Organising your first exhibition when you have never shown anyone

01Choosing the right artist to start with

The choice of artist for your first exhibition is probably the most important decision you will make in the early months of your gallery's life. This artist will become associated with your identity in the minds of professionals and collectors who discover your space for the first time. You must therefore choose someone whose work moves you deeply, whom you can defend with conviction and whose artistic practice matches the direction you wish to give your programme.

Do not necessarily seek an established artist who would lend immediate but artificial legitimacy to your gallery. Recognised artists already have galleries and will not come to you for a first show, except in unusual circumstances. Focus instead on emerging or mid-career artists whose work excites you and with whom you can build a relationship of trust over the long term. Galerie Marcelle Alix in Paris began with artists who were little known to the general public but whose quality of work quickly attracted the attention of discerning collectors and institutions.

Visit degree shows at art schools in your region. Attend open studios, exhibitions at art centres and alternative spaces. Take the time to meet artists, understand their practice and see their work in its creative context. An artist you have discovered in their studio, with whom you have had long conversations about their work, will be a far better choice for your first exhibition than a name spotted on Instagram without any prior meeting.

02Setting a realistic budget and sticking to it

One of the most common mistakes made by new dealers is underestimating the cost of an exhibition. The expenses to anticipate are numerous and some are easy to overlook if you have no prior experience. Transporting the works is a line item that can quickly become expensive, especially if the works are large or fragile and require specialist packing. Framing, plinths, hanging hardware and vitrines represent costs you must plan for. Insuring the works during transport and for the duration of the exhibition is essential and typically represents between one and two per cent of the insured value.

Printing costs for communication materials are another significant item. A quality invitation card printed on good paper, a room sheet with presentation texts and the list of works, possibly a small catalogue if your budget allows: these tangible elements contribute to the perception of professionalism. Galerie Sultana in Paris, during its early exhibitions, chose simple but carefully produced communication materials, which perfectly matched the contemporary, pared-back identity it wished to project.

Draw up a detailed budget listing every expenditure line and allow a margin of fifteen to twenty per cent for contingencies. Discuss the cost-sharing arrangement with the artist: in the classic model, the gallery covers exhibition and communication costs while the artist provides the works and may contribute to production costs if new works are created for the occasion. This arrangement must be discussed and agreed in writing before preparation begins.

03Designing the scenography with care

The scenography of your first exhibition will reveal your ability to showcase the artist's work and to create a coherent visitor experience. Even if your space is modest, you can create a presentation that tells a story and guides the viewer's gaze from one work to the next. The first step is to work with the artist on selecting the works. For a first exhibition, it is often preferable to present a coherent, well-calibrated ensemble rather than an accumulation that would dilute the impact of each piece.

Make a scaled plan of your space and position the works, taking into account sightlines, natural and artificial light, and visitor circulation. The strongest works should be visible from the entrance to capture attention, while pieces that require more intimacy and contemplation can be placed in more secluded areas. The standard hanging height places the centre of the work at approximately one hundred and fifty centimetres from the floor, but this rule can be adapted depending on the size of the works and the ceiling height of your space.

Lighting deserves particular attention. Good lighting can elevate a work while mediocre lighting can completely undermine it. If your budget allows, invest in adjustable spotlights with a neutral colour temperature, around four thousand kelvins, which render colours faithfully without distortion. Galerie Air de Paris, across its various spaces, always placed paramount importance on lighting, considering it an integral part of the experience of the work.

04Writing the texts and preparing the communication

The texts that accompany your exhibition are a crucial element often neglected by first-time dealers. The press release must introduce the artist, describe the exhibition project and make the reader want to come and see the works. Write it with care, avoiding excessive jargon that would put off non-specialist visitors while maintaining an intellectual rigour that signals your seriousness to art world professionals. If writing is not your strong suit, engage a writer or art critic who can produce a quality text within a reasonable budget.

