Itinerant fair Paris Internationale’s ninth edition opened this week in a 1920s former telephone exchange building in the central Grands Boulevards area. Freshly gutted, the edifice will soon be renovated by a property developer. The walls are raw and peppered by orange tape, and fair-goers need to mind their step. This edginess is what visitors have come to expect from the nomadic fair that has popped up in locations as diverse as dilapidated townhouses and a newspaper’s old carpark. This year, 65 galleries and five non-profit spaces are exhibiting across five floors, up from 60 galleries last year.

“[Belgian fashion designer] Dries Van Noten held his fashion show here last month,” said Silvia Ammon, who has been Paris Internationale’s director since its inception in 2015. Ammon was joined in the event’s second year by Clément Delépine, who served as co-director from 2016-2020. After an interim stint working at JGM Galerie owned by Jean-Gabriel Mitterrand, Delépine became director of Paris+ last year. Paris Internationale did not replace Delépine; instead, Ammon held tightly onto the reins.

The fair launched when former rival fair Slick, an alternative to FIAC (France’s now defunct international contemporary art fair), was wearing thin. Slick’s 10 editions ran from 2006-2015; Paris Internationale and Slick overlapped for one year. Subsequently, Paris Internationale became the main event for emerging galleries too young for FIAC. Since Art Basel ousted FIAC after winning the Grand Palais’ covetable October slot, Paris Internationale has been sharing dates with Paris+ par Art Basel instead.

Paris Internationale 2023. © Margot Montigny

Although some might wonder if Paris Internationale is unsettled by Paris+ par Art Basel’s arrival, Ammon is adamant that the former’s collegial identity is key to its success. “It’s a project that was created from the heart—a fair by galleries for galleries so they could have a platform for our generation,” she said. “Since then, the project has evolved and become multi-generational.”

The fair was founded by five galleries: Crèvecoeur (Paris), Gregor Staiger (Zurich/Milan), Ciaccia Levi (Paris/Milan), Sultana (Paris) and High Art (Paris). High Art left after the 2017 edition in order to participate in FIAC, and Sultana followed suit after the 2020 edition. Both galleries are now at Paris+ currently at the Grand Palais Éphémère; Paris+ will hold its first edition at the Grand Palais next year following the building’s renovations.

Permeability between Paris Internationale, FIAC in its time, and now Paris+ has long existed, with galleries sometimes graduating to the bigger fair as they grow. Felix Gaudlitz, LC Queisser and Galeria Stereo participated in Paris Internationale last year but are at Paris+ this year.

“We left Paris Internationale with regret because we like the fair and its ambience a lot,” Philippe Joppin, co-director at High Art, explained. “[But] the fact that we were founders gave us an enormous, time-consuming workload in terms of following the fair’s production and organization, and we wanted to continue to evolve in less young fairs in order to show more established artists.”

Guillaume Sultana also left because his eponymous gallery “needed a change” and because he wanted to leave place for younger galleries to participate. “The gallery and our artists were evolving, and showing in a more official fair [FIAC] gave a different status,” Sultana said. His decision was also influenced by his gallery moving from Belleville to the central Beaubourg district.

Mehdi Chouakri at Paris Internationale, 2023. Courtesy: Sylvie Fleury, Geneva, the Estate of Charlotte Posenenske, Berlin and Mehdi Chouakri, Berlin. Photo: Andrea Rossetti.

By contrast, Ciaccia Levi decided to stay put at Paris Internationale. “At the beginning, we decided to launch Paris Internationale because FIAC didn’t have space for everybody, especially young galleries of our generation,” the gallery’s co-founder Nerina Ciaccia, who exhibited last week at Frieze Masters, said. “Now we continue to be here because we’ve grown with the fair. Increasingly, more institutions come and it’s one of the fairs where we meet the most museums and curators.”

This back-and-forth can happen in the other direction, too. A surprise at this edition is Berlin’s Mehdi Chouakri, who participates in Art Basel. However, his application to Paris+ was rejected so he applied to Paris Internationale.

“I thought that I might be too established for Paris Internationale but they were happy to welcome me,” said Chouakri. “Being here is really good and brings a totally different way of working because we can experiment, do projects more lightly than at a fair like Paris+, and present more accessible works.” He has sold one of Sylvie Fleury’s Cuddly Dot paintings in fake fur, priced at €24,000 ($25,395), a red Escape neon by Fleury, and a galvanized steel sculpture by Charlotte Posenenske.

When asked if he would re-apply to Paris+ next year when the fair moves to the Grand Palais, Choukari said, “I guess so, yes… We would try to do Paris Internationale as well because I like this less corporate format.”

House of Gaga from Mexico City also applied to Paris Internationale after being turned down by Paris+. “We exhibited for 10 years at FIAC until its last edition, and this is our first time at Paris Internationale as we were ‘wait-listed’ at Paris+,” said gallery director Gabriela Magaña. “We’re really loving this fair­­—its energy, the refreshing proposals, and the organizers. It’s heartwarming.”

Marc Camille Chaimowicz’s bird ceramics and rugs alongside German-Korean photographer Heji Shin’s portraits of camels at House of Gaga’s stand. Photo: Courtesy of House of Gaga.

On view at the gallery’s booth is a duo show juxtaposing Marc Camille Chaimowicz’s bird ceramics, made under Covid pandemic’s lockdowns, and rugs alongside German-Korean photographer Heji Shin’s portraits of camels at a Moroccan beach. Magaña sold seven from the set of 48 of Chaimowicz’s ceramics at the preview.

