The closure of Art Basel 2024 marks the beginning of the summer season, during which the proposal of the artworks necessarily takes place only in galleries and cultural exhibitions. Finally, one might say. After a binge of fairs and auctions, there is now time to reflect on what will be the next steps of the market in autumn.
Art Basel Paris+ is certainly more effervescent than its Swiss sister. We hope that by then some tensions and uncertainties will be resolved, which have undoubtedly slowed down sales recently or, at least, slowed down negotiations.
It is already in the air the absence of the participation in the next events of some operator that will orient itself for a return to a traditional job—considered the unbearable expenses to face in order to attend the exhibition circuit of the global panorama—unavoidably renouncing the seductive showcase.
We will return, then, to the proposal and enhancement of the artists in the galleries, basically as happened in the past. Gallery owners will probably opt for a smaller selection of trade fair events and will decide for the most advantageous event, better attended, visited by the most convinced collectors.
Despite everything always being a prestigious Art Basel, the remarkable elements in this edition were the impact of the unlimited pavilion and the great provocation of Emilio Isgrò, with his huge truck graphically covered with erasures that carried an “ant” from Sicily to Switzerland.
