Talking Galleries Barcelona Symposium, 2-3 Nov 2015. Programme

IV Barcelona Symposium Artists and Gallerists: Sharing a Vision

MACBA Barcelona 2-3 November 2015

#TG2015

Talking Galleries Barcelona Symposium Artists and Gallerists: Sharing a Vision ArtReview’s annual report on the most influential figures in the global art scene crowned the Swiss couple of dealers Iwan and Manuela Wirth top the 100 power list for the first time. They are credited for changing the model of how art is bought and sold: “the Wirths were moving away from the conventional white cube and instead embracing different kinds of spaces in which to sell and develop art (…) To some extent they are reinventing the gallery model, challenging that traditional white space we are all used to”, said Mark Rappolt, editor of the renowned magazine.

It is necessary to constantly review the practices of reference in order to survive and thrive in the ever-changing conditions of today’s art world. The economy, professional relations, production and distribution have mutated. In turn, the way art is experienced has also changed, since digital platforms are indeed replacing its physical engagement. Everything is speeding up and the market seems to favour only mega artists and uber galleries. Emerging and mid-level galleries are thus left to fend for themselves in the development of the artists’ careers and the pursuit of an audience, whilst they also have to support a commercial space. They are a too fundamental piece of the ecosystem to let them fail.

This edition of Talking Galleries will examine four main issues: how galleries relate to art fairs and to artists; the gallery programme; and the online presence. On Monday new appointed MACBA Director Ferran Barenblit will offer a brief introduction, and then Marc Spiegler will open the symposium with a keynote speech exploring the major shifts that affect the lives of galleries today. Annette Schönholzer, along with three international art fair directors, will then expand on art fairs and their modus operandi, by focusing on what they expect from galleries.

In this regard, gallerist Annamária Molnár will encompass the crucial dilemmas that young and emerging galleries usually face when implementing their art fair strategy. The afternoon will also centre around artists and what they expect from their gallerists, by way of conversation between Elizabeth Dee and artists Dora García and Lisa Ruyter. Tuesday morning’s talks will revolve around issues related with artists and their representation. First, there will be a discussion

by Alain Servais and Adam Sheffer, dwelling on the emergence of a new player: the artists’ agent and the way his role can affect the rapport between artists and gallerists. Then, Jocelyn Wolff and three international gallerists will discuss whether the ‘programme gallery’ is a model of the past or not. Finally, in the afternoon speakers Anders Petterson and Marek Claassen will respectively debate how concrete, statistical data at the core of the art market have made possible to compare the incomparable, and how the digital revolution has a real impact on the way people discover, experience, engage and buy art.

Welcome INTRODUCTION

by Ferran Barenblit

Ferran Barenblit studied Art History at the Universitat de Barcelona (1991) and Museology at the New York University (1995). In September 2015, Barenblit was appointed new director of MACBA, Museu d’Art Contemporary de Barcelona. From 2008 to 2015, he was the director of CA2M Centro de Arte Dos de Mayo de la Comunidad de Madrid, where he developed an intense programme of exhibitions, public activities, education programmes and publications, and worked in close contact with its audiences. From 2002 to 2008 Barenblit was the director of the Centre d’Art Santa Mònica in Barcelona, a space dedicated to contemporary art, where he presented projects by national and international artists. In 1996–98 and 2000–1, Barenblit was the chief curator of Espai 13, at the Fundació Joan Miró. From 1994 to 1996, he worked as assistant curator at The New Museum, New York. He has lectured in universities and museums around the world.

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Programme

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Monday, 2 NOV 9:00-9:45h

Registration

Welcome FERRAN BARENBLIT 9:45-10:00h

10:00-11:30h

Reflections on the contemporary art ecosystem

Speaker: MARC SPIEGLER, Art Basel Global Director Keynote Speech: 45min + 45min Q&A 11:30-12:00h

Coffee break

12:00-13:30h

FAIRS UNDER REVIEW

Moderator: ANNETTE SCHÖNHOLZER, former Art Basel co-Director; founder .connect the dots Speakers: ELIZABETH DEE, founder, Elizabeth Dee Gallery; co-founder, Independent TOURIA EL GLAOUI, founding Director, 1:54​Contemporary​African Art Fair CARLOS URROZ, Director, ARCOmadrid Debate: 45min + 45min Q&A

13:30-15:30h Lunch break

15:30-17:00h

IMPORTANT CONSIDERATIONS OF THE ARTIST/GALLERIST RELATIONSHIP

Moderator: ELIZABETH DEE, founder, Elizabeth Dee Gallery; co-founder, Independent Speakers: DORA GARCÍA, artist LISA RUYTER, artist Debate: 45min + 45min Q&A 17:00-17:30h

Coffee break

17:30-18:30h

H​OW TO CHOOSE THE RIGHT FAIR FOR YOU?

