Art Basel Miami Beach at a Time of Upheaval

Félix Curto. LOVE, 2007. Bones and dust. Variable dimensions. Galeria OMR (Mexico City). Photo courtesy of Gary Mercer (garymercerphoto.com)

By Patricia Schoene

On December 3, 2008, when Art Basel Miami Beach was launched at the VIP Preview, all the media were skeptical. After a poor sales showing at New York auctions in November, there was not much hope that the most significant contemporary art fair in the United States and its satellite fairs would fare much better.

Nevertheless, this winter did hold some interesting indicators. It was clear that the art market could not remain immune to the widely-publicized economic recession and falling stock market; however, sales at Art Basel Miami Beach were not meager. It is true that we did not see the avalanche of collectors who attended in prior years, who bought after barely looking at the price, who basically looked for well-known artists and then ran off to participate in the grand swirl of social activities that has come to characterize this event. On this occasion, we saw the return of the informed collector - someone knowledgeable about an artist’s oeuvre, who appreciates the artistic value of the work and is willing to take his time in finalizing a purchase. This time the tempo of the fair changed decisively compared to previous editions, when exorbitant sales were recorded as soon as the fair opened.

In the last few years the market has diversified greatly, especially with regards to contemporary art. We have seen a proliferation of dissimilar fairs in numerous places around the world. Centers of power have moved as Russia, China, India, and the Middle East have attained greater financial hegemony. A little over a decade ago, the market was concentrated in the hands of a group of gallerists, collectors and auction houses who, supported by museums and a group of elitist publications, promoted the work of their artists. Now, things are very different. An exacerbated “fairism” has produced a benefit by providing new galleries and artists - unable to exhibit at recognized fairs, such as, Art Basel, the Armory Show, or ARCO, because of the competitive nature of these events, - with access to alternatives for exhibiting and commercializing their work. Many of these fairs are headed by young, talented entrepreneurs, who laugh at the establishment and obtain results that in many cases exceed the quality and sales records of many of the traditionally recognized fairs. Furthermore, freshness, dynamism and energy have been bestowed upon the art scene.

On the other hand, the exorbitant prices fetched by the works of several relatively-young, living artists and a growing interest in collecting contemporary art have resulted in a certain tension among artists. Now many feel obligated to produce a type of attractive, pleasant art that is easily salable in a fair context, clearly limiting the quality of their work and their creative freedom. 

However, this bubble is threatening to burst and the concept of the fair as an “outlet mall” may be diluted or even disappear over time. The outcomes of Art Basel Miami Beach’s latest edition, as well as other fairs like Scope, PULSE, or Palm Beach3 (January 15-18, 2009), indicate that the economic crisis is bringing with it an inevitable correction to the already hyper-inflated contemporary art market. The excessive prices of Asian art, as well as artists, such as, Damien Hirst or Murakami have started to decline. The quantitative value of artworks promises to return to being governed by their qualitative value; inevitably good quality work based on a solid conceptual foundation and excellent workmanship will endure forever.

For me, the experience of visiting Art Basel Miami Beach last December was extremely interesting. In spite of its eclectic nature and its enormous visual avalanche - the visitor is exposed to more than 250 galleries exhibiting at the same time, - the fair was a standout based on the quality of its exhibitive offering.

One of the most notable works at the fair was RUN LIKE HELL (2008) by the Iranian artist, Farhad Moshiri, in the Galerie Emmanuel Perrotin (Paris) booth. It consisted of a huge cherry cake with knives forming a disconcerting phrase reminiscent of the eighties lyrics of Pink Floyd. Adding to the visual impact of the piece was the news that it had been sold for $250,000 on the very first day of the fair.

Meanwhile, in the Art Kabinet of Galerie Lelong (New York), Touch Me III (2008) by Yoko Ono urged spectators to interact with the sculpture. The piece was comprised of various wooden boxes containing portions of the artist’s body molded in silicone. Next to the boxes, Ono placed a fountain with water and the note: “Wet your index and middle fingers to touch the body parts.” The artist’s dismembered body evoked a mixture of feelings ranging from curiosity, to morbidity and tenderness. 

For its part, LOVE by the Spaniard, Félix Curto, in the OMR gallery (Mexico City) booth barely traced this word with fragments of bone and earth. This piece maintains that, in the contemporary context, love appears to be an extinct species. 

However, the work that remains etched in memory was the installation, Score Settling, by the Mexican artist, Teresa Margolles. The piece was exhibited in the Art Positions section by Madrid’s Galería Salvador Díaz. Margolles, known for her polemic projects full of social criticism, gained international renown several years ago for her work with the group, SEMEFO (Servicio Médico Forense - Forensic Medical Service). For the project, Score Settling, the artist gathered fragments of auto glass, broken during fatal acts of revenge related to drug-trafficking in Mexico. These fragments were encrusted in pieces of jewelry made from different precious metals. The exhibition space, where visitors could see the jewelry exhibited in showcases, was a cross between a jewelry store and a cold mausoleum. Each piece was rigorously accompanied by the date and circumstances of the homicide. With this installation of macabre and terrible relevance, Margolles draws attention to the wave of killings affecting her country.

Works, such as these, make me thankful that this fair moved to our city because it allows us to access the works of many creators, whom we would otherwise only know from afar. For now, Art Basel Miami Beach will continue to be held in Miami for three more years, since its organizers have signed a new contract with the Miami Beach Convention Center, and rumors that the fair will move to California are still unsubstantiated. Over the past seven years Art Basel Miami Beach has injected life into the Miami art scene. The local panorama has become diversified with artists from all over the world. Museums in the city have improved their annual exhibition programs. The taste of collectors has also evolved and young collectors, who see an investment opportunity in contemporary art, have appeared. Many galleries from Europe, Latin America and other cities in the United States have moved their headquarters to Miami, especially to the Wynwood Art District. Some have failed in their attempt to establish themselves in the city; others, the better ones with more solid artworks and effective sales strategies, that are not afraid to explore other markets outside of the local context, have grown and become stronger. I believe that even if Art Basel Miami Beach were to move its headquarters and the December fairs were to no longer visit us, the local art scene has already been nourished with an influx of energy that will be difficult to stop.

Patricia Schoene: Art critic and writer