Art Paris Art Fair
The “fair we love to hate” is undeniably a model that works, galleries are on the whole satisfied with sales results, and there is always a solid audience. APAF is like a fantastical supermarket under the majestic backdrop of the Grand Palais. The fair also reminds us that there is still a class of collectors that we thought had disappeared in recent years: APAF is emblematic of the low-end market, inviting less experienced collectors. Whilst the fair is less exciting for a more trained eye, regulars to the fair have noticed that Guillaume Piens, the fair’s curator, has managed to do away with APAF’s traditional bling-bling aesthetic.
Our highlight: Caroline Corbasson at the Inlassable gallery, and Zulkifle (Zul) Mahmod’s No Substance_City Without Soul at Yeo Workshop, the gallery revealed that the work was sold, not wanting to confirm the price but explaining that pieces by the artist normally go for $20,000 and $80,000. Lyndi Sales also stood out at Maria Lund.
The Salon du Dessin
Another unmissable fair, the Salon du Dessin, housed by Paris’ Bourse this year, swung between disappointment and success. Exhibitors noticed the absence of American collectors. In terms of sales, the Quotidien de l’Art have reported that the Thessa Herold gallery sold Grausame de Tiere (1926) by Paul Klee to an institution, and Visage de guerre (1936) by Salvador Dali to the Centre Pompidou. Generally speaking, galleries were left satisfied thanks to sales to old and new collectors. The gap? Contemporary drawing was notably missing from the fair.
Collector and creator of the Prix du dessin contemporain explains why to the QDA, “There is a place for contemporary art galleries at the Salon du Dessin, but they are not patient enough. When competing with antique or modern galleries, one must have a firm hold on the reins in order to sell works by lesser-known artists or to buy expensive works from artists that is not sure to sell. The balance is delicate.” Luckily, contemporary art fans can console themselves at the two other Parisian fairs dedicated to contemporary drawing.
Drawing Now
Now in its ninth edition, organised by Philippe Piguet, Drawing Now hosted 73 international galleries at the Carreau du Temple. Over the years, Drawing Now has become a major rendez-vous for collectors.
“The 2015 edition was a great success because the selection of galleries is sustained, with an engaged audience, true lovers of drawing, with as many young artists as historical figures. There is a real ‘Drawing Now’ spirit which translates as dynamic and sensitive” explains Emilie Ovaere-Corthay from Galerie Jean Fournier.
The quality of the conference program was also exceptional.
Our highlight: Parisian gallery Suzanne Tarasiève’s stand who exhibited Markus Lupertz, as well as technical drawings by Jean Bedez (all yours for €22,000).
This year’s Drawing Now Prize was awarded to Abdelkader Benchamma, born in 1975 in Mazamet in the South of France. The artist will be invited to exhibit at the Drawing Center New York next April.
DDessin: The oft-media neglected fair provides one of the week’s most enjoyable visits. It offers an intimate and friendly environment in a beautiful space, as if opening into a private collection of a youthful, designer apartment.
Victor Mendes from LWS gallery told Happening “I am very pleased with how the salon has gone, it is the second time I have participated. The overall aesthetic created by the curators, galleries and collectives was very interesting. Collectors and art lovers came out, as well as the press, it is a good sign for DDessin, a fair that we can expect to see as a permanent fixture on the Parisian spring fairs calendar as an event with an independent agenda.”
In collaboration with the curator of the exhibition Célia Gras, the gallerist presented, among others, the work of Klemt, winner of the DDessin Prize 2015, which will take the artist to Tangier in 2016 for a residence with the Institut Francais.
Works by American Art Brut creator Dan Miller on display at Creative Growth Art Center from Oakland saw a great success, at €10,000 for a large-scale piece. On the ground floor the D&D collection presented an impressive selection of Eva Kotatkova collages.
Eva Kotátková, Untitled 2011-2, 2011
Le PAD
In full evolution over recent years, modern and contemporary galleries are becoming more and more rare at PAD, yet this edition was banking on contemporary design and young creators.
Among the 65 exhibitors, only a dozen or so galleries displayed paintings, such as Galerie des Modernes who featured two works on paper by Andy Warhol (portraits of Miguel Bose and K.K. Auchincloss), and a Turquerie (1926) by Jean Lurcat. Galerie Protée, Paris, remains a champion of Wang Yan Chen, displaying an imposing Jaune Impérial from 2007 and two oil on canvas works by the Lebanese artist Shafic Abboud.
The design side of the fair presented numerous interesting discoveries. Young creators were championed by Parisian gallery Gosserez: Simone Pheulpin, who works with fabric in a unique way, was exhibited alongside the duo Raphael & Réjean who presented a carpet with sandstone sewn onto felt. New gallery James decided to spotlight Brazilian design with pieces by Zalszupin and Joaquim Tenreiro who presented Cadeira Très Pès, their 1949 chair made from five varieties of tropical wood which exists in six editions.
The representation of contemporary design turned out to be a pleasant surprise with a BANG coffee table by Reinier Bosch (2014) at Priveekollektie, the Netherlands, and a turquoise cabinet by Kam Tin, a Hong Kong-based brand bought by Philippe Rapin, director of the Parisian 88-Gallery.