Speaker: ANNAMÁRIA MOLNÁR, founder and Director, Ani Molnár Gallery Presentation: 35min + 25min Q&A 20:30h

WELCOME DINNER

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Programme

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Tuesday, 3 NOV 10:00-11:30h

ARTISTS AGENCIES

Speaker: ALAIN SERVAIS, collector and entrepreneur Respondent:

ADAM SHEFFER, Partner/Sales Director, Cheim & Read; President, Art

Dealers Association of America (ADAA) Presentation: 45 min + 45min Q&A 11:30-12:00h

Coffee break

12:00-13:30h

HOW TO BUILD A CONSISTENT GALLERY PROGRAMME

Moderator: JOCELYN WOLFF, founder and Director, Galerie Jocelyn Wolff Speakers: Silvia Dauder, founder and Director, ProjecteSD

MATTHIAS VON STENGLIN, founder and co-Director, RaebervonStenglin GIGIOTTO DEL VECCHIO, founder and Director, Supportico Lopez Debate: 45min + 45min Q&A

13:30h-15:30h

Lunch break

15:30-16:15h

ART MARKET - THE BIG DETACHMENT

Speaker:

MAREK CLAASSEN, Director,

ArtFacts.net

Case Study: 25min + 20min Q&A 16:30-17:30h

THE NEW ONLINE ART CONSUMERS

Speaker:

ANDERS PETTERSON, founder and Managing Director, ArtTactic Presentation: 30min + 20min Q&A 17:45-18:45h

SUMMARISING THE SYMPOSIUM

Led by: GEORGINA ADAM, art market journalist, The Art Newspaper and Financial Times

ADAM SHEFFER, Partner/Sales Director, Cheim & Read; President, Art Dealers Association of America (ADAA) Final Session

19:00h

FAREWELL DRINK

*The programme may be subject to changes

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MONDAY, 2 NOV

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Reflections on the contemporary art ecosystem

BY MARC SPIEGLER Art Basel’s global director will offer an in-depth examination of the major shifts that affect the lives of galleries today, including: • The ever-expanding encroachment of the auction houses on gallery territory.

• The challenge of balancing fairs and gallery programmes, dealing digitally.

• The phenomenal speed with which the market devours young stars.

• The shifting nature of collectors.

• And the internationalization of the art markets.

Clearly, the gallerists who will survive must be agents of change rather than victims of circumstance. But what must they change - and how can they do that while remaining true to themselves and their artists?

Marc Spiegler In his role as Art Basel’s Global Director, Marc Spiegler oversees the global development of the organization across the three shows in Basel, Miami Beach, and Hong Kong. Spiegler joined Art Basel as Co-Director in 2007 and became Director in 2012. Over the first six years, Art Basel developed into a truly global platform for leading international galleries to show their programmes. In recent years and under the directorship of Marc Spiegler, Art Basel developed further worldwide projects such as the Crowdfunding Initiativve in partnership with Kickstarter and a course for emerging collectors, realized in collaboration with Hong Kong University and Central Saint Martins in London. Before joining Art Basel, Spiegler, a dual citizen of France and the United States, worked as a journalist for 15 years – writing about the artworld for magazines and newspapers such as The Art Newspaper, Monopol, Art & Auction Magazine, ARTnews Magazine, Neue Zürcher Zeitung, and New York Magazine. He studied Political Science and Journalism in the United States and England.

Photo: Marc Spiegler. Global Director, Art Basel © Art Basel

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MONDAY, 2 NOV

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FAIRS UNDER REVIEW led by Annette Schönholzer Since their advent in 1970 in Central Europe, the significance of art fairs for galleries and their artists has grown immensely. Particularly over the past decade, the count of art fairs presenting contemporary art has mushroomed to an estimated 220, proliferating worldwide.

In addition to the international and more regional art fairs, some interesting new initiatives with unconventional formats have been launched that lay claim to being different from traditional art fairs. As collectors flock to these various platforms, buying less and less in gallery spaces, the participation in art fairs seems to have become inevitable, resulting in a daunting annual schedule for many galleries. In this panel discussion, we will investigate how the current array of exhibition and sales platforms differ, what they expect of galleries and their artists, what they offer to collectors, curators and critics, and address the burning question of why galleries should choose to participate in one over the other, or alternately, all of them for different reasons. The discussion will revolve around the following main points: • How do the different platforms (art fairs) for galleries differentiate from each other? What are the factors that make them unique for gallerists, collectors and artists?

