Do contemporary dealers still need galleries?
The
predominance of fairs is changing the mechanics of the art
trade
By Marc Spiegler
Over
the last year, Swiss dealer Serge Ziegler has arranged for
his artists to show their works with internationally respected
colleagues such as Galerie Griedervonputtkamer in Berlin,
Galerie Ghislaine Hussenot in Paris
and Corkin Shopland Gallery in Toronto,
alongside their institutional shows ranging from the nearby
Kunstmuseum Luzern to the Gana Art Centre in Seoul,
Korea. Installation artist Javier
Tellez of Venezuela, one of the two artists Mr Ziegler represents
exclusively (videomakers Minnette Vári of South Africa is
the other) was selected for the 2003 Venice Biennale, and
he is currently preparing a piece for this month’s Sidney
Biennial. Funding the work of his artists, Mr Ziegler has
also pulled off secondary-market sales with an ever expanding
range of clients worldwide. Recently, he was encouraged to
participate in the Cologne art fair, which hopes to propel its
renewal through the inclusion of young, unconventional artists
such as those in Mr Ziegler’s stable.
All told, that is a pretty good run for a dealer, especially
one whose infrastructure consists of a storage room, a Powerbook
G4 laptop and his mobile phone. A third-generation art dealer,
Mr Ziegler closed his six-year-old Zurich gallery in March
2003, frustrated with having to pay rent for a space where
he rarely spent much time and that, despite its decent proportions,
failed to sate the sprawling ambitions of his artists. Impetuous
and nomadic by nature, he posted a digitised version of his
inventory online, placed the works themselves in storage and
hit the road. “I originally planned to take a year off,” Mr
Ziegler says, 15 months later. “But I think less and less
about opening another gallery now. To suit the works of artists
like Javier, Minnette or [installation artist] Nic Hess, I’d
need a place with 20-foot ceilings. And it would not help
me sell more works to my clients in places like Brazil and
New Zealand. They’ve never even met me”.
Vári says Mr Ziegler’s move at first perturbed her, but, to
date, she is surprisingly happy with the arrangement. “The
geography as well as the identity of Serge’s practice, has
just become more liquid, more adaptable, more agile,” she
explains. “For me, this means that Serge can be more involved
in my different projects; he is more free to move around and
support me at art events around the world”.
Mr Ziegler is not a unique case. A self-described “galeriste
sans galerie,” London’s Vanessa Suchar has mounted more than
30 salon-style shows in other people’s posh private apartments,
mostly in London, but also in Rome, Brussels, and her native
Paris. The business model started as a lark, aimed to keep
up her connection with contemporary art while she was flogging
much older work in a Bond Street gallery. “In my first ‘salon,’
I sold 22 pieces in four hours, at prices from £300 to £2,500,
which was a pretty good return on a relatively small amount
of time invested,” she recalls. “Today, I have a very faithful
clientele of professionals, lawyers and bankers who like art,
but are put off by the classic white-cube galleries”. Recently,
Ms Suchar was offered a chance to use a Regent Street space
in the heart of London’s prestigious West End gallery district.
Best of all, it was rent-free. She turned it down. And at
the highest end of the market of course, there’s Anthony d’Offay,
who despite closing his gallery and “retiring” in 2001, has
been actively setting up museum and gallery shows from his
office in Dering Street.
Given the hassles involved in maintaining a gallery space—paying
rent, keeping the phones manned and the desk staffed, mounting
shows, dealing with logistics such as security or utilities,
and so forth—it seems inevitable that other entrepreneurial
types will follow Mr Ziegler and Ms Suchar’s example. Or perhaps
even invent some entirely new form of virtual gallery. (For
example, capitalising on the surging number of museums, the
popularity of large-scale installation art and the hunger
for young artists to build a roster filled with cutting-edge
work unsuited for gallery spaces.) But what is even more interesting
is the much broader transformation of the way in which art
is sold and the role that the physical gallery space plays
within it. At a time when London’s art world is obsessed with
the opening of New York dealer Larry Gagosian’s massive new
gallery near King’s Cross, it is worth noting that such spaces
may belong more to the past than to the future of the art
market.
Once the locus of all an art dealer’s activities, the gallery
itself now often plays second (or even third) fiddle when
it comes to cash flow. Consider the example of young Chicago
dealer Monique Meloche, who had unexpectedly to seek a new
space after negotiations with her landlord fell through. Her
last show in the West Loop space opened and closed on 30 April,
and her inventory went into storage until autumn. Ten years
ago, this would have spelled disaster. Yet Ms Meloche says
the interregnum has not affected her business. “I can show
works by appointment at the warehouse and the online sales
have not stopped,” she explains. “I just sold three pieces
today. I was at the Art Chicago fair in May and I am participating
at the Liste fair in Basel in June. So local and international
collectors will still be seeing my artists”.
Indeed, the single greatest factor eroding the primacy of
the gallery space has been the ascendancy of fairs as a nexus
for art selling, especially when it comes to emerging art.
“There are too many new galleries and too many young artists
for most collectors to track nowadays,” says Rebecca Smith,
owner of New York’s Bellwether Gallery. “Art fairs are like
Cliff Notes for collectors”. Even at the more established
levels of the contemporary market, fair visits often substitute
for proper gallery tours. “Most of my major collectors have
visited the gallery, but not all of them,” admits Matthias
Arndt of Berlin’s Galerie Arndt & Partner, albeit a bit
ruefully. “We would never be celebrating our 10-year anniversary
this fall if we had to survive only from sales in the gallery
itself”.
