Paris likes to think of itself — and not undeservedly — as the cultural capital of the world. Tourist industry statistics, for example, show the City of Light is the most-visited in the world, and cultural attractions such as the Louvre are on everyone’s must-see list. In modern times, the city has also been the nexus for artists and artistic movements such as Impressionism, spawning the likes of Monet, Rodin, Derain. It has welcomed American writers such as Hemingway, Gertrude Stein and James Baldwin and created philosophical ideologies such as existentialism — along with the black turtleneck “bohemian” look to go with it.
But this cozy little sinecure is being shaken up badly in the new landscape of art. A landscape dominated by huge international art fairs more overtly commercial: much, much bigger, much less cozy, and far more transparent than the French market (which is, basically, Paris) is accustomed to.
Art fairs have grown in size, number (more than 200 globally) and popularity over the past three years, not surprisingly: it’s a good way to attract new customers — people who may be too intimidated to enter a gallery or those who think collecting takes a lot of money but want to see the art and antiques and are surprised to find some affordable pieces.
Art Is Now Big Business
This landscape populated by the likes of the venerable European Fine Arts Fair (TEFAF, which this year took over the Armory shows in New York), Art Basel (now also in Miami), Masterpiece in London and more modest events such as Chicago Expo. And that’s just in the West. Meanwhile, the emphasis is shifting away from Old Masters and towards contemporary art. In this charged-up, shifting and well-financed playing field, this year's La Biennale Paris (September 11-17) is — to be kind — struggling.
For one thing, it is trying to overcome the stigma attached to the very public forgery scandal involving the subsequent sale of allegedly fake 18th-century furniture at the fair last year. The case is still waiting to be heard in court. (As an aside, the Didier Aaron Gallery, implicated in the affair, did attend TEFAF this year, but did not attend La Biennale this month.)
For La Biennale des Antiquaires, the original name of the 61-year-old paternoster of decorative arts fairs holding court in Paris’ Grand Palais, to be so-charged sent a shock wave through the Elysian world of antiques while creating a nervous atmosphere of distrust not conducive to persuading dealers to put their best objects on display at this year’s fair. They didn’t, and even the fair’s new general manager admits it. “It’s a question of attractiveness,” Francois Belfort, general director of the Syndicat National des Antiquaires (SNA) which organizes the Biennale, told me in an interview at the fair in Paris. Belfort is a long-time veteran of the French cultural and artistic scene, including, among other appointments, being director of production at the Centre Pompidou in Paris. "We must continue to develop the attractiveness of La Biennale Paris so that the largest galleries and the most beautiful rooms [of furniture and decor] are present," he says.
It’s not for nothing the SNA’s new mantra is “qualité, excellence, exigence” (literally, “requirements” or, more colloquially “having the right stuff”). Indeed the three pillars are emblematic of the changes being wrought throughout the fair’s organization to render it more competitive and sustainable. The changes start with the top leadership and the replacement last year of Dominique Chevalier with Mathias Ary Jan as SNA president, elected for a three-year term.
Changes At The Top
“Prior to this, the president served for two years, so every fair had a new chief,” Belfort says. “This three-year term will provide more continuity and we can build on what we learn.” This is the first year the Biennale has been held annually, and will continue to do so. “But we will keep the name ‘Biennale’ anyway because that’s what people remember,” says Belfort, explaining the anomaly. But the biggest evidence of change in the fair’s leadership structure is Belfort himself as General Manager in March. “We never had continuity at the administrative level,” he says. Under the new organization, the President operates as a kind Chairman of the Board, while Belfort is the CEO.
Another leadership evolution is the appointment of Christopher (“Kip”) Forbes as President of the Biennale Committee. Vice-Chairman of Forbes and son of Malcolm S. Forbes, he is a well-respected collector, serves on the boards of numerous museums and is currently Chairman of the American Friends of the Louvre.
The Honorary Committee of La Biennale, which unites presidents of the world’s major museums such as the Louvre, Hermitage and Rijksmuseum, was placed under the patronage of His Highness Sheikh Hamad Bin Abdullah Al Thani of Qatar.
Then there’s the vetting process. The organizing SNA now has nothing to do with it. Neither do any of the exhibitors. Instead, two independent organizations – the Compagnie Nationale des Experts (CNE) and the Syndicat Francais des Experts Professonnels en Oeuvres d’Art et Objets de Collection (SFEP) are in charge of the vetting committee. Exhibitors this year were advised to have all the paperwork relevant to authenticate their objects’ pedigree on-hand during the show. Now the trick is to not overdo the vetting process to the extent that potential exhibitors are scared off.
Taken together, these changes resulted in a somewhat smaller show - 94 exhibitors- lacking a bit in glamor, but more international and more balanced (in past years the big jewelry houses had hogged most of the space and much of the limelight). The French press was scathing in its criticism, but the changes are necessary if Paris is to shed the forgery mantle, dust itself off, and battle its way back to center stage in the cultural scene.
A Clear Agenda for Change
Belfort has a clear agenda to make that happen.
“First we have to show the brand, and that is marketing,” he says. “We have to be present at the right time and place, and be known in the world”
“Second, we know this will be a 3-year project” to begin to turn things around.
“And third, we need to gather other events and other institutions during the Biennale so that we crate a kind of art festival during Biennale week.” That started this year with two major exhibitions launched during the Biennale: Monet, Collector: Masterpieces from his private collection at the Musee Marmottan and The Secret Garden of the Hansen (Ordrupgaard Collection) featuring works by Corot, Degas, Matisse, Gauguin, etc., at the Musee Jacquemart-Andre.
“We need to make this week important,” adds Belfort. “With La Biennale, we aim to make Paris the place to be after the summer.”
Will it succeed? There is a political will at work here to make it so. And it is Paris, after all
For more information on La Biennale Paris click here.
