The art industry has been hit harder by the pandemic than most industries. Thanks to the quick thinking and an ability to adapt, it seems that the industry is not only going to survive but thrive, with a new wave of revolutionary development.
Digital platforms are emerging, and there is an increasing focus on local art and local artists.
We would like to share with you the views of representatives of three well-known galleries: Victoria Miro, Kamel Mennour and SETAREH, and their opinions about the future prospects of art and the anti-crisis solutions.
Gallery representative Glenn Scott Wright is convinced that today’s realities are no longer restrictions, but an adaptation towards newness and a quick step towards the future.
Recently, Victoria Miro collaborated with influential art dealer David Zwirner on a project titled ‘Side by Side’. Their venture is a microsite of the best artists that both sides work with. In addition, the unique augmented reality app Vortic Collect was launched, whereby people can actually enter the gallery space and almost touch the beauty. This is much more interesting than just opening works of art on your laptop screen, or statically studying their history and details in a book. With the app, you can walk around Grayson Perry’s sculpture from all sides, you can walk up to Njideka Akunyili Crosby’s painting and look at it from all vistas.
Glen Scott Wright says that he received very similar letters from many of their regular customers, with the general consensus being summarized into three words: “We are ready.”
We can no longer travel at the same pace of development that we did before. The world is evolving, as are its conditions and it is creating an extremely interesting paradigm shift.
“People often offered me opportunities to open up in a new place. Large spaces in London, New York, or Hong Kong, but I have always refused these offers. I prefer to be extremely stable and strong in my city. I decided a long time ago that being a Parisian is part of the gallery’s DNA,” says Mennour.
Lost and unbuoyed after the Second World War, the gallery owner returned to his native Paris, seeking out the core of the modern art movement, as opposed to finding a bolt hole in somewhere more mainstream such as New York. Here Mennour created something stable and powerful from scratch and became used to an active rhythm, consisting of a series of continuous meetings with collectors and dealers, exhibitions and retrospectives. But the current climate has paused everything. What does Kamel say about this?
“Every day I think about how lucky I am. A strong intuition left me in France, next to all the artists and galleries. I sincerely wish all the best for the art. But for those galleries that have their places scattered around the world, it will be extremely difficult to manage them in the new realities”.