That holds even truer when it comes to galleries off the main
art-market axes. “At best, I only sell 30% of my work in Turin,”
says Luca Conzato, owner of Galleria Maze, whose international
reputation has risen rapidly in recent years. “I sell almost
all the rest at fairs. I remember one show by [multi-medium
artist] Pablo Vargas Lugo that did not sell a single piece
at my gallery. At the Berlin fair, we sold it all, including
some that went to Italian collectors. It’s a very strange
situation: To get into fairs you need to have a gallery, so
you must do all the work of organising shows and maintaining
the space; but in the end this work is more a cultural activity
than something that is commercially profitable”.
Not surprisingly, Conzato plans to reduce the number of shows
he organises in Turin, and he is applying to high-end fairs
such as the Armory Show in New York. He is not alone in his
logic. “People are planning their exhibition schedules around
the fairs they get accepted to,” explains Ms Meloche. “I have
noticed a lot more galleries extending shows from five weeks
to eight weeks in seasons when they’re doing a lot of fairs”.
That said, there is a widespread feeling that the number of
fairs has reached saturation level and a harsh triage is not
far off. But the second major new factor in today’s market—the
internet—seems far from reaching its apex. Much as people
may like to mock those who lost millions in online ventures
such as the Eyestorm website, there is an increasing amount
of business that is taking place online. Once widely trumpeted,
the maxim that art must be sold in person has been quietly
strangled by the realities of an art market where the spoils
go to those who act rapidly, rather than wait until their
travels next take them to a gallery on the other side of the
ocean. “I was talking with some other dealers during the New
Art Dealers Alliance fair [in Miami last December] and everyone
finally admitted that they spend whole days sitting at their
desk sending out JPG images,” recalls Choire Sicha, co-owner
of New York’s Debs & Co gallery. “At some level, we’re
all running virtual galleries these days. But it still helps
your business to have an actual gallery. It gives collectors
confidence in you, even if many of them are too lazy actually
to bother seeing your shows”.
Aside from gaining collector trust, there is a second major
function of the gallery space: recruiting for the roster.
No matter where a gallery is located, the people to whom the
physical confines matter most are artists, whose egos and
ambitions tend to be stoked by the possibility of working
on an impressive scale. To them size still matters. When Cosmic
Galerie in the Marais district of Paris launched its efforts
in late 2002, its founders opted for a massive space occupying
two floors of a high-ceilinged hôtel particulier. The building
helped it amass a roster that includes stars such as Vanessa
Beecroft, Mat Collishaw, Martin Creed and Annika Larsson.
“We wanted to make things happen, and fast,” explains Frédéric
Bugada, one of the gallery’s founders. It worked: Cosmic’s
openings regularly draw 1,000 visitors and it has benefited
from massive media support. “The size of our space has saved
us thousands of dollars in advertising,” Mr Bugada continues.
“And I’m convinced that it helped us get accepted to FIAC
and the Frieze art fair despite being such a new gallery”.
Clearly the era of the big gallery space has not ended. But
in the current art market, savvy dealers are thinking carefully
about their needs. As with most businesses, much depends on
location. In places such as Berlin where rent is cheap, why
not go big? But in small markets with high real-estate prices,
it’s a trickier issue, especially once a gallery has built
its stable of artists and a healthy inventory. Geneva’s Pierre
Huber of Galerie Art+Public, for example, recently scaled
back his operations, abandoning his huge gallery space and
paring display areas down to a project space and the antechamber
of his personal office. In fact, Huber’s Art Basel fair booth
this month could easily engulf his combined exhibition spaces.
“A lot of people will do the same thing,” Mr Huber predicts.
“In the old days, we mounted the exhibition and waited for
collectors to visit. But what matters now is having a hyper-efficient
back office, not an enormous showroom. Our competition is
worldwide, so we need to focus our efforts on tracking what’s
going on everywhere, locating pieces and keeping collectors
happy. I don’t need a 5,000-square-foot space to deal secondary-market
Andreas Gursky photos”.
Even the galleries in the art market’s two main centres, New
York and London, no longer function as boutiques geared towards
the sale of luxury goods. They are more like the flagship
stores that designers such as Polo, Louis Vuitton and Giorgio
Armani erected along Madison Avenue, Bond Street and the Boulevard
Saint Germain. There, minimalist installations and spacious
showrooms function as a form of branding for their products
worldwide; the real money comes from smaller outposts crammed
with merchandise. In the art world, of course, most galleries
only have one space; their “franchise stores” are either ephemeral
(the fair booth), portable (the portfolio bulging with transparencies)
or virtual (the gallery website).
Like most changes, this recasting of the gallery space’s market
role has both positive and negative ramifications. On the
upside, having multiple sales channels means established galleries
can take bigger risks with the exhibitions that they do hold.
“We can reach the market in so many other ways now that it
takes some financial pressure off the show itself,” Mr Arndt
says. “I don’t get so depressed anymore when we fail to sell
much—or even anything—at an opening”.
But in the broadest sense, what is going on is the globalisation
of the market, with collector interest and money focusing
on international artists and events such as fairs and biennials
rather than local exhibitions. The potential for corrosion
of regional art centres seems strong. “Taking focus away,
from the gallery spaces is bad for the artists, because the
best way to engage with their work is still the solo show,”
observes Zurich dealer Victor Gisler of Galerie Mai 36, “There
are tons of galleries today that don’t really seem to have
a strong connection to their hometowns. Look at what happened
to Berlin. Everyone had such high hopes there, but galleries
are running around to so many fairs that the Berlin art scene
never really materialised”.
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