• Is it possible to discuss different art fair models under criteria such as: geopolitics of location, international vs. regional, demography, scale, niche art fairs, emerging vs. established markets?

• What are the most relevant implications when discussing fair organizers: fair companies vs. fairs organized by gallerists? Who understands their clients better? What are the better platforms for sales, or other important benefits?

• What do the organizers expect of participating galleries - and vice versa. Which platforms focus on which services and offerings: sales and transaction platforms + meeting points for exchanges in the art world?

Annette Schönholzer Annette Schönholzer worked for the international art fair ART BASEL in broad variety of roles for 12 years. 2002 – 2007 as Show Manager of Art Basel in Miami Beach, 2008 to 2013 as Co-Director of both Art Basel fairs with a focus on strategy, finances, human resources, logistics and design. During this period, Art Basel expanded with a third show to Hong Kong in 2013. From 2013 to October 2014, Schönholzer held the position of Director of New Initiatives, spearheading strategic development and global projects for Art Basel. Schönholzer is based in Basel, Switzerland, and now runs her consultancy “.connect the dots”. Schönholzer is member of the boards of The House of Electronic Arts, the Kunstverein (Kunsthalle) Basel and teaches art market and art administration related courses at various universities and art academies in Switzerland.

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Elizabeth Dee Elizabeth Dee is an American gallery owner and co-founder of Independent (New York, Brussels). The gallery is located on West 20th Street in Chelsea, and has produced numerous groundbreaking, first and internationally recognized exhibitions by such artists as Adrian Piper, Miriam Cahn (debut), Philippe Decrauzat, Derek Jarman, Leo Gabin (debut), Josephine Meckseper (debut), Ryan Trecartin (debut) and Mark Barrow, among others. Previously Dee established X Initiative, a nonprofit consortium of the global art community presenting exhibitions and programming in response to the major philosophical and economic shifts in Contemporary art. She was also recently included in Art + Auction Magazine’s list for the 100 most powerful figures in the art world.

Touria El Glaoui Born and raised in Morocco, Touria El Glaoui completed her education in New York before beginning a career in the banking industry as a wealth management consultant. After ten years she relocated to London, where she has since occupied various business development positions in the Telecom/IT industry in the Middle East and Africa. Parallel to her career, Touria has organised and co-curated exhibitions of her father’s work, Moroccan artist Hassan El Glaoui. In October 2013, Touria founded 1:54 Contemporary African Art Fair, which takes place annually in London and New York. In 2016, the second edition of 1:54 New York will be held across the 5-8 May at Pioneer Works in Brooklyn, while the fourth edition of 1:54 London will be held across the 5-9 October at Somerset House.

Credits: Image courtesy of 1:54 © Benjamin Hoffman

Carlos Urroz Carlos Urroz is the director of the International Contemporary Art Fair ARCOmadrid since May 2011. His contributions to ARCOmadrid include: forging the link with Latin America through the section ‘Solo Projects’, dedicated to solo artist stands; the new section ‘Opening’ for young Galleries; and the ‘ARCO Professional Meetings’, a new activity format linked to the fair and aimed at experts, which has brought over 100 museum directors, biennials and professionals to Madrid each year. Urroz is the chairperson of the ARCO Foundation, for which he has put forward new activities such as the ‘Gallery Walks’, dedicated to the organisation of guided tours to contemporary art galleries. From 2005 to 2011, he created and directed UP (Urroz Proyectos), a company aimed at designing and implementing projects within the cultural organisation and communication context, collaborating with the Loewe Foundation and Thyssen-Bornemisza Art Contemporary, among others.

From 1998 to 2006 he was the director of Galería Helga de Alvear. Previously, he had worked as the Deputy Director of ARCO, when Rosina Gómez-Baeza was director.

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IMPORTANT CONSIDERATIONS OF THE ARTIST/GALLERIST RELATIONSHIP led by Elizabeth Dee A gallery’s mission is to help artists find their place in terms of curatorial audience and market. The road map for each artist is individual. How is the balance of roles in the market and museum space determined? What is the model for the future? Following these premises, the discussion will revolve around the following guidelines: • What do artists expect from galleries?

• How can galleries better respond to the artists’ needs?

• Is the Castelli model -based on discovering and nurturing young artists, supporting their development and building a commercial market for their work-, still viable today? Is there something that should be added, changed or further explored?

• Are loyalty and ‘complicity’ notions that still should be preserved and protected as essential in the artist-gallerist relation, or should these concepts be understood in a rather different way than in the past?

• Should artists be treated as partners in order to communicate the programme of the gallery?

• How does the gallery programme as a whole reflect and interface with individual agendas?