Like House of Gaga, galleries have traveled far and wide to exhibit at this year’s edition. A sixth of them are from Asia, including Beijing’s Magician Space which sold its installation by Hu Yingping, priced €110,000 ($116,000), at the preview. It features over a dozen knitted bikinis encased in plastic that are suspended in the space. The artist created a company to purchase knitted garments made by local women for a project initiated in 2015. “We’re trying to get connections around the world because during the pandemic China was blocked [internationally],” Pojan Huang, a researcher and assistant at Magician Space, said about the gallery’s participation in Paris Internationale.

Inevitably, a prevailing question is how Paris Internationale might be impacted by Paris+ moving next year to the Grand Palais where it will have a much larger floor plan. This will provide Delépine with the opportunity to invite more emerging galleries to participate.

Axel Dibie, who co-owns of Crèvecoeur with Staiger, is robust on this topic. “Certainly, Paris+ par Art Basel will have more exhibitors but we also have more exhibitors as Paris Internationale is expanding,” he said. “We’re delighted that Paris+ is moving to the Grand Palais because what’s good for Paris+ is, by extension, good for Paris Internationale. The two fairs are complementary, Paris Internationale is inter-generational, and everybody is pulling Paris upwards.” At the preview, Crèvecoeur sold all of its paintings by Japanese artist Yu Nishimura, priced between €4,000 and €60,000 ($4,232 and $63,482), which are part of the gallery’s group presentation.

Still, Staiger admitted that Paris Internationale was “discussing strategies” ahead of the relocation of Paris+ to the Grand Palais next year. He conceded that the fairs are competing on some level.

Yu Nishimura, gaze (2023). Courtesy of the artist and Crèvecoeur, Paris. Photo: Alex Kostromin.

Several exhibitors, past and present, voiced support for Paris Internationale’s future. “I think the fair has such a well-defined identity and well-executed vision that it will continue to attract sufficient exhibitors regardless of competition,” said Todd Von Ammon from Washington D.C., who has participated in the fair for three years. He finds its “rough-and-ready, egalitarian ethos” to be a good fit for his gallery.

“I don’t consider it to be a satellite fair per se as it continues to be the right choice for some of the world’s most well-respected and serious small galleries,” added Von Ammon. He has sold several works, priced $18,000, from Dinos Chapman’s “Disastrous Moments” series (2023), for which Chapman reworked etchings from Goya’s “The Disasters of War” series with watercolor and graphite based on kitsch figurines from an American gift brand.

Meanwhile, Robbie Fitzpatrick, who participated in Paris Internationale in 2020 because FIAC was cancelled said that different fairs were necessary. “There’s a natural comparison between what Liste is to Art Basel and what Paris Internationale is to Paris+ and was previously to FIAC,” said Fitzpatrick, who exhibited at FIAC for several years and is now at Paris+. “The vibrant energy of these fairs, which were both initiated by young galleries, is imperative for a fair ecosystem to flourish.

Fitzpatrick added: “One of the most appealing aspects of Paris Internationale’s model, which Basel Social Club has emulated, is its itinerant nature of the project [which keeps it] fresh with each edition.”

More Trending Stories

The World’s Most Popular Painter Sent His Followers After Me Because He Didn’t Like a Review of His Work. Here’s What I Learned 

Archaeologists Excavating the Tomb of Egypt’s First Female Pharaoh Found Hundreds of Jars Still Holding Remnants of Wine 

The Second Paris+ Started With a Bang. Could Art Basel’s New Venture Unseat Its Flagship Fair One Day? 

Is There a UFO in That Renaissance Painting? See 7 Historical Artworks That (Possibly) Depict Close Encounters With the Third Kind 

A Glasgow Museum Reveals a $3.7 Million Rodin Sculpture Has Been Missing From Its Collection for Nearly 75 Years 

What I Buy and Why: Art Entrepreneur Hélène Nguyen-Ban on Her Original ‘Art Crush’ and Owning a Half-Ton Book by Anselm Kiefer 

Christie’s 20th/21st Century Evening Sale Notches Steady Results, a Feat in the Current Tepid Art Market 

Four ‘Excellently Preserved’ Ancient Roman Swords Have Been Found in the Judean Desert 

An Early Edition of an ‘Unhinged’ Christopher Columbus Letter Outlining What He Discovered in America Could Fetch $1.5 Million at Auction 

Follow Artnet News on Facebook:
Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward.

November is that time of year when Art Gallery Kimberley transforms into a festive Christmas art market. People can gear up for Christmas by shopping at this art market in the cosy and merry downtown of B.C.’s Best Small Town: Kimberley.

Owner and operator of the gallery, Irma de Visser, came up with the idea of organizing a pop-up Christmas art market after she decided to start her own art gallery in the space that for decades used to be the laundromat. Irma knew the renovations would still be in full swing come Christmas, but she thought it would be fun to take a leap of faith and organize a market in the unfinished space, not knowing what this would look like exactly. It worked out very well, and many local artists got to showcase and sell their creations.

After opening the gallery four months after wrapping up the first Christmas art market, Irma decided to host a mini version of the Christmas market in the (solo) art exhibition space in the gallery, and to make this an annual event.

The 2023 Christmas Art Market is the third edition of this celebration of art and the Holidays where people can find the perfect gifts for their loved ones and perhaps a little something special for themselves.

With many talented artists and artisans in the area and limited space, selecting the vendors for the market is challenging. Fortunately, there are several art markets being held in the region, so lots of opportunities for creatives to show and sell. The gallery’s Christmas art market will be open daily starting on Saturday, November 18 and will run until December 24.

