With Paris + Art Basel, France regains a central place in the art world

A Joan Mitchell sold for nearly 4,5 million dollars at David Zwirner and a George Condo sold for 2,6 million at Hauser & Wirth… The record sales recorded within the framework of Paris + Art Basel, the new French art fair contemporary art, show that the ecosystem is doing well. Charles Guyot, collector, reviews the highlights of this first edition and the place of French creation internationally.

Paris: capital of the contemporary art market. From October 20 to 23, the first edition of Paris + ArtBasel, in place of the former International Contemporary Art Fair (FIAC). In total, 156 prestigious or emerging galleries from 30 countries made the trip to the Grand Palais Éphémère located in the XNUMXth arrondissement.
Crowned with success, this new meeting was able to honor young creators and especially women artists.
Collector Charles Guyot shares his impressions of this high point in the artistic ecosystem.

: After 47 years of good and loyal service, the FIAC bowed out to make way for Paris + Art Basel. What are the notable differences between the two events?
: On the one hand, we can say that Paris + was very similar to previous editions of FIAC. We found there for the most part the same galleries, often positioned in an identical way within the Grand Palais Ephémère. And on the other hand, I noticed some significant differences: the return of several large galleries like Luhring Augustine or Acquavella, the renewed interest of American collectors (certainly linked to the power of the Art Basel network) and finally a smaller selection of guests, which allowed for a better view of the works during the visit. This continuity with the FIAC and these few improvements made this fair a success.

: Clément Delépine, director of Paris + Art Basel speaks of a “French fair”. Is it an ambition for you to put French actors back at the center of the event?
: For me, Paris + is an international fair. The objective is to attract major galleries and major international collectors. However, it is important that the French actors are visible. The FIAC has always given a place to French galleries and I have the feeling that Paris + also attaches great importance to this.

: One of the objectives of this event is also to promote networking and business in the artistic ecosystem. From an outside point of view, did you find that the market was doing well?
: From a commercial point of view, the fair was a great success. Many galleries were “sold out” from the first day and had to change the whole hanging to offer new works the next day. I've heard of several major sales records: a Joan Mitchell sold for $4,5 million at David Zwirner and a George Condo sold for $2,6 million at Hauser & Wirth.

“Many French artists lack visibility abroad”

: Paris seems to regain a central place in contemporary art in Europe. In your opinion, what do French players lack to impose themselves internationally?
: Yes, Paris has clearly regained a central place in the art world. Many galleries and major foundations have opened spaces in Paris in recent years. And the same goes for French gallery owners who are increasingly present abroad. This is notably the case of Emmanuel Perrotin who now has spaces in New York, Hong Kong, or even Seoul… The same goes for gallery owner Almine Rech, established in Brussels, London and New York. These developments help to give visibility to French players.

You are also part of the Board of Directors of the Fondation des Artistes. How does this institution help French creation to establish itself in the long term?

There are many very good French artists. Some like JR, Claire Tabouret or Alexandre Lenoir have successful international careers. But it is true that many of them lack visibility abroad. Within the Artists Foundation, for example, we finance the residency of a French artist for two years abroad. The institution has also supported the work of Laure Prouvost who designed the French Pavilion at the Venice Biennale. Finally, we collaborate with associations such as Trampoline which contribute to the international influence of the French artistic scene. In my opinion, it is thanks to actions of this type that French art will manage to be more visible and attractive.