Elizabeth Dee Elizabeth Dee is an American gallery owner and co-founder of Independent (New York, Brussels). The gallery is located on West 20th Street in Chelsea, and has produced numerous groundbreaking, first and internationally recognized exhibitions by such artists as Adrian Piper, Miriam Cahn (debut), Philippe Decrauzat, Derek Jarman, Leo Gabin (debut), Josephine Meckseper (debut), Ryan Trecartin (debut) and Mark Barrow, among others. Previously Dee established X Initiative, a nonprofit consortium of the global art community presenting exhibitions and programming in response to the major philosophical and economic shifts in Contemporary art. She was also recently included in Art + Auction Magazine’s list for the 100 most powerful figures in the art world.

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Dora GarcĂ­a Dora GarcĂ­a reflects on the parameters and conventions governing the presentation of art, on the question of time (real and fictional) and on the boundaries between representation and reality. Through her work the artist presents reality as multiple and questionable and explores the relationship between the artist, the work, and the public. She acts like a cinema director who tells stories (or simply selects them), unchains a situation, situates us in a scenario or makes us participants in a game the rules of which are very similar to reality and for this very fact allow us to question it. Her work, conceptual in nature, consists of text, photographs, and installations restricted to a specific location. She often draws on participation and performance. Through minimal changes, the exhibition space is converted into a different experience for each visitor, who leaves it with his or her perceptions altered, or at least with a degree of scepticism and doubt.

Lisa Ruyter Lisa Ruyter began showing in New York in 1993. Like many of the artists of that generation, Ruyter’s concerns involve identity and pathologic constructions that cross biological and social boundaries. This work emerged from an education that had pop art and minimalism functioning like shopping mall anchor stores, in relationship to which Ruyter formed a special interest in navigating the glut of images, storytelling, invisible architectures, dissolving skins and representation, especially self-representation. Lisa Ruyter is a resident of Austria since 2003, and is very active in the Vienna local scene, with exhibition spaces that have produced more than 30 exhibitions of other artists.

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HOW TO CHOOSE THE RIGHT FAIR FOR YOU?

BY Annamária Molnár In this presentation Molnár will examine the crucial dilemmas that young and emerging galleries face when designing and implementing their art fair strategy, such as: local vs international presence; the ideal number of fairs per year; mix of top global vs specialised or local fairs. She will compare research results concerning different rankings, as well as the national/regional compositions of top art fairs, the attendance of which could be the ultimate goal for an emerging gallery (and the regular presence for established galleries).

In order to broaden the topic, the research results will be complemented with opinions from key figures in the art fair world. Molnár will then present historical data series on the art fair participation of some galleries, which have successfully climbed up on the art fair ladder, and now belong to the leading galleries of the global art world. She will also share her personal experience on the art fair path of her own emerging gallery.

Annamária Molnár Director and owner of Ani Molnár Gallery in Budapest, she holds a Masters in Economics from the Corvinus University. In the late 90’s she started to get involved as a curator in the Hungarian contemporary art scene, organising non-profit exhibitions and projects. She won the curatorial scholarship of the Institut für Kulturwissenschaft in Vienna in 1999. For 6 years she was a member of the Studio of Young Artists Association. In 2008 she opened her gallery focusing on emerging and mid-career Eastern-European artists. The gallery hosts non-profit public space exhibitions that received the Summa Artium Award in 2009. She was elected president of the Hungarian Contemporary Galleries Association in February 2011. She revitalized the Association, which also became a member of the F.E.A.G.A. (Federation of European Art Galleries Association). Among other projects she launched the international visitors programme “Budapest Contemporary” in 2012, and participated in numerous international conferences as speaker and panelist. She has been the president of the association untill 2014. In 2013 the gallery received the Innovation and Creativity Award

by FEAGA in Basel.

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TUESDAY, 3 NOV

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ARTISTS AGENCIES

BY Alain Servais Based on auction volumes, the revenues of the contemporary art market have multiplied by 16 between 2001 and 2008. Can the club-like attitude of the art market before 2001 still endure with the influx of new money? And what about the relationship between artists and galleries?

Let’s begin by asking ourselves what are the key services that artists and clients expect from a gallerist.

It amounts to increasing fixed costs, which are raising the pressure on the gallerist. We will analyze how this could create a conflict of interest between the gallery and the artists it represents.

All other creative industries seem to have developed functioning agencies for the arts, architecture and sport at large; why has this not been the case for the fine art industry? And could it be a positive solution to the challenges brought up by the industrialisation of the art market? ​ lain Servais will outline the profile of an independent service platform, which includes legal, production, A PR and counselling assistance for artists to the exclusion of any selling. This platform would be a complement to the gallery and in no way it would constitute a competition. ​Can it work? Will it fulfil a need?

