Aesthetic positions at Art Genéve: Would you like a little more Swissness?

The Art Genéve fair (until January 29) is characterized by a certain Swissness. Unlike the much larger Art Basel, the audience is predominantly from the region, and the number of visitors is significantly lower. You obviously know each other, not just each other. The nearly 90 galleries (plus 40 institutions) usually have a pretty good idea of ​​who to expect here and what to show them.

Urs Meile, with galleries in Beijing and Lucerne, explains that Geneva is the marketplace for which he tailors his offerings more precisely than for any other fair. Because there are no billionaires from the USA or Asia strolling past his stand. Rather, the group of buyers consists of the upper middle class in the larger region, as well as institutions and companies from all over Switzerland. Therefore, Meile can and must show specific positions with which he would hardly be able to succeed elsewhere, such as two smaller paintings by Urs Lüthi, whose work is perceived much more strongly here than abroad.

Local collectors and companies like to buy art from Swiss artists, of whom there are actually quite a few who also belong to the big names internationally. Ugo Rondinone, for example, who is currently exhibiting at the Musée d’Art et d’Histoire. In addition, buyers tend to rely more on security, which is reflected in the range of products. Very large art dealers are present here, from Gagosian to Van de Weghe to Tornabuoni, as well as Viennese galleries such as Christine König and Thaddaeus Ropac from Salzburg/Paris/London. So it’s not surprising that Nosbaum & Reding from Luxembourg are appearing in Geneva with a more conventional stand than at the Brafa in Brussels, which is taking place at the same time and which, as a fair for art and antiques, should actually be set up more conservatively. (kob)

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