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The front page of the newspaper L'Express sounds the alarm: " The State [français] Spends € 139 per Francilien for culture, compared to € 15 per inhabitant in the rest of the country ".
France, following this strategy of concentrating the cultural offer in its capital, is exposing itself to greater strength than it does. On the Art Market, French actors (artists, galleries and auction houses) are finding it increasingly difficult to emerge from the shadow of their powerful Anglo-Saxon rivals in France and on the international scene.
thierry Ehrmann, President and Founder of Artprice, reacts: " This is not a surprise for anyone: Paris enjoys a favorable regime on the cultural level. But the imbalance has become too big, too obvious. The French capital is no longer an El Dorado, neither for the artists nor for the Art Market.
In 1964, Sotheby's bought the New Yorker Parke-Bernet, the first American auction house, which had first been offered to the French auctioneers, but which they refused. France still suffers from the "Parke-Bernet Syndrome" ".
Catalogs of sales of Parke-Bernet Galleries – Artprice Archives
[https://imgpublic.artprice.com/img/wp/sites/11/2019/06/parke-bernet.png]4% of the World Art Market
The situation has changed significantly since the 1960s. At auction, Paris is obviously the stronghold of the French Art Market, with 90% of the sales revenue of the Hexagon. But this market is not what it was half a century ago: in 2018, France weighs only 4% of the World Art Market.
But even this small market is struggling to remain French. It is indeed the Anglo-Saxon auction houses that dominate it now. The giants Sotheby's and Christie's generate 51% of the value of the public sales of Fine Art in France, with $ 353.5 million in 2018. And this is still a drop in the business of the first two auction houses of the planet: Paris represents only 4% of their activities …
In other words, the Paris auction houses are now almost secondary for Christie's and Sotheby's. The New York market place is 15 times larger than Paris, London 6 times and even Hong Kong generates nearly 3 times more turnover than the French capital.
The third auction house on the planet, Phillips has meanwhile simply chose not to organize sales in Paris …
Frexit
France is courting major players in the Art Market, English and American, but it struggles to keep its artists who prefer to go away to live elsewhere. On June 7, the New York Times drew the attention of its readers to the singularity of the French pavilion at the 2019 Venice Biennale, in an article entitled " Laure Prouvost represents France. But she does not feel very French "(Laure Prouvost represents France, but she does not feel very French).
And for good reason, the 41-year-old artist, born in France, works in Antwerp, Belgium, and was revealed in 2013 by the Turner Prize, the most prestigious British award.
In an interview with the newspaper Les Echos, the gallerist Daniel Templon explains: At the FIAC, there are sixteen major stands for the stands but only one granted to a hexagonal gallery. Our first contemporary art fair sees us as secondary and, by the same token, our artists too […] Emerging artists, if they want to succeed and see their prices go up, have to move abroad: in Germany, Belgium, Los Angeles, New York ".
Daniel Templon rightly blames French museums: " Museum directors find it more rewarding for them to exhibit [artistes] foreigners and claim that they would make fewer entries with the French. […] Before exporting our artists, they should already be shown and bought from us. […] ".
The Parisian gallerist concludes: "If the institutions do not accompany us, there will be no more powerful gallery in France."
Towards another cultural policy
Paris brings together the most beautiful cultural institutions of the country, and often even of the world. From the early arts to the contemporary scene, through antiquity and the medieval period.
The Louvre, figurehead of all this system, is the most visited museum in the world. But he enjoys a leonin funding explains the Express: " In the 1980s, François Mitterrand decided to renovate the Louvre, which needs it. Extension, restoration, erection of the famous pyramid: the state pays everything, which seems logical. With the exception that, in 2012, when we inaugurate his little brother in Lens […], the ministry, in its great prodigality, brings royally … 1% of funding ".
Within this French cultural policy, the Province serves as a laboratory, where young curators and young museum directors are sent to prove themselves. The example is provided this year by the Biennale de Lyon, entrusted to the young curatorial team of the Palais de Tokyo. Jean de Loisy, whose presidency of the museum has just ended, has retired … to devote himself to the management of the Ecole des Beaux-Arts in Paris and its excellent program « Art is the material On France Culture.
The classification of the Museums of Contemporary Art in France, recently published by Artprice on the basis of the Google reviews, confirms the quite unequal success of the Parisian museums compared to those of Province.
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