The vendors at this year’s event are: Grant Smith, Jolene Miner, Joseph Cross, Sam Millard (How Original Art), Sharon Cross, Tammy Morrison-Koenig (Eclectic Studio Tammy), and Terry Anne Wilson. Visitors can expect to find a nice selection of fine art; giclées/digital prints; wreaths; ornaments; pottery; books; poetry; art cards; gem soaps; notebooks/journals; homewares; wearables; and more.

Connecting artists with each other and the community is what brings Irma the most joy while organising an event like the Christmas art market. There will be an opportunity for this during the opening reception on Saturday, November 18 between 7 and 9 p.m.

Everyone is welcome to join in a fabulous evening at the gallery with Mary Virgin Gin cocktails by Bohemian Spirits (by donation to the Kimberley Helping Hands Food Bank Society); food; music; and lots of great art and crafts.

The opening hours for the 2023 Christmas Art Market are Sunday through Wednesday from noon to 4 p.m. and Thursday through Saturday from 11 a.m. to 6 p.m. Visitors can find “The Laundromat” – home of Art Gallery Kimberley – at 167 Deer Park Avenue, right in the heart of Kimberley.

Submitted

Article Share

Article Share

After three roles within the Williams Center for the Arts were left vacant at the end of the last academic year, the Lafayette community welcomed three new staff members with plans to further build upon the existing program.

Ty Furman, Tabitha Klaus and Marta Kepka will soon become familiar faces to students involved in the arts on campus. According to Furman, the new director of the performance series, one of the team’s main priorities will be increasing diversity and adding depth to the lineup of performances.

“There’s a lot about this program that is outstanding, and there’s a foundation that we don’t want to mess with,” Furman said. “[I want] to continue to find really diverse acts and find artists who sort of look like our population.”

Prior to joining Lafayette, Furman held major roles at the University of Pennsylvania and Boston University, advising student performance groups and creating initiatives to expand student opportunity within the arts. Furman will also be overseeing the Lafayette Arts Society.

Klaus, the director of operations and patron services, is another new addition to the Lafayette arts community. With an abundance of experience in classical music and administration – working for the Chicago Symphony, Baltimore Symphony and New Jersey symphony before her introduction to higher education at Carnegie Mellon University – Klaus is excited to bring her unique skill set to the program.

“Because I did have such a focused career path, specifically in classical music and working with orchestras, it’s interesting now to have the opportunity to work with arts across all mediums,” Klaus said.

For both Furman and Klaus, holding a position at Lafayette signifies a return home.

“Just coming back to this area, it is so special and part of who we were growing up,” Klaus said. “I think it’s just relearning it too … getting to know Easton better and Bethlehem and all the surrounding areas. It’s very exciting.”

Stepping into her role as director of art marketing, Kepka is looking forward to joining her colleagues in their plans to develop a robust program rich with a variety of perspectives.

“When I saw that Lafayette had this position open, and it was a liberal arts college which also plays into the idea of kind of collaborative work and cross-disciplinary work … It kind of just spoke to my brain,” Kepka said. “It felt like home before I was here.”

Kepka has a long history working within the artistic field, holding positions in graphic design, digital marketing and creative directorship. She is currently an adjunct professor at Middlesex Community College, teaching advertising and design as well as production.

When not preparing for shows, this trio can be found sharing about their pets and other niche interests. Dogs, specifically, seem to be the most common point of conversation.

“We are dog people,” Furman said. “We talk about our dogs all the time.”

This year, students and faculty can expect to see a number of new performances take the stage. According to Furman, there is talk of introducing more family programming – shows catered to children and families within the Easton community. Festivals are in the works as well, with the team hoping for support from the student population.

“Come to something you know you’ll like, because I bet we have something, and come to something you’ve never seen before,” Furman said. “Just take a risk. It’s ninety minutes of your time to experiment.”

While the art market may have been sluggish since the beginning of this year, with the slowdown only intensifying in recent weeks, it’s not all grim. In fact, it’s been a good year to some, especially the followers of painter Miriam Cahn.

A quick survey of the Artnet Price Database data shows that both auction prices and the number of searches for the Swiss artist’s works went up dramatically in the first six months of 2023, compared to the same period in 2022 and earlier. The total sales value of Cahn’s work in the first half of 2023 was more than $3.2 million, 5.6 times the total sales value in 2022 and 15 times the sum in 2021.

Indeed, almost all of Cahn’s top 10 prices at auction were set in the first half of 2023, including the artist’s record, for Das Genaue Hinschauen (The Close Look) (2018), which sold for £584,200 ($703,093 including fees) at Sotheby’s The Now evening sale in London in March, fetching nearly 20 times the presale estimate. For comparison, three out of the artist’s top 20 sales at auction were set in 2022, and one in 2021. All of the works appeared at auction for the first time.

The second-highest price for her work at auction was just notched on October 6, when o.t. (2017) sold for HK$2.29 million ($291.894) at Phillips Hong Kong. That eclipsed the previous second-highest price set only the day before at the Long Museum collection sale at Sotheby’s Hong Kong, when the canvas work Im weg liegen (2013) sold for HK$2 million ($259,516) including fees. The hammer price of HK$1.6 million was 2.7 times the presale low estimate.

A reporter stands in front of ich als mensch (i as human) by Miriam Cahn during a media preview of “Another Energy: Power to Continue Challenging – 16 Women Artists from around the World” at Mori Art Museum in Tokyo on April 21, 2021. (Photo by Philip Fong/AFP via Getty Images)

The market’s recognition of Cahn is long overdue, noted London-based art advisor Olga Ovenden, whose clients have been buying the artist’s works since 2018.

