

Co-productions with 🇨🇵 museums around the world allow costs and works to be shared. Revenues for French museums between 2012-2018 were €0.5 million for Quaibranly €0.8 million for Chateau de Versailles 1,7 M€ for the musee du Louvre (excluding Abu Dhabi, which does not yet operate in the way envisaged by the prior agreements between the States 🙄) 1.8 M€ for the @museerodinparis 3.1 M€ for the musee Orsay & 3.7 M€ for the centre Pompidou.

After Picasso facing African art at the Abidjan Museum in 2019 and the whole wave of current African trends that I am observing around me right now ( akaa_fair art fair this weekend in Paris & record auction at Piasa_auction with 140 lots that have found takers out of 140 for an amount of 1,43 million costs included, double the high estimate forecast) it is in Beijing that the musee Picasso Paris packed its bags this year with seven aircraft for the transport of the works and a total insured value that exceeds 800 million euros ^^⁣

That’s why I chose this photo of Calder taken at the Picasso Museum in Paris.⁣

Audience Stats on Instagram 💫

Art ahead of fashion? 🤫😎😮

In a world where images and values capture all the attention, the art world is very present on the podiums.

Since then, and even before Mondrian, there have been closer ties. I still have the impression that these two worlds have rarely been so close since the trends of Elsa Schiaparelli and Salvador Dalí in the last century.

What changes, in my opinion, is the attitude beyond the surface: A new, younger audience, whom I meet at dinner, in galleries, clubs and art fairs and in fashion houses, auction houses… seems to me more aware than before of culture and aesthetics for fashion and art.

A contemporary look for me combines a goal, projects and ambitions but also flexibility to be able to adapt.

Artists observe the world and I believe that what art brings to life in its subjects and in its view of society now affects a greater number of people.

Even the term curator is now moving from one world to another.

The website has become a partner of Frieze throughout the world. Auction houses are currently increasing their resources in the sale of private collections of great creators. I reserve for you an Instagram IGTV video on one of my visits on this subject;)

As if fashion was thinking more and more about the lifestyle of many art collectors (and not only in terms of historical buyers): Chic, discreet, visible, full of values and sometimes even tradition, stylish but relaxed, flex…


My stats/post on Instagram : Wow!!

And Views per week! ✨✨✨🔥🙈🔥

Roots & Data Vidéo on IGTV ☀️

Wine, people and art are matters of time to me. Art and wine can be enjoyed years after their production and can also be collected in a sustainable way.⁣⁣
Under the surface of the earth, in the crayons, classified as a UNESCO World Heritage Site and where the bottom of an ocean once stood, are the roots of these vineyards and that is where the exhibition is located.⁣⁣
An atypical exhibition with a sculpture whose lights, movements and sound are animated by artificial intelligence. ⁣⁣
But what does this intelligence feed on? Of all the data recorded around the vine and wine production…. Wow. ⁣⁣

Two artists, Alice Audouin and the Ruinart teams have managed to combine tradition and modernity by giving this AI climatic data (Humidity, atmospheric pressure, temperature, rainfall, wind) as food, others on cyclical actions around the vine (bud burst, flower, harvest, leaf fall), or the monitoring of the ripening of the grapes (potential degree, acidity, berry weight, nitrogen concentration), on the management of fermentation (density, temperature), on the production of wines (sparkling, stirring, disgorging, candling, dressing), and on the activity of visitors to the site, also taking into account the time itself with a ten-year countdown out of the House’s 350.⁣⁣
Not to mention the sound you hear in the video, which comes from the wind, water, the surrounding nature and the mechanical activities of production (fermentation, stirring…).⁣⁣

I remember in particular Louise, in the video, and the gentleman in charge of environmental issues on vineyard lands (thank you for your scarf)⁣⁣
He told me that to accustom the land to a purely natural production, it had taken years… While a glass of champagne – in my hands ^^ – only lasts for a moment ;)✨⁣⁣


The figures of my audience 👩‍💻

『•』 How to activate Art in a modern house? 🏬⁣

Not yours (although…). Not mine.⁣

This house is the art gallery of the 21st century. ⁣

The goal? ⁣Connect art collectors to a community and create a dynamic experience for the public.⁣

How? Through architecture, acoustics & a programme including conferences, performances, film series, public initiatives, collaborations with important cultural sites, conservation research and writing.⁣

What for? Pushing boundaries through experiential art, such as moving images and new media.⁣

Anything else? Yes, you will find food, performance spaces, research libraries and OMG open warehouses!⁣

I spoke about this new phenomenon last year when I was talking about the MOCAA in South Africa.⁣

A museum atmosphere? Not really. Actually, it’s, on paper, much better. I’ll have to come to New York soon to check.

Yes, it is the new Pace Gallery that has just opened in NYC following the Shed: An eight-storey building devotes five floors to exhibition galleries, the sixth floor offering outdoor spaces for sculpture and events, and the seventh floor dedicated to the performing arts. The crazy thing ^^

As small and medium-sized galleries struggle, close or merge due to reduced pedestrian traffic and increased costly art fairs, New York’s mega galleries (Gagosian, Hauser & Wirth, David Zwirner and Pace) are doing the opposite, exploding their square metres and redefining what it means to be a gallery.⁣

Modern, smart and always in a family business spirit.

Behind the most beautiful

Behind the most beautiful images, there is often a woman ✨

Warhol captures two completely opposite moments in this work, one of which is tragic.

Like old newspaper clippings – the effect of silkscreened ink on marouflaged paper – Jackie Kennedy arrives in Dallas, radiant and then appears her face during her husband’s funeral. Striking.