Alain Servais Art collector, investment banker and entrepreneur, Alain Servais started collecting art in the late 1990s. In 2000, he moved into a 900-square meter old factory, which he later transformed into a three-storey loft, located in a working-class neighbourhood of Northern Brussels. Apart from being his living and working premise, here is where Servais showcases his contemporary art collection. Servais has recently been listed among the “Top 200 Collectors Worldwide – 2015” by Artnet.

Adam Sheffer Adam Sheffer was born and raised in Boston, Massachusetts. He graduated from Vassar College in art history and archeology. He has served as director of the Mary Boone, Robert Miller and Danese galleries and for the last twelve years has been a partner at Cheim & Read, where he works closely with artists Ghada Amer, Jenny Holzer and Sean Scully as well as the Estate of Louise Bourgeois and the Joan Mitchell Foundation. Adam has also participated in related projects, such as the editing of a book — Alice Neel: Paintings from the Thirties with Wayne Koestenbaum and signing on as associate producer of Lady Painter —, a film based on the novel by Patricia Albers about the art and life of Joan Mitchell. In 2014 Adam was named a benefactor of the Museum of Fine Arts Boston and has served as Vice President of the Art Dealers Association of America (ADAA). Since September 2015 he has been appointed President of the ADAA, succeeding Dorsey Waxter, who had served as ADAA’s President since 2012.

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TUESDAY, 3 NOV

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HOW TO BUILD A CONSISTENT GALLERY PROGRAMME led by Jocelyn Wolff • Who dictates the gallery programme?

• How to build a solid artistic discourse?

• What characterises a strong and coherent gallery programme?

• How to work with the artists towards it?

• How to communicate it through the different platforms at a gallery’s disposal (online, social networks, etc.)?

• Are curatorial driven galleries better than the art market oriented ones, or they just serve different market necessities?

• Is the “programme gallery” a model of the past?

Jocelyn Wolff Founder and Director of the Galerie Jocelyn Wolff in Paris, which opened in October 2003 with a solo show by Clemens von Wedemeyer in a very small space in Belleville (East Paris). Most of the represented artists had their first solo show at the gallery. In March 2006, it moved to a new space in the same neighbourhood, rue Julien-Lacroix.

Photo: © André Wolff

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Silvia Dauder Founder and Director of ProjecteSD, a Barcelona based gallery that opened in 2003. Despite its short career, ProjecteSD has already been recognised as representing a new galley concept within the Spanish contemporary art gallery scene. Its consistent programme and its appropriate selection of national and international artists (which is not solely based on commercial concerns, but always goes a step ahead of the market, trends and demands), as well as its personal outlook, have contributed towards the gallery’s notoriety and uniqueness, which has helped it to actively participate in the most prestigious art fairs in the world. Together with the gallery exhibition programme, ProjecteSD pays special attention to publishing and distributing artists’ books.

Currently the gallery represents the following artists: Iñaki Bonillas, Koenraad Dedobbeleer, Hans-Peter Feldmann, Guillaume Leblon, Jochen Lempert, Matt Mullican, Marc Nagtzaam, Peter Piller, Pieter Vermeersch y Christoph Weber, Patricia Dauder, Raimond Chaves, Dora García, Asier Mendizabal and Xavier Ribas.

Matthias von Stenglin Matthias von Stenglin (1982) is a gallerist based in Zurich. From 2005 to 2009 he worked at Klosterfelde in Berlin. In 2010 he co-founded the Zurich-based gallery RaebervonStenglin with Beat Raeber. The gallery showcases new, often site-specific works by young artists, presenting emerging artistic positions to an international and local audience. Artists include Karsten Födinger, Manuela Leinhoß, Susanne Kriemann, Alexander Wagner, David Keating, Sofia Hultén, Kilian Rüthemann, Saâdane Afif, Ivan Seal, Robert Kinmont, Taiyo Onorato & Nico Krebs, Dane Mitchell, Andrew Dadson, Thomas Julier, Jill Magid, Raphael Hefti and Thomas Wachholz.

Gigiotto del Vecchio Gigiotto Del Vecchio (1971) is an art critic, gallerist and curator based in Berlin. He contributed to Frieze, Flash Art, and Mousse, of which he is the Berlin editor. He has worked for Momentum, and taken part in Utopia Station at the Venice Biennale along with Radio Arte Mobile. He also curated “Incursione Vesuviana” for the Venice Biennale. From 2000 to 2006 he was chief advisor for the Fondazione Morra Greco per l’Arte Contemporanea, Naples. From 2007 to 2008, with Stefania Palumbo, he oversaw the programme for the project room at Museo Madre, Naples. With Stefania Palumbo, he currently directs the programme of Supportico Lopez, a project space later turned into a gallery, which was founded in Naples in 2003, and is now based in Berlin.

