This year, the art world debate of ‘Paris or London’ revealed a real crisis. Even though the fairs have resulted in good sales, the problems remained the same, Art Basel’s Paris edition, Paris+, par Art Basel is limited by size and Frieze London is tasteless.
Many in the art world believed that London would lose its status as a significant player in the art market. However, with the opening of the 20th edition of Frieze, the UK has proven that it still holds a prominent position in the European art market. The galleries also search for new ways to open branches in Paris. On the other hand, most art critics say measuring cities like this is different from the way to understand the art world.
In London, however, Brexit and the new laws and requirements that came with it have affected the ‘business as usual’. Nevertheless, for many galleries at the fair London’s primary aim is to bring the international market to the city. So, the fair thrived for international sales as in previous years. And since London is the most international art market out there, collectors from all over the world visiting the fair determine the market.
But this year, the fair also failed regarding public programs and artwork quality. The Guardian article said this year’s Frieze is full of saleable stuff and tasteless.
Even though the tastelessness made its mark at the Frieze London, the purchases are essential for a fair and defined success. Earlier this month, in an interview Frieze CEO Simon Fox also agreed Paris is a strong rival for London, but they will be fighting for a better Frieze.
It is known that the UK market had declined until 2020, bringing in only $456 million, its lowest level since 2009. In 2022, the UK market experienced a 10 percent growth in revenue compared to 2021, coming from strong sales at auction, attained by auction sales (Sotheby’s- Rene Magritte’s L’Empire des Lumières (1961), sold for $79.7 million ). The UK market has always been an international market, not only for its success in the auction world, but for its sales in the art fair world and also people visit London Frieze to see new and high-quality art. Artists living in the city or the exhibitions that open simultaneously to the fair are all part of this success. But this year we have seen that this part of the fair was weak.
Frieze London: A rotten tooth
Independent curator and art historian Necmi Sönmez has stated that the impact of Brexit is evident in Frieze London, and the fair has suffered. Despite the fair’s vibrant and effective program, which caters to sales, it is hanging like a rotten tooth, said Sönmez.
According to the curator, compared to the previous years, galleries coming from Europe and outside of Europe have declined. The main reason is the customs enforcement that came with Brexit.
It is known that many British collectors also prefer to buy artworks from abroad. The galleries have been affected negatively by this situation, said Sönmez, noting that he thinks this is about the era that we are going through. The era of over-patriotism and extreme right-wing ideologies.
”It appears that the entire European art scene is facing some issues. Art institutions seem to be less active than before, and many young artists have left the UK and moved to other parts of Europe, like Antwerp, Rotterdam, and Copenhagen. The UK is experiencing issues with patriotism and other European countries, such as Germany, Switzerland, and the Netherlands, are facing similar problems. In the most recent elections, a fascist political party in Germany has managed to succeed. We can see how politics are influencing art. Europe is not the old Europe we once knew. The ghosts of conservatism and extreme right-wing ideologies have resurfaced,” said Sönmez.
What about Art Basel’s French art fair Paris+
This year, in its second edition, the hopes were high for Art Basel’s French art fair, officially known as Paris+, par Art Basel.
The fair held at the temporary convention centre, the Grand Palais Éphémère, saw high attendance during the first few hours, but without any long lines or waiting times.
As it was its second edition all endeavours were made to show Paris is an international market. So, to keep the fair as international as possible, the Art Basel team added a fourth clock to its display, which showed the time zones of its other locations (Hong Kong, Miami Beach, and Basel, Switzerland). Everything was done for the sales and in fact, the sales were also exciting. According to artnet.com a $6 million Kerry James Marshall painting at Zwirner sold for a collector; a $2.35 million George Condo at Hauser and Wirth; and a $2 million Robert Rauschenberg at Thaddaeus Ropac are among the important sales.
But the question regarding the future of Art Basel’s Paris edition remains the same: Will it remain in its current format and in its small space? The importance of a spacious venue for an art fair has been emphasized once again. Currently, Paris + is located in a relatively small space, and even the Grand Palais is not very large. If the fair is able to expand to a larger venue, it has the potential to become a major event.
