Vienna

Particular: a new sales method to attract collectors

The Austrian capital expands its already packed art market calendar with the selling exhibition of museum works

Installation view PARTICOLARE at Kursalon Vienna, 2024 © Particolare, photo: Andrey Gordasevich

4' min read

4' min read

Vienna's autumn art programme has a new appointment with the market. But in today's shrinking sector, is there room for another art fair? The question arises, above all, in the Austrian capital because it is easy to miss the number of appointments. There are currently eight of them within the calendar year, including recently announced novelties such as Paper Positions (21-24 November, Kursalon Hübner), Affordable Art Fair (May 2025, Marx-Halle) and from 11 to 15 September also at the Kursalon Hübner, in the Stadtpark, the first edition of Particular held in conjunction with Vienna Contemporary and the established gallery festival Curated By (until 19 October), which opens on the same weekend.

Gianni Motti- HIGGS, In Search of the Anti-Motti, 2005CERN, Geneva Performance, walk in the underground LHC tunnel (particle accelerator), 27 km, 5 h 50 min, video, © Gianni Motti, courtesy: Motti studiophoto: Ilmari Kalkkinen

So whoever decided and contributed to the financial support of this new appointment must have thought there was still room and done the maths right.

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The organisers are keen to point out that Particolare is not a fair, or at least not in the way we know it. As the name suggests, it wants to be something different, but only time will confirm or not its success.

Michelangelo Pistoletto - Smartphone giovane donna 6 movimenti F, 2018Silkscreen on super mirror stainless steel, 250 x 25cm Courtesy: Giorgio Persano

"Particolare," explains Marc Brandsma, ceo of CultTech, the main supporting non-profit association, "is a unique and innovative art exhibition that presents a selection of works displayed as in an institutional setting. The first edition of Particolare focuses on the themes of 'time' and 'movement' and includes 40 works, some of them large-scale, by artists such as Wim Delvoye, Lena Jakob Knebl, Marisa Merz and Michelangelo Pistoletto. The works were selected by an artistic committee including Marc Olivier Wahler, director of the MAH in Geneva. The galleries of the selected artists have been invited to participate and currently bear no costs, only transport costs in some cases, and in the case of sales they will have to pay the organisation a commission of around 20 per cent. According to rumours, the budget for this first edition of Particolare is in the region of EUR 1.4 million and the break even, is "reached when we sell most of the works," say the organisers. The works at the Kursalon Hübner are installed as if they were part of a museum exhibition, there are no walls delimiting the space and there is no gallery owner present, but a discreet team of 'art consultants' take care of the sale, accompanying visitors to discover the works on display.

Angela BullochHeavy Metal Stack: Fat Beige Three, 2017, © Angela Bulloch, Courtesy: Esther Schipper, Berlin / Paris / SeoulPhoto: Andrea Rossetti

The values of works range from a few tens of thousands, such as Tacita Dea's 'Double Negative II (Antigone)' (30,000 from Marian Goodman Gallery for an edition of 6 + 2) or a Carrara marble sculpture by Kevin Francis Gray, 'Young God Studies', 2019 (50,000 euros from Pace Gallery) to 2 million euros for a 2018 mirror painting by Michelangelo Pistoletto (from Giorgio Persano)

Zilvinas Kempinas - Flying tape, 2004 -Fan, magnetic tape, steel, dimensions variableCourtesy: Galerie Frey

Project creators and funders

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But who designed Particular? Part of the team is not new to the art market. The commissioner of this 'innovative' format is Dmitri Aksenov founder in 2021 of Cult Tech Association, a non-profit organisation dedicated to art and technology, but in the past (since 2012) he has been the main supporter of Vienna Contemporary. In 2022, although the entrepreneur with Russian Cypriot citizenship was neither sanctioned nor publicly acknowledged as a friend of Putin, some galleries present at Vienna Contemporary were concerned about participating in 'his' fair because of the potential risk of loss of reputation it would entail, especially since the assets he had accumulated in Russia would continue to flow into the event.

Eventually, Aksenov decided to retire but Vienna remained on his radar and recently with the aim of transforming the Austrian capital into a hub for CultTech start-ups, i.e. the use of technology in combination with classical and contemporary art to create open innovation platforms bringing together the various players: public and private cultural institutions, companies interested in art content, artists, start-ups and investors.

"We can finance," says Marc Brandsma ceo of the CultTech Association, which oversees strategic programmes that aim to link technology and culture, "to some extent the non-profit activities with the for-profit activities that we are developing through a number of technology start-ups that develop products for art and culture, and some of these are already at an advanced level and have already attracted entrepreneurs. Next November in Vienna (on the 5th and 6th) CultTech has organised the CultTech Summit a meeting in which various protagonists of culture, technology and finance will participate as speakers and among them also Adriano Picinati di Torcello (global art & finance Deloitte) already active in the technological development of culture and art. "On the for-profit side,' the CEO continues, 'we have participated in an investment fund New Reneissance Ventures that invests exclusively in the cultural and creative industries with several companies in the portfolio that are active in the development of the application of artificial intelligence and big data; this is our for-profit activity and our intention is to transfer the profits from the valorisation of these start-ups into the financing of other projects,' Marc Brandsma concludes.

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