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TUESDAY, 3 NOV

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ART MARKET – THE BIG DETACHMENT

BY Marek Claassen The art market has long been led by subjectivity and personal motivation, but it now faces a disruptive force: the digital world. After the music industry and the book market, it is now the art world’s turn to face the internet’s power of objectivity. In order to build an objective, professional tool that offers an accurate reflection of the quality of an artist’s work, we need to study the ways in which artists’ careers are currently ranked.

In a professional market, data is king. Businesses need to conduct analyses, and will be analysed in return. How do they do this? By using concrete, statistical information the customer, previously called the collector, becomes anonymous, as does the gallery and its artists. Does this “objective” system of classification grant transparency?

In this new-world scenario a mature market evolves out of revolution i.e. change. For the art market this revolution means regulation. In order to develop the market, the key players must establish a secure environment for the customer: certified information, comparable processing standards, availability of works.

Standards are the core of any functioning market and are a way to make the incomparable comparable. ArtFacts.Net Director, Marek Claassen will explain how to establish a standardised measuring system for artistic careers, and what an econometric evaluation for galleries might look like. In addition Marek will cover how galleries can implement these industry standards in a small business.

Marek Claassen Director of ArtFacts.net. Marek Claassen was born in 1964 in Bremerhaven. He studied Business Adminstration and has many years of experience working with various galleries and software companies. Marek has been actively producing database enhanced web sites for the art world since 1995. Marek has won many prizes for his internet activities and was nominated as one of Europe’s best multimedia entrepreneurs by the EU Commission in 1998.

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THE NEW ONLINE ART CONSUMERS

BY Anders Petterson The online art market has changed significantly in the last 15 years, with the advent of new technologies and new digital platforms for the arts. These developments are now starting to have a real impact on how people discover, experience, engage with and also increasingly buy and sell art.

Issues to be explored in this discussion: • What is the impact of technology on the art market? Is the art industry about to face a similar technological disruption to other cultural industries such as film, music and publishing industry, or will it be different?

• How ready is the art market to meet the challenges of new technologies? What is the sector currently doing to prepare itself?

• How are people using online art platforms and why? What are the motivations and needs of online art buyers? Are these buyers different from the traditional art collector? If yes, how do you find them and how to engage with these audiences?

• Is the online art market particularly suited for a certain type of art within certain price brackets?

• What are the key challenges when buying art online? How can these be addressed?

• What is the importance of trust and reputation in the online art market?

Anders Petterson Anders Petterson is the founder and managing director of ArtTactic Ltd, a Londonbased art market research and analysis company set up in 2001. ArtTactic has been a pioneer in using crowd-sourcing techniques for gathering and processing intelligence on the art market. Anders is the author of the annual Online Art Trade Report now in its 3rd edition. He is also lecturing on the topic of ‘Art as an asset class’ for CASS Business School, Sotheby’s Institute, Christie’s Education and IESA in London. Anders Petterson is a board member of Professional Advisors to the International Art Market (PAIAM). Prior to founding ArtTactic, Anders worked for JP Morgan in London.

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SUMMARISING THE SYMPOSIUM

BY Georgina Adam AND ADAM SHEFFER At the end of the symposium, Adam Sheffer and Georgina Adam will sum up the two days in a conversation which will condense and review the important points that the speakers and participants will have explored over the two days. During their dialogue they will discuss what was heard, pick out the “take-away” points and add their own opinions on the various subjects.

Georgina Adam Georgina Adam, Art Market Editor-at-Large for The Art Newspaper since 2008 and art market correspondent for the Financial Times. Adam has been writing about the art market and the arts in general for 25 years, and also lectures on the market and related subjects at Sotheby’s and Christie’s educational institutes. Now based in London, she has lived in France and Japan; in June 2014 she released the book Big Bucks: The Explosion of the Art Market in the 21st Century, which explores the transformation of the modern and contemporary art market in the 21st century.

Adam Sheffer Adam Sheffer was born and raised in Boston, Massachusetts. He graduated from Vassar College in art history and archeology. He has served as director of the Mary Boone, Robert Miller and Danese galleries and for the last twelve years has been a partner at Cheim & Read, where he works closely with artists Ghada Amer, Jenny Holzer and Sean Scully as well as the Estate of Louise Bourgeois and the Joan Mitchell Foundation. Adam has also participated in related projects, such as the editing of a book — Alice Neel: Paintings from the Thirties with Wayne Koestenbaum and signing on as associate producer of Lady Painter —, a film based on the novel by Patricia Albers about the art and life of Joan Mitchell. In 2014 Adam was named a benefactor of the Museum of Fine Arts Boston and has served as Vice President of the Art Dealers Association of America (ADAA). Since September 2015 he has been appointed President of the ADAA, succeeding Dorsey Waxter, who had served as ADAA’s President since 2012.