“For too long, her works have been priced on a lower point than they should be,” Ovenden said, adding that the pieces are worth collecting because of the importance of their subject matter and their striking, albeit disturbing. visuals. “She speaks of issues that are still rarely openly discussed in our society. There are issues of violence, real or imagined, especially violence against women, xenophobia, war, and migration. She creates a mirror in which the worst of our society is reflected.”

With more material on offer in the autumn auction season, prices of her work are expected to continue to go up, Ovenden said.

Dreamy Violence

Cahn was born in 1949 in Basel, Switzerland, to Jewish parents who fled the Nazi regime. She was trained at the Schule für Gestaltung Basel and held her first show in Stampa in 1977, and her museum solo debut at Kunsthalle Basel in 1983. She started with a drawing practice and did not come to painting until the mid-1990s, according to Sandrine Djerouet, director and partner of Galerie Jocelyn Wolff in Paris, which represents the artist. By now, Cahn has been featured in numerous major exhibitions around the world, including Documenta 14 in 2017, the 21st Sydney Biennale in 2018, and Venice Biennale’s “The Milk of Dreams” in 2022.

As a student, Cahn was actively involved in feminist and political activism, particularly during the 1960s and 70s, espousing causes ranging from women’s suffrage in Switzerland to the campaigns against the construction of nuclear plants. Her response to contemporary issues including violence, war, and refugee crises forms an integral part of her semi-abstract work. Her poignant paintings, using a dreamy color palette, address these difficult subject matters head on and are often explicit.

A person looks at Miriam Cahn’s, The Beautiful Blue, during a photo call for London’s Tate Modern’s new Capturing the Moment exhibition, which includes works by Andy Warhol, Picasso and Francis Bacon. Picture date: Monday June 12, 2023. (Photo by Belinda Jiao/PA Images via Getty Images)

“Elements such as the lowest instincts of human nature, our worst fears and fantasies, can be found on her canvases and drawings,” Ovenden said. “People in her works are those who have been forsaken by governments, societies and communities.”

She also praised Cahn’s painting techniques, as she “masterfully seduces her viewer by juxtaposing beauty and violence on one canvas.” That juxtaposition can be jarring, but “that adds to the horror of the viewer—we feel attracted, almost charmed by the color palette, beautiful bodies and erotic compositions, while realizing that by doing so we are taking the side of the aggressor,” the advisor said. “And I think this is the main moral dilemma of our time. She captures it and unwaveringly makes us face it whether we want to or not.”

Claudia Schurch, Christie’s senior specialist and head of Evening Sale, Post War and Contemporary Art, noted that Cahn is a very politically committed artist and an artist who has been very true to her practice. But those admirable attributes could have contributed to the delay in market recognition. “Her paintings are direct and sometimes even tough to look at, and I think it’s exactly because of that—that it takes time for an artist who shows the rawest element of human condition to enter the mainstream market,” Schurch said.

Total sales value of works by Miriam Cahn. Source: Artnet Price Database.

Going Viral

Cahn is a late bloomer as far as the art market is concerned. Monthly searches of Cahn’s works on the Artnet Price Database ran as low as just three in August 2022 (although the summer timing surely didn’t help). But the number of monthly searches spiked this spring, to 151 queries in March, three times the 50 queries logged in February, and has been at a similar level through the rest of the first half of 2023.

The timing followed February’s opening of “Ma Pensée Sérielle” (“My Serial Thought”) at Palais de Tokyo in Paris, the first large-scale survey of Cahn’s oeuvre in a French institution.More than 200 works from 1980 through to the present day were presented.

One of the paintings on show, titled fuck abstraction!, which depicts a scene of forced fellatio, was accused of being pedophilic when it was in fact the artist’s denunciation of sexual war crimes. The painting went viral because of the controversy, and France’s political far-right factions brought a case to court in a bid to censor the work. The initial legal petition was rejected and then the appeal was shot down by France’s State Council, which ruled that the work did not violate safety for children or human dignity, as suggested by those opposing the work.

Miriam Cahn, fuck abstraction! (2007-2022). 3009 CAH/P 3029. Courtesy the artist, Galerie Jocelyn Wolff and Meyer Riegger Berlin/Karlsruhe. Photo by François Doury.

The would-be censors’ attack backfired, coincidentally. New auction records of Cahn’s paintings have been set since the outbreak of the controversy, with hammer prices doubling or even tripling the presale expectations. Besides the artist record set in March, Christie’s sold two paintings at its June London sales, including herumstehen, 9. + 29.1. + 13.4.17 (standing around, , 9. + 29.1. + 13.4.17), which went under hammer at £160,000 ($194,815), nearly three times the lower end of presale expectations. The work sold for £201,600 ($254,706) including fees, the fourth most expensive work by Cahn sold at auction. Meanwhile, Bonhams sold the small canvas work sportler, 28.7.96 (1996) for £108,350 ($136,684) including fees in the spring season. The work had a hammer price that was almost three times the low presale estimate.

“The current strong prices and interest in Miriam Cahn is a culmination of the heightened exposure Cahn had in the last years,” said Leonie Grainger, Bonhams’ head of post-War and contemporary.

Is the best yet to come?

Market experts believe that this is just the beginning, expecting Cahn’s prices will continue to grow. “As there is so much demand naturally some collectors will be tempted to sell works, so we expect for more works to appear in the secondary market,” Grainger said. “The artist has created many stunning works and I don’t believe the strongest works have yet come to the secondary market.”

Installation view, “Miriam Cahn: Ma pensée sérielle” at the Palais de Tokyo. Photo by Aurélien Mole.

