At the fair

Art Genève confirms Salon d'Art

14th edition with 80 galleries attracts institutions and the public

5' min read

Translated by AI
Versione italiana

5' min read

Translated by AI
Versione italiana

A special sense of intimacy characterises the 14th edition of Art Genève, which features 80 galleries from 27 countries: a small fair compared to Art Basel (more than 280 galleries in the 2026 edition), not by chance called Salon d'Art. Thanks to a system of concessions, many emerging European galleries are able to participate at a reduced price, making their first entry into the fair.

Stand Theo Jacob con artisti Mathias Weinfurter e Jimmie Durham. Condition d’usage Art Geneve, 2026

Founded in 2012 by Thomas Hug - now founder of MAZE - Art Genève has been directed for the past three years by Charlotte Diwan. Well integrated into the urban fabric, the turnout confirms the success: 7,000 visitors on the opening day and 28,000 overall. The layout of the corridors, designed by Theo Jacob (Berne), was also well cared for.

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MAGNIN-A, exhibition views (foto Nicola Morittu)

Among the novelties was the new sponsor Piaget, promoter of the Prix Solo Art Genève, which rewards one of the 16 monographic exhibitions curated by young Swiss and international galleries (including Eli Kerr, Montreal, and suns.work, Zurich) or of the 15 solo presentations in the main section. The prize was awarded to Maximilian William of London for the work of Reginald Sylvester II; two works were donated to MAMCO, Geneva.

Christine Konig Galerie Art Geneve, (foto Simon Rao)

The Institutions

There is a strong institutional presence: the Fondation Antoine de Galbert presents a site-specific installation by Nobuko Tsuchiya (Osaka, 1972), while MAMCO, with In Course of Acquisition, exhibits acquisitions supported by friends of the museum, Mirabaud & Cie and an anonymous donor. A work by the JapaneseKatsumi Nakai (1927-2013), represented by Studio Gariboldi, stands out, flanked by Marina Apollonio's 'Circular Dynamics 6Z+Z' (1940, 10 A.M. ART, Milan) and Suzanne Duchamp's 'Oiseaux sur une branche' (1935), from Larkin Erdmann Gallery. The 30th Prix Mobilière was awarded to Cassidy Toner for a work of biting irony. Also present were École des Arts Décoratifs - PSL, videokunst.ch, Sammlung Ketterer-Ertle and the immersive project Le Plaza crosses the screen. The Geneva FMAC exhibits Acquisitions 2025: it receives CHF 400,000 per year from the municipality and manages a collection of around 7,000 works.

Art Geneve, Flaminia Veronesi, (c) Choreo. Courtesy of Richard Saltoun Gallery, London, Rome & New York

The Galleries

Among the trends, the return of Neo-Geo emerges, marked by the presence of John Armleder (1948) - on show both in the temporary space at MAMCO and at the Musée d'art d'histoire - and Sylvie Fleury (1961). There was a strong focus on painting and two-dimensional works, with a significant presence of black artists: Galerie 38 (Marrakech) presents a tapestry by Barthélémy Toguo (€260,000); Gowen exhibits Roméo Mivekannin (Benin, 1986); Wilde brings Omar Ba, whose prices have risen from a few hundred francs to 100,000 francs, now also in Templon's stable. The Parisian MAGNIN-A recorded significant sales: three canvases by Nathalie Boutté including two large works ('Gertrude Bell', 2025; 'La jeune fille aux oiseaux', 2022) fetched €17,100; Jp Mika sold two canvases, a small one for €5,700 and 'Those years' (2024) for €40,000.

Among the blue chip galleries, Pace Gallery realised an immersive installation by Michal Rovner (restricted works, values of €175,000 and €100,000). Templon recorded strong sales: Kehinde Wiley ($250,000-550,000), Ivan Navarro ($60,000),Chiharu Shiota (€17,000-120,000) and three recent works by Martial Raysse (€50,000-135,000).

