2024-07-06 10:29:11
ÜThe news does not come as a surprise – Art Basel Paris is officially called now. We remember: two and a half years ago, Marc Spiegler (then the World Director of the fair) and Chris Dercon (then the head of the Association of National Museums and the Grand Palais – RMN) reformed a committee that displaced the traditional Fiac culture and replaced it. it includes “Paris plus off Art Basel”. The city’s leaders have claimed the weak Francophone name, but now the international brand has won.
In autumn 2024, the art exhibition will move to the renovated building of the historic Grand Palais. And while the tension is spreading in the calm Basel about whether it can hold its own against the glamorous Paris, the director Clément Delépine, after two noteworthy test runs, is now in the final in the competition with other games under strong umbrella symbol – Art Basel takes place in Basel and Paris (from October 16th to 20th) in Hong Kong and Miami Beach.
WORLD: What do you expect from you as the head of Art Basel in Paris?
Clément Delépine: As a director I have to play very different roles. Sometimes I am a diplomat, sometimes a hospitality manager, sometimes a politician. However, my job is always the same: I am responsible for creating a world-class event that celebrates artistic excellence, curatorial rigor and cultural heritage in one of the most beautiful cities in the world – and the best environment possible for pictures, collectors and art lovers to create. The new name Art Basel Paris describes this mission somewhat.
WORLD: If the city has to submit itself to the brand?
Clément Delépine: We want to reaffirm our commitment to the city and its cultural ecosystem by taking full advantage of the global Art Basel brand. It is important to strengthen the business and increase its response in Paris, France and around the world.
WORLD: What do you hope to achieve from moving to the historic Grand Palais?
Clément Delépine: First and foremost, more space, and therefore more opportunities to present relevant artistic practices that are not particularly visible in the first two editions. We are now home to 194 leading national and international charts, a significant increase of 26 percent compared to last year. We are proud to be the first trade fair to be held in this building again after the closing of the Grand Palais.
WORLD: Do you want to give a business event a museum-like touch?
Clément Delépine: I wouldn’t say we are a museum, but I believe we have an institutional responsibility. We demonstrate this not only through the art presented at the venue, but also through the close relationships we build with international fashion artists.
WORLD: What does your business have – apart from the city of Paris and the important venue – that other businesses do not?
Clément Delépine: We are trying to be leaders. So we are always looking for new and innovative ways to better support our images and connect with our visitors. In Paris, we presented the unique identity of the trade show with the initiative “Oh La La!”
WORLD: Oh dear?
Clément Delépine: We encourage galleries to show performances that are not shown on Friday and Saturday. This creates an exciting lesson that enlivens the second half of the trade fair week.
WORLD: Art Basel attracts an international collector’s audience. What does it offer the French and the Parisians?
Clément Delépine: More than a third of our exhibitors operate galleries in France. This allows us to reflect the trends of the local community. We also do our general planning not only in collaboration with the city, but also with important cultural institutions. The opportunity to exhibit art in iconic places like the Place Vendôme, the Palais d’Iéna or the front of the Institut de France is simply incredible.
WORLD: What’s the idea behind the new “Premise” business venture?
Clément Delépine: In this area, galleries can present special curatorial ideas, which can also include works from before 1900. This is part of our effort to fully explain the history of art.
WORLD: A reminiscence of the great days of Paris?
Clément Delépine: More of innovation: “Foundation” is the first part of Art Basel in which galleries can show works from the 19th century. This is unique.
WORLD: Can you be more specific?
Clément Delépine: Nine paintings are represented at the opening, all newcomers to the fair. Our focus is on the proven but little known state of the art. Düsseldorf gallery Sies + Höke is showing works of art by Sigmar Polke and Gerhard Richter. Mohamed Melehi, a Moroccan artist of the 1960s to 1980s, is exhibited by the Casablanca-based Loft Art Gallery. Personally, I am very intrigued by the Turkish artist Nil Yalter and his semi-historical exploration of the power of cloth. There will also be provocative underground comics by Spanish photographer Nazario and paintings by Ukrainian-American artist Janet Sobel.
WORLD: The “Art Market Report 2024” from Art Basel and UBS notes that global sales in the art market have dropped to $65 billion, four percent less than the previous year. What effect does the recession have on the business process?
Clément Delépine: We know that while the global photography market is resilient, it is still experiencing a decline in sales. However, it is important to remember that the market is still above its pre-pandemic level of $64.4 billion and transaction volumes are 4 percent. The main purpose of Art Basel is to support our galleries and collectors – this is our role in the art ecosystem.
WORLD: How can you support the images in times of weak market?
Clément Delépine: We strongly believe in the important role that smaller buildings play in this ecosystem. That’s why Art Basel Paris also follows the sliding model for fixed prices, which ensures that young and medium-sized galleries are not weakened by excessive prices. This high school pricing system ensures more equal opportunities. We also offer a reduced rate for exhibitors in the “Exhibition” and “Premise” sections. You pay 50 percent or 25 percent less there than in the first sector.
WORLD: In the last two directions of the fair there was an opportunity for galleries to share the stands. Do you stand on it?
Clément Delépine: In any case, we have noticed a great interest in joint applications. Ten artists plan to share a stand at the festival, showing their wisdom and support for each other. I hope that these joint stands will be one of the most interesting at the fair this year.
WORLD: The “2024 Artsy Fair Report” found New York as the most important place of art fair, following Basel, London and Miami. Paris followed in fifth place, again with a clear gap. What power do you want to exploit so you don’t lose touch?
Clément Delépine: According to our Art Market Report 2024, France has consolidated its position in the global art market and is the fourth most important market despite a strong global economy. Another study commissioned in 2023 by the Comité Professionnel des Galeries d’Art shows that 50 percent of all art transactions in the European Union take place in France.
WORLD: After much hesitation, Germany has realized the importance of the art business and will re-introduce a reduced VAT rate of 7 percent on art in 2025.
Clément Delépine: Local and national government bodies in France have also shown strong support for the industry: in 2023, it is decided not to maintain a reduced VAT rate of 5.5 percent for primary sales and imports from abroad of works of art from countries outside the EU, but also on all VAT rate Sales or resale proceeds. I believe that recent developments are very much in favor of Paris, not against it.
WORLD: France is facing crucial parliamentary elections this Sunday. National Rassemblement criticized contemporary art and culture as elitist and snobbish and called for the elimination of local art collections. What does the victory by the ultimate right mean for the art business and Art Basel Paris?
Clément Delépine: The National Assembly did not list any official measures specifically related to the art market in its 2024 plan. Until now, Art Basel has been able to work closely with the French Ministry of Culture and the Grand Palais RMN to create an international art exhibition in Paris. This allows us to actively contribute to the attractiveness of the French market. We hope that the support measures and protections that have ensured the international success of the French cultural economy, including the strong artistic market, will continue into the future.
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