Those who are in the queue for new works in the primary market will have to be patient. Djerouet of Galerie Jocelyn Wolff said that the gallery has been receiving a steady flow of requests for nearly two years.

But Cahn also distances herself from the art market.

“She works along with no assistant in the studio, which creates a different rhythm for production and thus for exhibitions,” Djerouet said, adding that the primary prices for Cahn’s work haven’t gone up this year but the gallery has decided to be less flexible on discounts. “There are two sole exhibitions planned for next year, which means that some of the works produced in 2022, 2023 and 2024 will be accessible, but not all.”

Cahn’s work appeals to a wide range of global collectors, particularly seasoned collectors who are interested in works by women artists, experts said.

The growing market for the Swiss artist also sends a very encouraging signal to women artists overall.

“In general women artists have been undervalued,” Grainger said. “But this market segment and the prices have risen exponentially in the last ten years, cemented further by the highly acclaimed Venice Biennale ‘Milk of Dreams’ exhibition, which had a long overdue focus on female artists. Cahn’s success is just one example of many.”

More Trending Stories:  

The Second Paris+ Started With a Bang. Could Art Basel’s New Venture Unseat Its Flagship Fair One Day? 

Is There a UFO in That Renaissance Painting? See 7 Historical Artworks That (Possibly) Depict Close Encounters With the Third Kind 

A Glasgow Museum Reveals a $3.7 Million Rodin Sculpture Has Been Missing From Its Collection for Nearly 75 Years 

What I Buy and Why: Art Entrepreneur Hélène Nguyen-Ban on Her Original ‘Art Crush’ and Owning a Half-Ton Book by Anselm Kiefer 

Christie’s 20th/21st Century Evening Sale Notches Steady Results, a Feat in the Current Tepid Art Market 

Four ‘Excellently Preserved’ Ancient Roman Swords Have Been Found in the Judean Desert 

An Early Edition of an ‘Unhinged’ Christopher Columbus Letter Outlining What He Discovered in America Could Fetch $1.5 Million at Auction 

An Elderly Couple Sold a ‘Worthless’ African Mask for $157. Now They Are Suing the Buyer Who Auctioned It for $4.4 Million 

An English Woman Paid $100 for a Sculpture at a Trunk Sale That Turned Out to Be an Elisabeth Frink Work Worth $72,000 

Follow Artnet News on Facebook:
Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward.

From a towering solitaire diamond ring made of wheels to a sprawling, embellished textile tree, Joana Vasconcelos (previously) is known for creating monumental sculptures and public artworks that reframe familiar objects and materials into striking installations. Plug-in, a new retrospective at MAAT—the Museum of Art, Architecture, and Technology—in Lisbon, explores nearly three decades of the Portuguese artist’s comprehensive oeuvre.light

Focusing on an undercurrent of electricity and power, Plug-in brings together new pieces in dialogue with earlier works. For example, two sculptures reimagine vintage cars: “Drag Race,” an ebulliently baroque Porsche, sports gilded woodwork that nods to track racing, self-expression, and pop-culture phenomena like RuPaul’s Drag Race. “War Games,” on the other hand, is encased in toy rifles in an antagonistic tug-o-war between play and violence. Red LED lights switch on and off continuously, and “the interior is filled with hundreds of stuffed toys that wiggle noisily, clamouring for attention and space,” says a statement.

“Drag Race” (2023). Photo by Lionel Balteiro

Vasconcelos often incorporates textiles into her works, working with beads, brocade, fringe, and a wide variety of fabrics. The lavish “Valkyrie Octopus,” part of the artist’s expansive Valkyries series, is shown for the first time in Europe since it was originally unveiled in Macau. Illuminated with tiny lights, the inflatable form coated in patterns looms across the entire width of the room. Plug-in invites visitors into a multi-sensory experience in which flashing lights and shiny surfaces question how we define luxury and power.

The exhibition continues in Lisbon through March 31, 2024. And if you’re in Florence, you can also visit Vasconcelos’ Between Sky and Heart at the Uffizi through January 14. See more on the artist’s website and Instagram.

“Valkyrie Octopus” (2015), installed at MGM Macau. Photo by Luís Vasconcelos

“Solitaire” (2018). Photo by Bruno Lopes

“Árvore da Vida” (2023). Photo by Bruno Lopes

Detail of “Árvore da Vida.” Photo by Didier Plowy, courtesy of Centre des Monuments Nationaux

Installation view of “Drag Race” (foreground) and “War Games.” Photo by Bruno Lopes

“Strangers in the Night” (2000). Photos by DMF Lisboa

“I’ll Be Your Mirror” (2019). Photo by Bruno Lopes

“War Games” (2011). Photo by DMF Lisboa

Detail of “War Games.” Photo by DMF Lisboa

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Joana Vasconcelos’ ‘Plug-in’ Retrospective Buzzes with Three Decades of Energy and Power appeared first on Colossal.

Many people start their connection to handmade goods at a local farmers market, craft market or gallery. At Art Market, all of these forms are brought together under one roof to elevate and honour the handmade experience.

Handmade is for everyone from every walk of life. Artists create for the world to see — it’s not contingent on your stage in life or your pocketbook whether you can access these artworks. It’s about what is appealing to you and coming together with an artist whose work speaks to you — it’s a connection, which can grow into lifelong relationships. Purchasing something handmade helps define us, our home and our surroundings. Art and craft are meant for longevity, to ponder over or brighten up a room, and to connect fibres, colours and fashion. Whether you use it in your kitchen or on your dining table, smooth it on your hands or it comes from yummy recipes passed down from generations, buying handmade is supporting an expression of an artisan’s mind. This is what intentional purchasing is all about!

Why does handmade matter? 