I wasn’t born in 1963.

It reminds me of Lady di, I really liked Stephen Frears’ film about this woman who seemed to have been trying to run away all her life.

These two women had to play a role in their daily lives because of their status. I like this perspective, which Andy explored with the actresses between the façade and the temporality of a world that, no matter what I do, will always surprise me with unexpected changes.

I love these two women too because they have taken their destiny into their own hands with their energy. It is not easy to be a woman when you come from a very privileged background because expectations are high and education is very codified.

Not easy either to become an overexposed woman on an international political scene…

They had another thing in common, my favorite, they were curious and interested in many things… and then, what a beautiful thing they were!


The Collector’s new measure 📏🌡️

The collection became a social fact from 1850-60 in Europe with exploding auctions. Money changes hands and mores – the bourgeoisie with progressively scientific and pedagogical values is opposed to the discreet aristocratic houses whose values are more artistic and strictly private –

From 1840, the inventory of private collections followed the news of the days that gave descriptions of the museums. Like today ^^

Under the Second Empire, the collection became a fashion and social proof as we still know it today. I buy because I love – they are passionate and believers – and I buy because I can resell and I also buy because I am or would like to be (recognized, admitted, solicited, etc…) and I could, one day, leave my treasures to a museum whose cartels will bear my name.

In 2019, the scale – between all the actors in the art world, institutional and private – is global. The playing field (or hunting ground…) is disproportionate.

Collectors open foundations and private museums and even if we defiscate – often ^^ – and build a reputation, it also fills gaps:

Sometimes free access. If there is one thing in art today that I would like to fight for, it is gratuity.

(I am even very surprised by the false debate, in my opinion, on the fact of making access to the biggest art fairs pay less. There are, however, other ways than a model from the 1990s).

When I see an entry at 14 euros, I think to myself: “How can I go there regularly?” However, there are solutions such as catering, privatisations, event partnerships (with Brexit, there will have to be many opportunities), etc…

Themes that have been forgotten or, in my opinion, not sufficiently highlighted, such as marine objects, ecology, collections of rare peoples, modern archaeology, art centres as a place to live, schools and incubator residences…

And a lot of other ideas I have in mind.

Another fundamental phenomenon is that collectors collect works of art and museums by opening a place or taking an important seat on their board of directors.

This contemporary phenomenon reminds me of the 19th century in Europe when society replaced the spiritual with science and private interests. In the Internet era, if this is a reality, is it really a lucrative and safe long-term strategy? I don’t think so.

The artwork in this pic is from #hansschabus I will come back to this artist soon on Instagram.


Sotheby’s Sold! 🔥

91% of Sotheby’s shareholders finally accepted Patrick Drahi’s offer of $57 per share (successful media entrepreneur – Numericable, SFR, Suddenlink, Cablevision which becomes Altice USA, L’Express, BFM, RMC… – and collector of Chagall, Vasarely and Soulages)

As in all the summer soap operas I like, there have been some twists and turns – and even if at these prices, 3.7 billion, I honestly have trouble realizing what this means – and a big suspense this summer with four mistrial actions brought before the New York courts against Sotheby’s and the counter-offer of Taikang Life Insurance Company which is already a shareholder but also Chinese.

I remind that Chen Dongsheng, the owner of Taikang, also a collector, owns the second largest auction house in China.

Because of its geopolitical nature, the art world is still at the heart of major international economic issues, as if nothing had happened.

I had already mentioned this sale with Mr. Drahi’s position last June in a previous article.

Such a purchase opens the doors of new owner to the rich collectors of the world, ultra rich and HNWI. Those who have the keys to our contemporary world.

It’s an incredible leap for this entrepreneur who succeeds by surprising each time.

Everything fits into the next sales season which will take place in November 👌 in New York just after the effervescent context of Frieze, Fiac, and other fairs including China;)

For the continuation of the strategy of the Sotheby’s house it will be necessary to wait, I think, until spring 2020 that all the legal issues are settled around this purchase to move forward.

I can guess, by looking at Mr. Drahi’s history, some predictions:

He systematically uses LBOs via a holding company that uses loans (the low central bank rates since the 2008 crisis have been favourable to it), in addition to social plans and voluntary departures.

I can therefore easily predict a cost reduction of at least 30% and a four or fivefold increase in profitability with the development of digital technology (Mr Drahi is one of the first French people to believe in it in telecommunications since the 1980s).

But the art market is not a mass consumer market with a demand that creates an offer. The actors are more versatile, very demanding and some customers even have the power to influence a sale according to their personal planning.

Over the past fifteen years or so, I have observed the financialization of the art market, often for necessary structural reasons, which has led many works of art to become real investments today. There are now sure values in the long term.

What I hope with this sale is that the active professionalisation that will follow is one of the strengths but also one of the weaknesses of large Houses – big companies ^^ – sales houses, open the middle market – difficult to capture and to sell – with more links with the gallery world.

Having professional managers, (necessary) investors and cost killers is one thing, but in art we need, in my opinion, people who live art on a daily basis and who attach as much importance to a catalogue raisonné,” as to a work considered A or A+ or B+

On another level, in the galleries, when I see almost all the trainees every day to deal with social networks, I am worried. We need people with more experience, certainly with a double experience, digital and on the art market.

The world has changed, it is a reality and not an obstacle to me and in my opinion, yes, we must now devote a real budget to these positions to propel an arty company in the coming years

To be continued….

To finish this review, I also remember that the Patrick and Lina Drahi Foundation has been spending millions on education and schools for years. There is never but one side to a personality 👌

Wishing You a nice week-end !

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