ArtBasel is expanding its horizons yet again
ArtBasel is expanding its horizons yet again. After a public competition last yearby the Réunion des Musées Nationaux, Art Basel and its parent company MCH Groupwere awarded a seven-year contract to direct the contemporary and modern artfair at the Grand Palais in Paris. The project aims to facilitate connectionswith France’s cultural industries, from fashion and design to film and music,by creating an event that enlivens and enriches its host city and willestablish its position in the Parisian cultural scene. Outgoing Global DirectorMarc Spiegler explained that “with its incomparable history and contemporarydynamism, Paris is uniquely positioned as a pivotal epicenter of theinternational cultural scene. We aim to build on Paris’s unparalleled standingas a global metropolis to help create a vibrant week that even furtheramplifies the city’s international resonance as a cultural capital.”
DespiteArt Basel’s enthusiasm, there was some French push-back against the Swisstakeover of a weekend that traditionally belonged to Foire Internationaled’Art Contemporain (FIAC), France’s flagship contemporary and modern art fairfor the past half century. Prominent figures of the French art world expressedconcern that this exhibition would simply become another outpost for the ArtBasel brand, which has stamped its logo on a great number of cities already. Inan effort to make the fair more French (and less Art Basel), they decided onthe name ‘Paris+’ (pronounced ‘Paree ploos’), which is also a nod to theall-encompassing approach to Parisian culture Marc Spiegler hoped to representat the fair.
Notwithstandingthe French resistance, it seems the inaugural exhibition was a success. Lastweek, from October 20th to 23rd, 40,000 visitors flocked to the Grand Palais Éphémère (a temporary stand-infor the Grand Palais which is under construction until 2024) to visitexhibitions from 156 leading galleries representing 30 countries.Although gallerists conceded that the Art Basel approach felt more corporatewith less of the Parisian charm of FIAC, New York art dealer David Zwirmernoted that FIAC had “tended to underperform” for his gallery. Acknowledging the limitedspace of the Grand Palais Éphémère, Paris+opted for quality over quantity. They invited a smaller number of galleries andinstead focused on presenting truly exceptional works by key artists thathadn’t been seen at Frieze London the week before. Paris+ also highlightedemerging galleries, dedicating a central space to 16 risingdealerships and discounting the participants’ booth fees by 50%.
We’ll see what happens at next year’sParis+ !
Brown’s Percent-for-Art program has thoughtfully integrated site-specific public art onto campus since 2004. In honor of the 20th anniversary of this program, I sat down with the former director and artists involved to reflect on some of the program’s diverse projects and to gain insight into their perspectives on public art at Brown and beyond.
Responding to the tense familial relations in Tina Barney’s "Jill and Polly in the Bathroom" and Larry Sultan’s "My Mother Posing for Me."
By examining various historical and cultural practices in regards to fashion, textiles, and fabric-making, Chloe discusses the different ways fiber arts express community and identity in material or design choices.