Dangerous Liaisons: The Strange Relationship between Art Fairs and Galleries. The Case of the Art Fair "Art Basel"

Art fairs play a central role in the art market, particularly in the trade of contemporary art. In the wake of the art fair boom since the turn of the millennium, they have grown to become one of the most important sales and marketing channels for art dealers. Through this distribution channel the gallery owners are able to gain access to new markets and reach new collectors. In 2012, 36% of sales made by dealers were through local or international fairs.

The commercial logic of the art fairs is obvious; they have become a symbol for the commercialization of art. To this extent, art fairs question the creed of the art field, its denial of the "commodity character" of the artistic works.

We study this tense relationship between art and capital from the perspective of the art dealers at the art fair Art Basel. Next to qualitative interviews, a full survey of the participating gallery was carried out at the fair. The study is complemented by the analysis of secondary sources.

Above all, the art dealers find it difficult to maintain the character of the "anti-'economic' economy of pure art" (Bourdieu). The benefits of the participation at an art fair are too big. The interviews clearly show the advantages: large share of annual revenue, contact with an international clientele, networking, and greater visibility. But there is doubt within the "economic" considerations. Not only the economic success tends to be a "flaw" in a world of "pure" values. Furthermore, problems arise because of the overall changes in business due to the growing dominance of art fairs: the "constraint" to new "business models" like collaborations with other art dealers or "franchising". High trade costs and marketing expenses, the "time theft" at the expense of the traditional art dealers work, namely the on-site work, personal customer care, the promotion of young artists and local or regional cooperation with museums. The fairs are considered a necessary "evil" to secure reputation and liquidity - the economic pressure leads to a gap between "unconventional" art and "art fair art", between "money business" and "art business". Not only the interviews, but also the surveys at the Art Basel show this increased tension in an field that depends on the sale of the "priceless".