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VENUE

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Museu d’Art Contemporani Barcelona – MACBA Auditorium Meier Museu d’Art Contemporani de Barcelona Plaça Joan Coromines, s/n 08001 Barcelona www.macba.cat

How to get there Metro: Universitat (L1, L2) Catalunya (L1 and L3) www.tmb.cat Renfe/FGC: Catalunya (L6, L7, S1, S2, S5, S55) www.fgc.cat Car/Taxi: MACBA Auditorium is in a pedestrian area. Closest pick-up drop-off area: Carrer dels Àngels, 20.

Closest public car parking: Carrer dels Àngles, 1.

WELCOME DINNER AT HOTEL ALMA BARCELONA 2 november 20.30h Carrer de Mallorca, 271 08008 Barcelona T +34 93 216 44 90 www.almabarcelona.com

How to get there Metro: Diagonal (L3, L5) www.tmb.cat FGC: Provença (S1, S2, S5, S55) www.fgc.cat

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WHAT’S ON

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Art agenda in Barcelona from 2 to 8 November 2015. TALKING GALLERIES participants have free admission with the symposium accreditation.

ART CENTRES ARTS SANTA MÒNICA Cristina Lucas • ‘All about Colour’ ‘Figures of the Split: Puppets, Machines & Marionettes’

CCCB – CENTRE DE CULTURA CONTEMPORÀNIA DE BARCELONA ‘Human + The Future of our Species’

Tues – Sat 11 – 21h Sun & bank holidays 11-17h La Rambla 7, 08002 Barcelona + 34 935 67 11 10 www.artssantamonica.cat

Tues – Sun: 11 – 20h Mon – Closed C/ Montalegre 5, 08001 Barcelona + 34 93 306 41 00 www.cccb.org

BLUEPROJECT FOUNDATION

FUNDACIÓ ANTONI TÀPIES

Joachim Koester. ‘Body and Machine’ Opens 6 November

‘Tàpies. An Artist’s Collection’

Tues – Sun 10 – 20h C/ de la Princesa, 57, 08003 Barcelona +34 931 82 43 71 www.blueprojectfoundation.org

Tue – Sun: 10 – 19h Mon - Closed C/ d’Aragó 255, 08007 Barcelona +34 934 870 315 www.fundaciotapies.org

CAIXAFORUM BARCELONA

FUNDACIÓ JOAN MIRÓ

‘Animals and Pharaohs’ ‘Parlo sabent que no es tracta d’això’ ‘My World’

‘Miró and the Object’ ‘When Lines are Time’ ‘Planets and Stars’

Mon - Sun 10 – 20h Av. Francesc Ferrer i Guàrdia, 6-8, 08038 Barcelona +34 934 76 86 00

Tues – Sat: 10 – 19h; Thu: 10 – 21h Sun & Bank Holiday: 10 – 14.30h Mon- Closed Parc de Montjuïc s/n, 08038 Barcelona + 34 93 44 39 470 www.fundaciomiro-bcn.org

CAN FRAMIS – FUNDACIÓ VILA CASAS Bigas Luna: ‘Més de Bigas i més de Luna’ Oriol Jolonch: ‘Realitats inventades’ Tues – Sat 11 – 18h; Sun 11 – 14h Mon & bank holidays: closed C/ de Roc Boronat, 116, 08018 Barcelona +34 933 20 87 36 www.fundaciovilacasas.com

FUNDACIÓ SUÑOL ‘Rosa Amorós. Despojos i dèries’ ‘ITALIA. I sei sensi’ Mon - Fri 11 – 14h, 16-20h; Sat 16 -20h Sun & Bank Holiday: closed Passeig de Gràcia 98, 08008 Barcelona +34 93 496 10 32 www.fundaciosunol.org

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WHAT’S ON MACBA – MUSEU D’ART CONTEMPORANI DE BARCELONA Carlos Bunga ‘Desires and Necessities’. MACBA Collection ‘Miserachs Barcelona’ Sergi Aguilar. ‘Reverse / Obverse’ ‘Species of Spaces’ Mon - Fri 11 - 19.30h; Sat 10 – 21h Sun & bank holidays 10 - 15h; Tues closed Plaça dels Àngels 1, 08001 Barcelona + 34 93 481 33 68 www.macba.cat