As shoppers, we believe we’re getting a deal and saving time when online scrolling, trying to find what we want. But often, we end up not getting exactly what the screen shows, and then we have to take the time to return it and start all over again. (Not to mention paying a restocking charge.)

With big box stores, you wind up buying the same thing as everyone else. At Art Market, artists bring back creativity, quality and originality. You can touch, taste and feel the difference. Hold an artisan piece in your hands and ask the maker directly about the materials and time investment for it. You can see the colours with your own eyes, measure for that exact space you need, try pieces on and get guidance on sizing for all shapes and sizes. You can taste the flavours before you buy, and ask as many questions directly to the maker as you need to feel comfortable before you purchase. This is why handmade matters!

What to expect at Art Market 

Artisans and shoppers alike are gearing up for this highly anticipated art and craft event of the year, running November 16 to 19, 2023. Enjoy various live demonstrations such as seeing artists painting on canvas and clothing, sketching, drawing, shading, carving, sculpting, throwing pottery, and pressing magic into paper. With more than 200 unique booths and 50 craft categories, you are sure to discover a treasure or two.

Shoppers can enjoy a glass of wine or beer as well as live music on the Thursday, Friday and Saturday nights. Take in the festive entrance space that invites inspiration for your new art purchases and drop your ticket in the box and cross your fingers for the hourly $100 gift certificate draws happening throughout the day from Thursday through Saturday. Don’t be surprised if someone slips one of the sought-after Art Market red bags on your shoulder if you have too much to carry. Plus, on the Sunday, the first 75 shoppers receive a free poinsettia to start the festive season.

Mark your calendars for November 16 to 19, 2023, and check out Art Market. This annual Calgary tradition for the past 37 years presents an amazing selection of quality art and craft. Buy your tickets here. 

This content was supplied by the advertiser for commercial purposes. It is not written by and does not necessarily reflect the views of Avenue staff.

A recent report by the New York Times reveals that two LeBron James trading cards have an estimated value of up to $7 million. Just imagine stumbling upon one of these cards and making such a lucrative sale! However, it’s crucial to consider the tax implications when selling collectibles like trading cards. The taxation of income from tangible assets differs from that of other types of investments. The IRS recognizes four distinct types of taxpayers based on their role in a transaction: Collector, Investor, Business Investor, and Dealer. By default, the IRS assumes you are a Collector, subjecting you to the highest capital gains tax and offering the fewest deductions. Nevertheless, with the right qualifications, you may be eligible for the more advantageous tax status of an Investor, which allows for greater deductions and techniques such as like-kind exchanges. Qualifying as an Investor goes beyond a mere declaration; it necessitates a well-documented pattern of behavior. Seeking advice from a qualified expert can help you position yourself for the most favorable tax status.

For the Artist

The creative process of an artist continuously expands the very definition of artwork. Similarly, the mediums through which artists express their craft are also evolving. Throughout an artist’s lifetime and beyond, their work may be sold multiple times and showcased in galleries on numerous occasions. The monetary value of these sales can range from modest sums to staggering amounts, as seen with the masterpieces of Picasso, Van Gogh, and others. Whether an artist attains fame during their lifetime or not, the significance of their creations remains unchanged. Artists may pursue their craft as a profitable trade or business or engage in it as a non-profit endeavor. In the former case, income is subject to ordinary taxation, while expenses typically fall under IRC § 162. However, for activities deemed not-for-profit under IRC § 183, the deductibility of expenses is limited to gross income.

Beyond the Artist: Investor, Hobbyist, Business Collector, and Dealer

Once artwork leaves the hands of the artist, it typically falls into one of four categories, each with distinct tax considerations: investors, hobbyists, business collectors, and dealers. The categorization of a taxpayer depends on the specific facts and circumstances of their case. However, determining the precise line between these categories for tax purposes is often unclear, leading to extensive litigation in areas such as distinguishing between investors and dealers, or between investors and hobbyists. Furthermore, a taxpayer may possess artwork in multiple categories. For instance, a dealer might hold certain pieces as part of their trade or business while also retaining other pieces as an individual investor. It is important to note that the deductibility of expenses and losses in each category varies and is contingent upon the specific facts and circumstances involved. Therefore, any private taxable collector should develop a customized plan based on a meticulous evaluation of each item’s category for purchase, holding, or sale. If necessary, consulting with a subject matter expert is advisable.

Introduction to the Four Categories:

In the realm of art, an investor is someone who purchases, sells, and collects artworks with the sole aim of making a profit. When an investor sells an artwork, it is typically subject to capital gains tax, unless it falls outside the definition of a capital asset. According to IRC § 1221, a capital asset includes all assets except (1) stock in trade or property held for sale to customers, (2) property used in a trade or business subject to depreciation, and (3) an artistic composition held by the creator or someone whose basis is determined by the creator’s basis. If an artist gifts their artwork, it falls under category (3) and is considered taxable as ordinary income property.

To claim a capital loss under IRC § 165(c)(2), an investor must demonstrate that the intent behind the transaction was for profit. The purchase and sale of the artwork must be proven to have been entered into with the intention of making a profit. Various factors are considered based on the taxpayer’s individual circumstances, but personal use and enjoyment of the artwork tend to be critical factors indicating a lack of profit-oriented intent.