Art Geneve 2026, Richard Saltoun

Richard Saltoun sold works by Flaminia Veronesi (EUR 2,800-3,500) and Greta Schödl (EUR 3,000-20,000). At Hauser & Wirth, quick sales forGünther Förg, Verena Loewensberg, Takesada Matsutani, Cindy Sherman and Lorna Simpson; at Eva Presenhuber, Louisa Gagliardi's 'The Kiss' sold out after two hours.

Enrico Astuni confides: 'We are happy with how this edition went. Nevertheless, we notice some differences since the change of direction: in the first editions Gagosian, Thaddeus Ropac, Franco Noero, Galleria Continua participated, who are no longer here'. The stand featured Maurizio Nannucci with 'to see otherness and beyond' (EUR 95,000), one of his works is in negotiation with a Swiss museum. Also sold were works by the young queer artist Juri Bizzotto (EUR 500-1,000), by Steven Pippin (EUR 8,000-12,000) and a sculpture by Gianni Piacentino.

Among the historic presences was Tornabuoni Art, which brought great masters of the 20th century: Alberto Burri, Lucio Fontana, Christo, Alighiero Boetti - with a 'Map' offered at €3m and a palimpsest of postcards at €580,000 - as well as Alberto Biasi (€115,000). Numerous works sold and ongoing negotiations with private collectors confirmed the solidity of the public.

Maffei & Ditesheim sold works by the Apulian Giuseppe Spagnulo (€16,000-80,000) for the first time exhibited in French Switzerland. Georges-Philippe & Nathalie Vallois offered historicised artists such as Tinguely and Villeglé, achieving good sales for Duke Riley ($50,000-70,000). Riley works in Brooklyn but six months of the year he lives on a boat near Rhode Island. His graphic works, on plastics and bottles salvaged from marine litter, are at the intersection of nautical history and folk arts, exhuming decorative techniques in use on whaling ships in the 18th and 19th centuries, such as scrimshaw or sailor's valentines.

From Waddington Custot, Gregory in the pool, an experimental work byDavid Hockney; XIPPAS bets onFranz West ($600,000), Marina Faust ($9,000) and Leandro Erlich ($90,000).

Fabienne Levy (Lausanne, Geneva, Zurich) stands out for the works of Carlo D'Anselmi and Amit Berman (Tel Aviv, 1994 - prices around €10,000) reminiscent of Emilio Gola, for the paintings (almost Magic Realism) of London-based Chinese Tang Shuo, who immediately sold the largest work on the stand (€8,500). A small space is devoted to the rediscovery of Aimée Moreau (1926-2023), a Swiss painter who produced still lifes in the style of Morandi.

Among the growing galleries worth mentioning is Lara Sedbon (in the Marais district) which brings a solo show by the figurative painter Adrien Belgrand (Paris, 1997), whose three paintings depicting interiors and ateliers of friends are sure to sell (the largest at 8,000, medium 5,000 down to 3,000). Also Parisian was Les filles du Calvaire with a duo-show: sculptures by Kate McGwire (London, 1968) with magpie feathers encapsulated in glass bells and works by Clara Rivault (Paris, 1992) evoking Art Nouveau compositions with values under CHF 20,000.

At Sébastien Bertrand's, one cannot pass indifferent in front of the portraits of close-up faces by Sang Woo Kim: both works exhibited have in fact been sold and some collectors are on the waiting list. On the same stand also Walter Robinson, an American artist who passed away last year and whose prices are therefore on the rise.

Galerie Mezzanin presents the installation by Diego Cibelli. A cascade of porcelain confetti, recalling the popular culture of wedding favours, alternates with human representations in transformation. Many of the works were sold to private individuals and 'A Garden Inside a Bag' (approx. EUR 25,000) was sold to an important Swiss collection.

Among the exhibitions to visit in the city, it is worth mentioning "Elles. Artistes Aborigènes Contemporaines', from the collection of Bérengère Primat, presented at the Musée Rath until 12 April: a significant insight into contemporary Australian Aboriginal art.

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