Finding your first artists when you have no network yet

01Art schools: an inexhaustible talent pool

Art schools are the first place to look for artists when you have no pre-existing network. In France, the Beaux-Arts de Paris, the national art schools in Lyon, Bourges, Dijon, Montpellier, Villa Arson in Nice and many others graduate dozens of young artists each year, some of whom will become defining figures on tomorrow's contemporary scene. End-of-year degree shows, open to the public, are ideal occasions to discover young artists' work in a setting that encourages discussion and exchange.

Do not limit yourself to the most prestigious schools. Some regional or municipal schools produce artists of remarkable quality who are less targeted by established galleries, precisely because the school's prestige does not automatically place them in the spotlight. Galerie Ceysson et Benetiere has made the discovery of young talent its hallmark, systematically visiting degree shows throughout France and even across Europe.

Take the time to speak with teachers and department heads. They know each student's work and can point you towards artists whose practice matches the sensibility you wish to champion. These art world professionals are generally welcoming towards first-time dealers who show sincere interest in their students, and they can become precious relays for your search.

02Artist studios and production spaces

Beyond schools, collective studios and artist residencies are places where you can meet practising artists in a creative context. French cities have numerous municipal, associative or cooperative studios that host artists at different stages of their careers. Open studio events, held regularly in most major cities, are free occasions to discover artists' work in their creative space, to discuss their practice and to assess the quality and consistency of their output.

Artist residencies are another particularly rich prospecting ground. In France, structures such as the Fondation d'entreprise Hermes, the Ateliers Medicis in Clichy-sous-Bois, the Domaine de Kerguehennec in Brittany or the Villa Noailles in Hyeres host artists in residence and organise public presentations. Artists in residence are often at a pivotal point in their careers, sufficiently advanced to have developed a coherent practice but not yet represented by major galleries. It is an ideal moment to forge a relationship.

Take detailed notes during your visits. Photograph the works that move you, with the artist's consent. Record names, contact details and your impressions. Gradually build a file of artists you can consult when the time comes to assemble your programme.

03Emerging art fairs and exhibitions

Emerging art fairs are privileged discovery venues for the dealer seeking artists. In France, the Salon de Montrouge is an institution that presents each year the work of emerging artists selected by a jury of professionals. Young Artists in Europe, the Prix Marcel Duchamp and the Prix Ricard are all mechanisms that identify and spotlight promising artists.

Internationally, fairs such as Liste in Basel, NADA in New York or Material in Mexico present the work of young galleries and young artists in a professional yet accessible setting. Even if you are not yet participating as an exhibitor, attending as a visitor allows you to spot artists whose work could fit your programme and to observe how other young galleries build their identity.

Group exhibitions at art centres, regional contemporary art funds and contemporary art museums are also sources of inspiration. The curators who organise these presentations often have an in-depth knowledge of the emerging scene and can guide you towards artists matching your sensibility. Do not hesitate to contact them for advice: most appreciate contributing to the structuring of the market by helping young galleries identify artists they might represent.

04Approaching an artist when you are unknown

The moment of approach is often the most intimidating for the first-time dealer. You admire an artist's work, you wish to represent them, but you have neither the business card of a renowned gallery nor a track record to present. How do you convince an artist to trust you? The answer lies in one word: sincerity. Artists, especially emerging artists, are sensitive to the authenticity of the interest shown in them. A dealer who has taken the time to understand their work, who can speak about it with precision and enthusiasm, and who proposes a concrete project will always be better received than a merchant lining up empty promises.

Prepare your approach by researching the artist's work. Visit their website, read texts written about their work, look at their previous exhibitions. When you make contact, by email or in person at an opening or studio visit, show that you know their work and explain why it interests you. Set out your gallery project with transparency: where you stand in the preparation, when you plan to open, what kind of programme you envisage, how you see this artist's place in your programming.

Be honest about your situation. An artist will always prefer a beginning dealer who is sincere and motivated to an established dealer who is disengaged. Galerie Michel Rein began in a small space in the Marais with emerging artists who trusted the dealer because he showed a genuine commitment to their work. Those artists remained loyal to the gallery for years, contributing to building its reputation through the quality of their work.

05Building a relationship of progressive trust

The relationship with your first artists does not begin on the day you propose an exhibition. It is built progressively, through regular exchanges, studio visits, attending their exhibitions in other venues, attentive follow-up of their work. This period of mutual discovery is essential: it allows the artist to judge your reliability and commitment, and it allows you to assess whether the artist's work matches what you wish to champion over the long term.

Do not propose an exhibition to an artist you have just met. Take the time to develop the relationship, to visit the studio several times, to discuss the artist's project and your gallery project. When the moment feels right, propose a collaboration with clear terms: exhibition duration, cost-sharing, commission rate, the promotional support you plan to provide. An artist who accepts a proposal formulated with clarity and respect is one who begins the collaboration on good terms.

Treat your first artists with particular care. They are taking a risk by entrusting their works to a gallery with no track record, and that risk deserves to be honoured by total commitment on your part. Every exhibition you organise for them should be prepared with the same rigour as if you had been an established gallery for twenty years. This standard, applied from the very beginning, will define the benchmark for your gallery for years to come.

06Expanding your pool over time

Your first artists will also be your first ambassadors. An artist satisfied with their collaboration with you will speak about your gallery to their artist friends, their former classmates, their contacts in the art world. Word of mouth is the most powerful growth mechanism for a young gallery, and it only works if you treat your artists with respect and professionalism.

Over the months and exhibitions, your network will expand naturally. Artists will come to you, recommended by other artists or attracted by the quality of your programme. Curators will propose collaborations. Collectors will tell you about artists they have discovered and would like to see in your gallery. This organic dynamic is the sign that your gallery is finding its place in the artistic ecosystem.

Artedusa supports this growth by offering your artists international visibility that reinforces their confidence in your gallery. When an artist sees their work presented on a platform that reaches collectors worldwide, they understand that you are offering them access to a market they could not have reached alone. This added value, combined with the quality of your personal support, constitutes a compelling proposition for early-career artists seeking a dealer committed to standing by their side.

07Mistakes to avoid when building your roster

The first mistake is trying to build too large a roster too quickly. Start with three to five artists you can champion with conviction and to whom you can devote time and energy. It is better to represent five artists with excellence than twenty with mediocrity. Galerie Crevecoeur in Paris started with a small number of artists and built its reputation on the quality of its support rather than on the number of names in its programme.

The second mistake is choosing artists solely on market criteria. Representing an artist because their work sells well elsewhere, without personal conviction about their practice, is a dead end in the long run. Collectors sense when a dealer does not genuinely believe in the work being presented, and this disconnection between discourse and conviction costs credibility.

The third mistake is promising more than you can deliver. Do not promise an artist spectacular sales, participation in international fairs or significant media coverage if you are not in a position to keep those promises. The disappointment of an artist whose expectations have been betrayed will spread through the milieu and durably damage your reputation. Be honest, be modest in your promises and ambitious in your actions. That is how galleries that endure are built.