The expenses associated with art investments are governed by IRC § 212. These expenses are deductible if it can be proven that the investor’s primary intent was to hold the artwork for the purpose of generating income. The determination of intent is based on established facts and circumstances from relevant court cases. Personal use and enjoyment, once again, play a crucial role. However, not all expenses are eligible for deduction under IRC § 212. Expenses incurred to extend the lifespan or enhance the value of the artwork, as well as selling expenses, are among the disallowed expenses. If the gross income from the activity exceeds the deductions in three or more years within a five-year period, IRC § 183(d) applies, and the activity is presumed to be for profit. If not, IRC § 183 may apply, limiting the deduction of expenses if the activity is considered not-for-profit.

It is important to note that an investor can be classified as a dealer, or a hobbyist based on the facts and circumstances of their case. In some instances, investors may seek to be categorized as dealers to deduct losses as ordinary income rather than capital losses.

A hobbyist is an art collector who acquires pieces purely for enjoyment, without concern for potential profitability. Typically, the hobbyist does not often sell artworks, and if they do, any gains are taxable, while losses cannot be claimed as deductions (as per IRC §§ 1221 and 165(c), respectively). Although expenses related to maintaining the collection are generally not deductible according to IRC § 262, IRC § 183 may allow for some deductions up to the amount of gross income generated by the activity, following the ordering rules of IRC § 183. Due to the tax disadvantages associated with being a hobbyist, many strive to be classified as investors.

A business collector acquires art not for resale but rather for purposes such as office display or decoration as part of their regular trade or business activities. Art, which lacks a determinable useful life, is generally not subject to depreciation. Additionally, many businesses purchase art as an investment, which may classify them as investors or hobbyists. However, if the nature of the art investment crosses the line into being a dealer, a thorough examination of the facts and circumstances is necessary to determine the appropriate categorization for the activity.

The Art Dealer

An art dealer is someone who engages in the buying and selling of art as a trade or business. This includes art galleries, which function as a type of dealer. Art dealers are subject to the same tax regulations as any other retail operation. All income, including income from art sales, is taxed as ordinary income (IRC §§ 61, 64). If expenses are ordinary and necessary, they can be deducted under IRC § 162. Dealers sometimes prefer to be classified as investors due to the more favorable capital gains rates, rather than being taxed on those gains as ordinary income. Additionally, dealers, including gallery owners, often assume the roles of both an investor in art and a dealer in art, treating these as separate activities. Numerous court cases, such as Williford v. Commissioner, T.C. Memo. 1992-450, have addressed this issue.

One issue that frequently causes problems across all categories is the charitable contributions of art, which will be discussed below.

As of December 31, 2017, the tax-free eligibility of exchanges involving personal property and intangible assets was eliminated under Code Sec. 1031. Consequently, transactions involving machinery, equipment, vehicles, patents, artwork, collectibles, and other intangible business assets no longer qualify for non-recognition of gain or loss as like-kind exchanges.

Alternatives to 1031 Exchanges for Artwork

Charitable Remainder Trusts

A Charitable Remainder Trust is an excellent strategy to defer capital gains tax on appreciated assets. By transferring these assets into the trust before selling them, you can generate income over time while enjoying tax benefits.

When establishing a Charitable Remainder Annuity Trust, you contribute cash or property to an irrevocable trust. As the donor (or another non-charitable beneficiary), you retain a fixed annuity, consisting of principal and interest payments, for a specified period or the lifetime of the non-charitable beneficiaries, which can be up to twenty years. At the end of the term, the remaining trust property is directed to a qualified charity of your choice.

Gifts made to a Charitable Remainder Annuity Trust qualify for income and gift tax charitable deductions. In certain cases, an estate tax charitable deduction may apply to the remainder interest gift, provided that the trust meets the legislative criteria. The annuity payments can be either a specified dollar amount (e.g., $500 per month for each non-charitable beneficiary), a fraction, or a percentage of the initial fair market value of the contributed property (e.g., 5% each year for the beneficiary’s lifetime).

You will receive an income tax deduction for the present value of the remainder interest that will eventually pass to the qualified charity. This deduction is determined by government regulations and is calculated by subtracting the present value of the annuity from the fair market value of the property or cash placed in the trust. The remaining balance represents the amount eligible for deduction when you contribute the property to the trust.

In comparison, a Charitable Remainder Unitrust functions similarly to a Charitable Remainder Annuity Trust, with the key difference being that the annuity is based on a specific percentage of the trust assets’ balance at the beginning of each payment year.

A Charitable Lead Trust presents an ideal solution for accelerating charitable deductions, mitigating the impact of new limitations on itemized deductions, and offsetting up to 50% of your Adjusted Gross Income in a given tax year. Additionally, it can serve as a means to eliminate gift or estate taxes on transfers to children or other beneficiaries.

To establish a CLAT, you transfer cash or other assets to an irrevocable trust. The trust then provides fixed annuity payments, including principal and interest, to a chosen charity for a specified number of years. At the end of this term, the remaining assets in the trust are transferred to the non-charitable remainder person(s) you designated during trust setup. This person can be anyone, such as yourself, a spouse, a child, a grandchild, or even someone unrelated to you. You have the flexibility to create a CLAT either during your lifetime or upon your death. This option is available to both corporations and individuals, proving particularly advantageous when you need to remove appreciated assets from a business tax-free.

As the beneficiary, you receive an immediate and substantial income tax deduction. In subsequent years, you must report the trust’s income reduced by the annuity payments made to the charity. One notable advantage of the CLAT is its ability to accelerate the charitable deduction into the year of the gift, even if the annuity payout is spread out over the trust’s term. This feature proves valuable when anticipating a significant drop in future income, allowing for a generous deduction in a high bracket year while reporting the income in lower bracket years. By spreading out the income and tax liability over multiple years, you achieve greater tax efficiency.

