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The worlds of cinema and contemporary art share common territory made of visual storytelling, image composition and aesthetic sensitivity. This proximity translates into a reality that dealers know without always fully exploiting: a significant number of directors, cinematographers and producers are
Brazil occupies a singular position on the map of global contemporary art. With a population of over two hundred million, an artistic tradition stretching back to the modernism of the 1920s and a contemporary scene of remarkable vitality, the country has established itself as the most dynamic hub of
Central Asia, long absent from the international art market's radar, is experiencing an artistic emergence whose speed and intensity surprise the most attentive observers of the global market. Kazakhstan and Uzbekistan, in particular, are developing scenes that combine a millennia-old cultural herit
The meeting of art and neuroscience opens a field of understanding whose implications for the dealer are as fascinating as they are concrete. Since the pioneering work of Semir Zeki, professor of neuroaesthetics at University College London, research has advanced in its understanding of the cerebral
The relationship between contemporary art galleries and the neighbourhoods they inhabit is a story of fundamental paradox that repeats itself from metropolis to metropolis with troubling regularity. Dealers, drawn by low rents and the creative energy of working-class or industrial districts, contrib
The contemporary Israeli art scene occupies a singular position in the international art landscape. Nourished by a complex history, by permanent geopolitical tensions and by a constitutive multiculturalism, it produces works of an intensity and originality that increasingly attract the attention of
The site-specific work, conceived for a precise location and inseparable from that location, occupies a distinctive place in contemporary art. Born in the 1960s with Land Art and Minimalism, the practice has expanded to encompass interventions in public space, private buildings, cultural institution
Cultural mediation has long been the preserve of public institutions. Museums, art centres and regional contemporary art collections (FRAC) have structured mediation services with trained professionals whose mission is to facilitate the encounter between artworks and audiences. Galleries, by contras
The artist multiple was long reduced to the print: lithograph, screenprint, etching, linocut. While these techniques retain their nobility and their market, the field of the multiple has expanded considerably over the past two decades to encompass a galaxy of editorial objects that blur the boundari
The diplomatic world and the art world maintain longstanding ties that few dealers fully exploit today. Embassies, consulates and diplomatic residences possess vast walls, prestigious reception rooms and a constant flow of influential visitors: business leaders, foreign dignitaries, accredited journ
The model of the art gallery as a space exclusively dedicated to exhibiting and selling artworks faces mounting economic pressure. Commercial rents in the neighbourhoods frequented by collectors are rising, fixed costs weigh on profitability, and the gaps between exhibitions translate into unproduct
Performance art and body art occupy a paradoxical position in the art market. These forms of expression, born in the 1960s and 1970s with artists such as Yves Klein, Marina Abramovic, Vito Acconci, Chris Burden, Carolee Schneemann and Gina Pane, were conceived precisely to escape market logic. The p
Generative artificial intelligence has burst into the field of artistic creation at a speed that caught much of the art world off guard. Tools such as Midjourney, DALL-E and Stable Diffusion now make it possible to produce images of remarkable visual complexity from text descriptions. Yet beyond the
The passing of a collector marks a pivotal moment for the art market. Works sometimes assembled over several decades end up in the hands of heirs who may not share the deceased's passion, who may be unaware of the true value of individual pieces, or who need liquidity to settle inheritance taxes. Fo
The death of a longstanding collector is an event that shakes a gallery far beyond its financial dimensions. A loyal collector who has accompanied a gallery for years, who knows the artists, who attends openings, who buys regularly and who contributes through their very presence to the identity of t
The relationship between contemporary art galleries and local authorities is territory that many gallery owners ignore or underexploit. Municipalities, county councils, regional bodies and inter-municipal structures hold cultural budgets, vacant buildings and support programmes that can transform a
Contemporary glass occupies a paradoxical place in the art world. A medium of immediate beauty and extreme technical difficulty, it fascinates collectors through its capacity to capture light and transform space. Yet it often remains confined to the margins of the contemporary art market, between de
The boundary between art and science, long perceived as a sharp line of demarcation, has become a zone of cross-fertilisation attracting a growing number of galleries, collectors and institutions. Artists who collaborate with research laboratories, who manipulate living organisms, who programme algo
Istanbul occupies a singular position in the geography of the international art market. Situated at the crossroads of Europe and Asia, the city has developed since the 2000s an artistic ecosystem that attracts the attention of galleries, collectors and institutions worldwide. The Istanbul Biennial,
Creating an artist prize or grant is one of the most powerful levers available to a dealer for strengthening institutional positioning, expanding their network and discovering new talent. Galleries of all sizes have successfully taken this path, demonstrating that the initiative is not reserved for
The inflationary context affecting European economies since 2022 places art galleries in an unprecedented position of tension. Operating costs are rising significantly: commercial rents, energy bills, artwork transport and packing costs, insurance, international fair participation, and payroll. At t
The relationship between art and the sacred runs through the history of Western civilisation as an unbroken thread. From Giotto's frescoes in the Scrovegni Chapel to Pierre Soulages' stained glass at the Abbey of Conques, from papal commissions to Michelangelo to Matisse's chapel in Vence, places of
The question of overproduction is one of the most delicate subjects in the relationship between dealer and artist. A dealer whose artist produces twenty, thirty or fifty works per year faces a dilemma that gallery management manuals never address head-on: how to protect the market value and credibil
The art world and the notarial profession appear to operate in parallel universes that nothing predisposes to meet. The dealer works in the ephemeral realm of exhibitions, the subjectivity of the eye and the intuition of the market. The notary operates in the permanence of the law, the rigour of dee