Your press list should be assembled before sending the release. Identify journalists who cover contemporary art in your region, influential bloggers, art critics and correspondents for specialist magazines. Send your press release approximately three weeks before the opening, with high-resolution images of the exhibited works. Follow up one week before the opening. Do not be discouraged if the press does not attend your first exhibition: building a relationship with journalists takes time and consistency.

On social media, publish content that makes people want to discover the exhibition without revealing everything. Views of the hanging in progress, a portrait of the artist in their studio, a detail of a work that intrigues: this content creates anticipation and curiosity that will translate into visitors on opening night. Galerie Balice Hertling used social media intelligently from the start, sharing visually strong content that reflected the identity of its programme.

05Handling legal and administrative aspects

Before hanging the first work, you must ensure the legal aspects of your exhibition are in order. A consignment contract must be signed with the artist, specifying the works entrusted, their insurance value, the terms of sale, the gallery's commission rate, the duration of the consignment and the conditions for return. This document protects both parties and prevents misunderstandings that could damage your relationship with the artist.

Insuring the works is mandatory. Contact a broker specialising in fine art insurance, as standard policies do not generally cover the specific risks associated with transporting, installing and exhibiting artworks. The cost of insurance depends on the total value of the works exhibited and the security conditions of your space.

Also verify that your space meets the standards required for receiving the public: accessibility, fire safety, emergency exit signage and the safety register. These legal obligations are not optional, and an inspection by fire safety services can occur at any time, including during an opening. Better to anticipate than to discover a problem on opening night.

06Setting prices and preparing for sales

The pricing policy of your first exhibition sends a strong signal to the market. Prices set too high for an emerging artist in a new gallery will discourage collectors and create a perception of disconnection from market reality. Prices set too low could be interpreted as a lack of confidence in the artist's work or as a discounting strategy incompatible with the positioning of a serious gallery.

Research the prices charged by other galleries for artists at a comparable career stage. Consult auction databases for artists who have already appeared at auction. Speak with more experienced dealers who may be willing to advise you. The final price must be agreed with the artist, who has the right to refuse a price they consider too low or inappropriate.

Prepare technical sheets for each work, including title, dimensions, medium, year of creation and price. Have this information to hand during the opening, as collectors interested in a work want to obtain these details quickly and discreetly. Also prepare invoices and certificates of authenticity that you can issue immediately in the event of a sale.

07Making the exhibition live beyond the opening

The opening is only the beginning of your exhibition's life. The weeks following the opening are equally important for building your reputation and generating sales. Organise private viewings for collectors who could not attend the opening. Offer individual appointments where you can present the works in detail and answer questions in a calm, personal setting. Serious collectors often prefer these private visits to the bustle of an opening.

Invite groups to visit the exhibition: art appreciation associations, art history students, members of collector clubs. These group visits animate your space and create a dynamic that attracts further visitors. If the artist is available, organise a guided tour in their presence, allowing visitors to hear about the practice from the artist's own voice.

Use social media to document the life of the exhibition: visitor reactions, different views of the hanging, events held at the gallery. This content maintains the visibility of your exhibition and attracts visitors right up to the last day. Artedusa also provides an online showcase to present your artists and exhibitions to an international audience of collectors, extending the reach of your programme far beyond the walls of your gallery.

08Mistakes to avoid

The first mistake is trying to do too much. A sober, well-executed exhibition is infinitely preferable to an ambitious but poorly realised one. The second mistake is neglecting the relationship with the artist in favour of logistics. The artist is at the heart of your exhibition and must feel supported, listened to and respected throughout the process. The third mistake is failing to document the exhibition with professional photographs. These images will be your primary communication tool in the months and years that follow, and poor-quality photographs will never do justice to the artist's work or the quality of your hanging.

The fourth mistake is failing to follow up with contacts after the opening. Every visitor who left their details, every collector who expressed interest in a work, every journalist who came to see the exhibition deserves a personalised follow-up in the days that follow. This rigour in follow-up is what distinguishes galleries that endure from those that disappear after a few exhibitions. Your first exhibition is the opening chapter of a story you will write over several years. Give it the care and attention it deserves, and it will lay the solid foundations on which you will build the rest of your adventure as a dealer.