Art market, in Paris, has been changing constantly since post world war II. It started in Manhattan, with the arrival of European artists running away from the turbulent political situation. The galleries started spreading all over the island and not only in the commercial district or the wealthy residential areas. Chelsea and East village were targeted by new emerging art dealers. Then, with the economic boom, art started getting paid little by little every time more, becoming more and more expensive; a Warhol was sold for $60m.
Therefore, nowadays, not only is art an expensive product, but also artists feel more encouraged to design and create pieces every time more singular, size, materials or cultural heritage become more radical. The problem, where are going these huge new works of art going to be exposed if not in a big-scale museum?
So, galleries in Paris have had to move from the centric boulevards to peripheries areas of the city, the same way manhattan’s galleries did in the 60’s. But not only the size of art has made art dealers to move. Real state economics, the new metro line planned to be built, and renaming the city from Paris, to the “Great Paris” has most certainly helped.

Two of the most prestigious art galleries in Paris, Gagosian Gallery and Galerie Thaddaeus Ropac, have recently opened the doors of their new exhibit spaces. The first one has occupied an old hangar near to the airport, targeting buyers who fly with their private jets; the second one has chosen an abandoned heating factory. Both allow these dealers to provide artists with a place where to exhibit their oversized pieces of art. (ROPAC GALLERY)

So important is to them these pieces, that for their opening both these galleries chose the same artist to exhibit his work for the opening ceremony, Anselm Kiefer, a german painter and sculptor whose work is, many times, oversized. Moreover, his depressive, destructive style contrast very much with the atmosphere this new galleries have. White boxes which try to interfere as less as possible with art. (GAGOSIAN GALLERY)


This evolution in art galleries is no longer only just about art, but also about urban planning, spreading all over the city; and about architecture. The place where art has to be placed in order to be seen has to be suitable for the artists. If the spaces available in the cities are insufficient, new spaces must be fetched. Art should not be restricted by how wide, tall o deep a exhibition room is. And this subject is something that the magazine ArtForum in a previous issues tries to fins out. Does architecture help art, or, on the contrary, does it impose how the art has to be exposed. 
It is admirable this brave gesture these two big dealers have done. Going to a non easy place to go only for the sake of art, only to promote these new artists unable to expose their undiscovered art.


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