At the fair

Art Cologne defends itself despite political crisis and fear of recession

In a subdued art market the event has the support of German museum institutions, local collectors, both supporters of German artists

5' min read

5' min read

The 57th edition of ART COLOGNE from 7 to 10 November coincided with a heavy political crisis that culminated in the opening days with the dismissal by Chancellor Olaf Scholz, of Finance Minister Christian Lindner. No compromise could be found to overcome the rifts over economic policy Scholz will ask for a vote of confidence in mid-January and then go to early elections in March. In the meantime, the country is, for the second year in a row, on the brink of recession, but all these worries about the future of the country do not seem to have had a negative effect at Art Cologne. There was no shortage of collectors and also no shortage of buyers despite the current slowdown in the art market. The strength of this fair is that it can count on museum institutions, public and private, which have a budget for purchases and primarily support German art. Thus, even in a subdued market, demand at Art Cologne was particularly buoyant with an attractive offer favoured by prices, which for most works, hover between five and six figures, a market segment that is also accepted by art lovers on a tight budget.

This year the number of gallerists is about the same as last year (175 from 24 countries) but the real novelty is the increased presence of galleries in the Neumarkt section, where galleries with no more than 13 years of activity can enter.

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"The demand for young galleries has increased enormously," said the fair's director, Daniel Hug, "the Neumarkt section is international and offers interesting young discoveries, this is the future, outdated rules are outdated and anyone with a good programme will be invited, regardless of how many years the gallery has been active.

Despite the many political uncertainties in the world, such as the re-election of Donald Trump and the possibility of trade wars with the imposition of duties already announced by the next US president, Hug painted a relatively stable outlook for both the art market and the fair. 'The presidential election will have a minimal impact,' he explained, 'under Trump the rich Americans will pay less tax in the long run and thus have more wealth to invest in art, unfortunately there is no shortage of crises and there is always the war in Ukraine. The fair,' continued Hug, 'has a large base of passionate collectors who focus on art for the love of art and not for the market,' concluded Hug, who also stated that he is thinking of organising an edition of Art Cologne on a Mediterranean island in the coming years.

Returning to the German market, it should not be forgotten that from next January, art purchases in Germany will benefit from the reduction of VAT to 7% from the current 19% after numerous requests and reminders to the government by gallery owners. The hope among insiders is that the current political crisis will not slow down the approval process expected in the coming weeks.

Neumarkt: the affordable section

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Among the galleries present in the section were two sons of art. The London-based Gathering, which is planning to open a new permanent space in Cologne next year and whose founder is Alex Flick, son of the legendary German collector Mick Flick, exhibited works by artists Emanuel de Carvalho, Francesco João and Soojin Kang, with prices ranging from EUR 5,000 to EUR 40,000. The other child of art, Julius Jacobi, son of Georg Jacobi, Cologne collector and founder of Berlin's Super Super Markt with Oskar Enberg's Die Zauberflöte, 2024, an installation alluding to the title, which in Italian means Il Flauto Magico (The Magic Flute), composed of a bitten apple, twigs and a flute, is on display. Galerie Kandlhofer in Vienna recorded strong interest from the public, its stand bringing together works by Austrian Karl Karner, German Frauke Dannert (two works sold during the opening with prices ranging from 6-8.000 euros) and the Chilean Rodrigo Valenzuela, with prices starting at 2,700 euros and going up to 48,000 euros for Karner's almost three-metre high aluminium sculpture 'Yellow Lumes', 2024. In the middle of the stand of the Berlin-based Galerie Molitor, which collaborates with local and international artists of different generations and started its activity in September 2022, a somewhat sad little tree made of metal posts was installed. Instead of leaves, plastic flowers wrapped from cemeteries hang. Next to it a row of folders on the floor, with stone slabs sandwiched between their coloured cardboard covers. The installations are by Jesse Darling, who won the Turner Prize last year: in his works he uses ordinary objects to describe reality and a world in collapse, but a subtle humour also shines through from the artist's work (prices from 5,000 to 25,000 euros). Other first-time exhibitors include Galerie Lucas Hirsch from Düsseldorf, LC Queisser from Tbilisi and Lehmann + Silva from Porto. Also in the section was the Italian A+B Gallery of Brescia for the second year in Cologne which, consolidating last year's appreciation, offered the paintings by Nazarena Poli Maramotti who found a buyer during the opening, and the minimal paintings by Fora Temnouche also highly appreciated (from EUR 2,000) and the porcelain by Viola Relle (from EUR 3,500).

The Established Galleries

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Galleries such as Hauser & Wirth, David Zwirner and Pace no longer attend the Cologne fair, but there are other big names in the industry, such as Sprüth Magers, Karsten Greve and Nagel Draxler, and Thaddaeus Ropac who remain faithful to Art Cologne. Thaddaeus Ropac presents in the standoff a combination of a blackboard and two drawings by Joseph Beuys, a black-and-white wave painting by Alex Katz, and the photo series Love Pearls by Valie Export. The gallerist claims that he was able to sell works of different price levels in Cologne, and again this year among the sales he mentions Georg Baselitz's Gestern und heute, 2020 for EUR 875,000.

For the first time, P420 is approaching the German market with a stand entirely dedicated to the German artists Helene Appel (EUR 6,000 - 20,000), Irma Blank (EUR 10,000 - 130,000), Monika Stricker, who recently joined the collection of Museum Abteiberg, Mönchengladbach (EUR 5.000 - 13,000) and Joachim Schmid (EUR 6,500 - 30,000) and among them highly appreciated, not only by the public but also by curators and institutions, the most iconic works by Irma Blank.

Painting still dominates

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Most of the galleries at the fair exhibited painting, still the dominant art form today, but there was no shortage of video works and photography. Welcoming visitors at the entrance to the fair was an exhibition by the architectural photographer Hans-Georg Esch, HGEsch for short, presented by Kaune Gallery (Cologne), who in an immersive rotunda showed a 360-degree panorama of the modern-day city of Pompeii. At the invitation of the Archaeological Park, Esch approached the region with his 'architectural gaze', spectacular drone shots revealing unprecedented structures that reveal parallels between Roman and modern urban planning, as well as giving a new view of the ancient city, which HGEsch sets against the backdrop of modern Naples. The artist skilfully intertwined the temporal levels of past and present, with the site of the catastrophe symbolising continuity rather than a state of emergency. On the Kaune Gallery stand there were more photos by the artist with prices ranging from EUR 5-25,000. Other offerings in the photographic media came from the Gisela Clement Gallery in Bonn, with the offerings covering an arc from the emancipatory images of Elvis by Ulrike Rosenbach from the 1960s (EUR 25-50,000) to the ethical questions posed by the much younger artists Louisa Clement (EUR 5-25,000) and Anouk Lamm Anouk (EUR 5-25,000). Rosenbach added her own photo to a famous Andy Warhol shot of Elvis Presley, Louisa Clement's work is about the human presence in the artificial and the artificial presence in the human. Clement's robotic alter ego clashes with self-portraits that show traces of life in an unembellished way.

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