“interview”

A new comer in the secondary market

Launched in July 2014 in Geneva, Auction after Sale is an online platform dedicated to the unsold sales at auction. The aim of the site: after any sale in the world, the client has ten days to acquire the unsold lots via the platform. To find out more, Art Media Agency went to meet the founder, Jean-Baptiste Fabre, and his partner Ugo Scalia. How was the Auction after Sale project born? Jean-Baptiste Fabre: I spent 15 years in the universe of auction sales. The media puts a lot of attention on the records; that is the tip of the iceberg. In fact, behind the scenes there exists a large quantity of very important lots which do not find buyers. Today, in the domain of contemporary art, around 37% of lots are not sold, 50% in China. This is a real loss to auctioneers, who do not have the time to process all these unsold lots afterwards. Auction after Sale does not come to lecture for all that, we just provide a service. I want to present the after sales as an opportunity and not as a scrapheap. I want to operate a very short manoeuvre, on the few days following the auction, during which it is necessary to make the seller understand that the price they was demanded for was not right. We propose the lot for ten days maximum. But we do not put it in auctions: the first offer is the first served and the lot is immediately taken off the site. When we have reached our cruising speed, I hope to reduce this period to seven days to stay in the dynamics of the auction. We have listed 1,300 auction houses in the world. The internet today allows to bring to the client very diverse offers, thinking...

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A Fresh Start for the Mattias Coullard Gallery

After three years in partnership with Audrey Koulinsky, Mathias Coullaud takes his solo flight, while affirming the radical nature of his taste. But this isn’t all: he renewed the artistic team, with new artists and the arrival of Christophe Langlitz as associate curator. Interview with Art Media Agency. What type of gallerist are you ? I have always thought that I was unusual because I don’t have the route of a typical gallerist: I gave up art studies, a gallery internship, etc…I was born in a family of collectors with passionate grandparents and a father who was totally obsessed by his collection that he devoted all of his spare time to art. I can’t remember the moment when I opened la Gazette de l’Hôtel Drouot for the first time, but I read it every week since then. To add to this I attended fairs and biennales from a young age, I have memories of more than 30 years of great gallerists or stands at the FIAC; an ancient memory of this environment which many people of this generation do not have. Despite all of this, I became a gallerist by retraining. What did you do before? For 10 years I worked in live entertainment- theatre, music and dance-, but at 15 years old, everyone knew that I would open a gallery except me. It must have been simply that my personal journey took me here. I define myself somewhat as a gallerist, except that equally I don’t understand the term “gallerist”. What would you replace it with? I wouldn’t replace it, but I understand very well the reason for it being preferred to “art dealer”. What differences do you make between the two? None, except that “gallerist” is the intellectual and politically correct word for “art dealer”. Given that I...

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‘We are a museum without walls’ : Interview with Elizabeth Glassman

Elizabeth Glassman is the President and CEO of the Terra Foundation which was founded by Daniel J. Terra. He opened two museums to hold his collection of more than 700 works of 18th to 20th century American art. Glassman’s job is to encourage other countries to appreciate American art from this period. Although most of her focus is overseas, grants are still made to local Chicago organizations operating in this narrow focus area. AMA had the opportunity to meet with Elizabeth Glassman. Tell us about how your started out in the art world I came to Paris to study to be a diplomat. Then, when I was here, I thought I am never going to make peace in the world because everybody has their own ideas about their own country. I love art history so I moved to start studing at Ecole de Louvre then to the United States to study History of Art. My field is prints, photographs and drawings, therefore, after I graduated, I was a curator for many years at the Metropolitan Museum of Art (MET), and then at the Menil collection in Texas for Dominique de Menil which was an amazing experience. After business school, I became head of the Georgia O’Keeffe Foundation in Santa Fe, New Mexico. When I completed those projects, which involved giving away all the assets of the foundation, her paintings etc and establishing her home as a studio to visit, I was asked to run the two museums that the Terra Foundation was running, one in Chicago and one in Giverny. It was decided that the foundation wanted to take a better look at how they were using their endowment to run the two museums and whether to continue to do that or whether to fulfil the foundations mission by...

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The many faces of photography with Christophe Gin

Christophe Gin is a reporter and the sixth laureate of the Prix Carmignac for photojournalism (2014). Born in 1965 in Nevers, this self-taught photographer began his career in the early 1990s with Nathalie conduite de pauvreté (1994-2001), a photography project behind closed doors that explored the workings of poverty by focusing on the figure of Nathalie, a woman who agreed to share her daily life with the photographer for seven years. Following this work, Christophe Gin discovered Guyana and has worked there since 2001. He undertook investigative work, notably looking at the notion of territory. The Fondation Carmignac rewarded one of these reports, whose central theme was the difficult application of the French republican logic at the heart of this territory. This work is currently on show at the Chapelle des Beaux-Arts in Paris, in an exhibition dubbed “Colonie” (“Colony”), until December 5, 2015. Why Guyana? I’d worked a lot in Guyana and I gradually began to specialise in this area. For fifteen years, I saw Guyana not as a lawless country, but as an anomaly where French law has struggled to be applied and accepted. However, without a doubt, the law still applies in one way or another. Regardless of where you are, guidelines and laws exist and conform people to a certain way of life However, the case of Guyana is more interesting. Firstly, because this territory is pluralist. There is just one Guyana: this country is a juxtaposition of territories divided between the forest region, the places populated by Native Americans, the places where the miners work, etc. In each place, the codes differ and French law is fraught with rules that are not compatible with its own. In my work, I focused on a specific region of Guyana: the French area, which has been very...

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Life is inspiration: Interview with Brazilian Artist Maria Laet

Born in 1982, artist Maria Laet lives and works in Brazil. Laet is currently represented by the MdM Gallery, in Paris,  created in 2012 by Maria do Mar Guinle which exhibits contemporary Brazilian art. Laet’s first exhibition at the gallery in 2013, was called “La Voix des choses”. Laet works with natural elements through different mediums; air, stone, water and earth. Art Media Agency went to meet with Laet at the MdM Gallery. How did you get into art?  I did graphic design, but I think art is not something that you learn, I think I always was an artist as a child but I didn’t go directly to it. At the University of Graphic Design in Rio de Janeiro, Brazil, I started to develop some thoughts; the balloon work for example. I then went to London and received an MA in art, to then have the time to develop a language. Where is your inspiration from? From life. I think it’s a form of communication. For me most of the time, it’s an identification process. I identify with something, and the development of that dialogue is the work. So I can say with nature for example, I can see something in a stone that you see in another way, and that’s my way of seeing it. You work with various mediums, is there one you prefer? Do your ideas cover and overlap the mediums?  I think it’s very good to have this freedom. I think the work asks for the medium. Of course there are some mediums that repeat, a lot of the time I have an action that leaves a mark or an action that doesn’t leave a mark but I can see the movement. You can find similarities that repeat in drawings that is made by movement. I see you mostly work in black and white. Why do you work with this palette? Black and white is the essential. It’s simpler and you end up talking about everything in between...

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