Displaying items by tag: FIAC

German painters Gerhard Richter and Georg Baselitz sold works for more than $2 million each, and American artist Mike Kelley’s mixed media that used buttons, beads and shells fetched more than $1 million, as the Foire Internationale d’Art Contemporain ended on Sunday in Paris.

Organizers said 74,567 people attended the main fair at the Grand Palais and more than 14,000 visitors went to (Off)icialle, a new sister event with 68 galleries that focused on younger or overlooked artists on a dock along the Seine in east Paris.

FIAC, France's most important contemporary art fair has announced their new showcase for emerging international galleries.The official satellite event will present some 60 galleries from 12 countries specialising in contemporary art. (OFF)ICIELLE at FIAC will highlight new territories: young galleries and newcomers to the international art scene; emerging artists and those whose historic contribution has been overlooked. The venue Les Docks will contain a space spanning 3,700 m2.

The event will provide visitors with the opportunity to discover galleries whose exhibition programs demonstrate a particular aptitude for decoding the language of contemporary creation and a gift for revealing talents, old and new.

From May 27 – 31, 2015, Reed Exhibitons will bring FIAC, one of the world’s leading international art fairs, from Paris to Los Angeles. A convergence of FIAC’s forty year history of dynamic growth and the city’s rise as a cultural capital, under the stewardship of Director Jill Silverman van Coenegrachts, FIAC LA will establish a new paradigm for the international art fair. Set against the backdrop of one of America’s fastest growing neighborhoods, FIAC LA will bring a program of modern masters, contemporary art, architecture and design to Downtown’s Los Angeles Convention Center.

FIAC was founded forty years ago as a fair for gallerists by gallerists, with an aim to present a curated vision of contemporary art to a wider public. Over the years Reed Exhibitions, has invented, explored and expanded the fair. during the last decade, fiac has become one of the three most important art fairs in the world. In 2013, FIAC welcomed more than 75,000 visitors and over 100 international museum groups to the Grand Palais.

The Outsider Art Fair, a 21-year-old, New York-based event dedicated to self-taught artists and avant-garde artworks, will take on Paris this fall. The inaugural edition of the fair in Paris will be held from October 24-27, 2013 at Hotel Le A, a boutique hotel near the Grand Palais. Founded by Sanford Smith, the fair was acquired by Wide Open Arts in 2012 and will coincide with FIAC, France’s leading contemporary art fair.

Outsider Art, known as Art Brut in France, has played a significant role in French art. The French painter Jean Dubuffet (1901-1985) coined the term Art Brut in response to America’s recognition of outsider art. Groundbreaking outsider art exhibitions have also been held at renowned French institutions including the Musee des Arts Decoratifs, Halle Saint Pierre, Foundation Cartier, and Palais de Tokyo.

Paris’ Outsider Art Fair will welcome galleries from across the globe and works by iconic outsider artists such as Henry Darger (1892-1973), Martín Ramírez (1895-1963), Bill Traylor (1854-1949), and Joseph Yoakum (1889-1972) will be presented.

The International Contemporary Art Fair (FIAC) starts today in Paris and runs through Sunday, October 21. One of the largest forums for contemporary artists, galleries, and dealers, the FIAC encompasses a number of events across the city at the Grand Palais, the Louvre Museum, the Tuileries Gardens, and various other locations.

The Grand Palais portion of the FIAC is held on two floors and features 182 dealers of modern and contemporary art from around the world. Last night’s preview, which is considered a litmus test of the art market’s strength, hosted a number of notable sales. Joan Miro’s Surrealist abstract Peinture (Le Cheval de Cirque) (1927) was sold by Helly Nahmad Gallery (New York) for $8 million and Lucio Fontana’s Concetto Spaziale, Attese (1967–68) was sold by Paris’ Tornabuoni Arte for $2.36 million.

A number of high-profile collectors were in attendance including French billionaires Francois Pinault and Bernard Arnault, U.S. collector Alberto Mugrabi, and Turkish collector, Omer Koc. If the preview is any indication of the how the fair will proceed, it should be any exciting next few days in Paris.

Two years after opening a Paris branch, Larry Gagosian will open a large gallery space in Le Bourget on the grounds of an airport. Designed by Pritzker Prize-winning French architect, Jean Nouvel, the space is located in a former 1950s hangar boasting 17,760 square feet. The inaugural exhibition at the two-level gallery will be by German painter and sculptor, Anselm Kiefer.

Gagosian, proprietor of the world’s largest commercial gallery network, planned for the Le Bourget opening to coincide with the annual Foir Internationale d’Art Contemporair (FIAC) in Paris, a contemporary art fair that brings in a hefty crowd of international art collectors.

Kiefer’s exhibition will feature five paintings and a huge field of handmade wheat stalks surrounded by a rust-colored steel cage. Titled Morgenthau Plan, the work refers to a plan devised in 1944 by U.S. Treasury Secretary, Henry Morgenthau, to disarm Germany by shutting down its industry and converting it to a strictly agricultural state. The hugely expansive space allows for such monumental installations. Nouvel, who designed the gallery in four months, put up four partition-like walls inside to create a central interior space and then used the area outside the walls and beneath the high ceilings to create display rooms and mezzanines.

France is home to some of the world’s top art collectors including chief executive officer of PPR, Francois-Henri Pinault, and French business magnate, Bernard Arnault, making it a prime destination for art dealerships. The new Gagosian Gallery will open on October 18 and Kiefer’s exhibition will run through January 2013.

Eight years ago it was considered dead and buried, but FIAC (Foire Internationale d’Art Contemporain), France’s premier contemporary art fair in Paris, has since staged a dramatic revival, with some commentators claiming that its latest edition, which closed on Sunday, was even better than Frieze.

Now in its 38th year, FIAC was long regarded as a ’must attend’ fair for collectors of modern and contemporary art along with fairs in Basel and Cologne. But following the recession of 1991, it became largely dependent on French exhibitors and French artists, and experienced a slump in the international ratings. The Frieze Art Fair, which began in 2003, was timed to run bang in between the autumnal fairs in Cologne and Paris, and was a direct challenge to both. But while Cologne succumbed, changing shape and shifting dates, FIAC hung on in there to meet the challenge.

Although the two are essentially different in that FIAC combines early 20th century modern art with the contemporary, and Frieze is exclusively focussed on the latter, FIAC needed a more international contemporary edge, so a battle for key exhibitors ensued.

The most important change came in 2006 when FIAC moved from a convention centre on the outskirts of Paris to the imposing splendour of the Grand Palais, with a courtyard at the Louvre for the younger galleries. Outdoor sculptures were placed in the Tuileries Gardens, satellite art fairs sprung up, and private collectors and museums mounted special exhibitions to make FIAC a special cultural event.

Within the fair, a process of internationalising the exhibitor list began to the point where French gallery representation has been reduced from 70 per cent in 2003, to 31 per cent this year. Major names to have joined the fair recently are New York’s Barbara Gladstone, which ceased exhibiting at Frieze after it opened a gallery in Brussels, and Gagosian, which opened a gallery in Paris last year, but still does both fairs. About a dozen other galleries have opted for Paris over London in the last four years, but rather than a drift, it’s been more of a game of musical chairs as galleries leave and then return to FIAC, as they did this year.