#TG2015 MUSEU PICASSO ‘Picasso and Reventós’ ‘Picasso’s passion for El Greco’ ‘Cubism and war. The crystal in the flame’ Tues - Sun 10 - 19h; Thurs 10 – 21.30h Mon closed C/ de Montcada 15-23, 08003 Barcelona +34 93 256 30 00 www.museupicasso.bcn.cat

MNAC - MUSEU NACIONAL D’ART DE CATALUNYA ‘I, John. A Romanesque carving recovered’ ‘Undamaged. Still Lifes from the Spanish Golden Age’ ‘Xavier Gosé (1876-1915)’ Tues - Sat 10 – 18h; Sun & bank holidays 10 – 15h Mon closed Palau Nacional, Parc de Montjuïc, s/n, 08038 Barcelona +34 93 622 03 60 www.museunacional.cat

Note that the galleries programme and exhibition dates may be subject to changes. Please, check their website before visiting.

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FOOD AND DRINK

#TG2015

Bar Lobo – Official Symposium Restaurant Carrer de Pintor Fortuny, 3 08001 Barcelona +34 934 815 346 www.grupotragaluz.com/en/restaurante/bar-lobo Very close to MACBA, it offers market fresh food, tapas and a variety of entrés.

Il Gairdinetto Carrer de la Granada del Penedés, 28 08006 Barcelona +34 93 218 75 36 www.ilgiardinetto.es Italian Restaurant and Cocktail Bar. Talking Galleries participants are invited to a glass of cava with the symposium accreditation.

Flash Flash Carrer de la Granada del Penedès, 25 08006 Barcelona +34 932 370 990 www.flashflashbarcelona.com Omelette Restaurant. Talking Galleries participants are invited to a glass of cava with the symposium accreditation.

Carballeira Carrer de la Reina Cristina, 3 08003 Barcelona +34 93 310 10 06 www.carballeira.com Seafood Restaurant. Talking Galleries participants are invited to a glass of cava with the symposium accreditation.

Carmelitas Carrer Doctor Dou, 1 08001 Barcelona T +34 93 412 46 84 www.carmelitasgallery.com Seafood Restaurant. Talking Galleries participants are invited to a glass of cava with the symposium accreditation.

Iurantia Carrer de Casanova, 42 08011 Barcelona T +34 93 454 78 87 www.iurantia.com Talking Galleries participants are invited to a cocktail and a welcome snack with the symposium accreditation.

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ABOUT

#TG2015

TALKING GALLERIES is a platform for gallerists and art professionals to discuss and exchange ideas about new trends and issues specific to the art gallery sector.

Leading figures from the art world and art professionals are brought together to debate the subsequent impact of these changes, share and present experiences and re-think models, creating an ideal environment for investigation and sharing knowledge.

The platform gathers a community of active people involved in the arts and produces content on specific issues related to gallery practices through international symposiums, panels, debates and publications series.

TALKING GALLERIES is a project by Screen Projects, a cultural agency based in Barcelona which develops worldwide projects devoted to contemporary art and moving image.

COMMITTEE Georgina Adam, art market editor-at-large, The Art Newspaper; art market correspondent, Financial Times Elizabeth Dee, founder, Elizabeth Dee Gallery; co-founder, Independent Llucià Homs, cultural consultant, curator and art dealer; former Director of La Virreina Centre de la Imatge Annamária Molnár, founder and Director, Ani Molnár Gallery Claes Nordernhake, founder, Nordenhake Gallery; Honorary Member, abc art berlin contemporary Annette Schönholzer, former co-Director, Art Basel; founder, .connect the dots Adam Sheffer, Partner/Sales Director, Cheim & Read; President, Art Dealers Association of America (ADAA) Emilio Alvarez, Director, àngels barcelona; founder, LOOP Video Art Fair and Festival Carlos Durán, Director, Galeria Senda; founder, LOOP Video Art Fair and Festival Gabriela Galcerán, Cultural Manager; Director, Talking Galleries

TEAM Gabriela Galcerán, Director Conrado Uribe, Director of Contents Isa Casanellas, Production Manager Maria M. Vila, Galleries Coordinator Carmen Corbera, Galleries Assistant Núria Gurina, Communication Bea Escudero & Ainhoa Pernaute, Press Inoutsiel Studio, Art Directon & Design Emilio Álvarez & Carlos Duran, Directors of Screen Pojects.

Screen Projects Enric Granados 3 08007 Barcelona / Spain +34 93 215 52 60 www.talkinggalleries.com talkinggalleries@screen-barcelona.com

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SUPPORTERS

#TG2015

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Special thanks to Jordi Pujol 23

Produced by

www.talkinggalleries.com www.screen-projects.com