Another benefit of the CLAT is the opportunity for a “discounted” gift to family members. Under current law, the value of a gift is determined at the time it is made. However, the family member remainder man must wait until the charity’s term expires, resulting in a discounted value for their interest due to the “time cost” of waiting. Essentially, the cost of making a gift is reduced because the value of the gift decreases by the annuity interest donated to charity.

Furthermore, when the trust’s assets are transferred to the remainder man, any appreciation in their value becomes exempt from gift or estate taxation within your estate.

It is worth noting that a Charitable Lead Annuity Trust is similar to a Charitable Lead Trust, with the distinction that the annuity payments to charity are a percentage of the trust assets at the beginning of the year when the payments are due.

A Deferred Sale Trust

A Deferred Sale Trust involves selling a highly appreciated asset to an irrevocable trust in exchange for an installment note, which is then sold to a third party by the trust. According to IRC section 453, you are only liable for taxes on the gains and interest as they are paid out to you. Additionally, the trust is not subject to taxes on the sale of the assets to the third party because the trust received a new cost basis during the installment sale. The proceeds from the sale can be reinvested by the trust in other assets or in a wealth replacement vehicle, such as life insurance, where the death benefit is triggered when the term of the note ends, such as upon your passing. This strategy allows for tax efficiency while providing flexibility and potential for wealth growth.

An Art Exchange

An art exchange is a non-profit organization established with the purpose of selling, leasing, exchanging, or otherwise disposing of assets. These assets primarily consist of donated merchandise or items directly connected to the charitable mission of the art exchange. By utilizing an art exchange, a Charitable Remainder Trust can protect its underlying non-profit entity from generating Unrelated Business Income, especially when the donated tangible property is not closely aligned with the non-profit’s charitable purpose. Additionally, an art exchange serves as a platform for generating lease income or facilitating exchanges of tangible property, all while avoiding income tax implications.

Artwork Trades

Trades involving artwork are a common income concern. This occurs when galleries, dealers, or artists exchange inventory with other galleries or individuals. There are three ways in which trades are typically treated:

1. Recording trades on the books as nontaxable: The basis of the new item received is the same as the item given up, plus any additional boot received. Any boot received would be reported as income.

2. Recording trades as taxable events: The basis of the new item is determined by its fair market value or cost.

3. Utilizing a hybrid method that combines elements of both approaches.

Considering the following reasons, it is advisable to treat trades as taxable events:

a. Gross income definition: Section 61 defines gross income as income derived from any source, unless excluded by law. Treasury Regulation 1.61-1 states that gross income includes income realized in various forms, such as money, property, services, meals, accommodations, and stock.

b. Legal precedent: In the case of James A. Lewis Engineering, Inc. v. Commissioner, the court ruled that income encompasses the fair market value of assets received.

c. Exception for stock in trade: Although Section 1031 allows for tax-free exchanges of like-kind assets, I.R.C. § 1031(a)(2)(A) makes an exception for stock in trade held primarily for resale, thereby excluding inventory.

d. Materially different property: According to Treas. Reg. 1.1001-1(a), gain or loss is realized when property is exchanged for other property that differs materially in kind or extent. In Cottage Savings Association v. Commissioner, the Supreme Court held that exchanged properties are “materially different” when their respective possessors enjoy legal entitlements that vary in terms of kind or extent. Since the owner of one artwork possesses different legal entitlements than the owner of another artwork, trading artwork for other artwork constitutes an exchange of materially different property.

Based on the law’s clear guidance, income must be recognized up to the fair market value of the asset received when engaging in inventory exchanges.

Despite the clear legal requirement to recognize income from inventory exchanges, trades are still often treated as nontaxable events within the industry. This is often justified by claiming that it has always been done this way, and/or that determining fair market value is challenging. Nevertheless, an adjustment to a taxable event remains necessary.

Charitable Contributions of Artwork

The subject of charitable contributions of artwork and income taxation is extensive and intricate. While this brief introduction will cover some important aspects, it is crucial to note that there are numerous additional details to consider.

When it comes to the donation of artwork by art galleries, dealers, or the artists themselves, there are specific limitations to keep in mind. Generally, the deduction for charitable contributions is limited to the lower of the artwork’s fair market value on the date of the contribution or its adjusted basis. It is also essential to make adjustments to the cost of goods sold in order to avoid double deductions.

For investors who donate artwork, the deduction is typically based on the fair market value of the property. However, there may be reductions and limitations on the allowable deduction under different circumstances. The term “fair market value” refers to the price at which the property would change hands between a willing buyer and a willing seller, both of whom have reasonable knowledge of the relevant facts and are not under any compulsion to buy or sell.

One potential issue arises when artwork is donated by an art gallery owner or dealer. It is important to determine whether the artwork being donated is held as an investment or part of the owner’s inventory. The deduction for long-term capital gain property is generally based on its fair market value, while the deduction for inventory is limited to the lower of cost or fair market value.

The deduction for artwork gifted by the artist to an investor is generally limited to the smaller of the gift basis or the fair market value on the date of the charitable contribution. According to IRC § 1221(a)(3)(C), the property retains its status as ordinary income property, just as it would for the artist who gifted it. IRC § 1015 specifies that the basis of gifted property is determined by the basis in the hands of the donor (the artist). Furthermore, IRC § 1221(a)(3)(C) excludes property from being a capital asset if its basis is determined, in whole or in part, by reference to the basis of the property in the hands of a taxpayer who falls under subparagraph (A) or (B). Subparagraph (A) refers to “a taxpayer whose personal efforts created such property.” Consequently, the charitable contribution deduction amount follows the rules for artwork donated by the artist, with the basis being the gift tax basis (adjusted for any gift tax under IRC § 1015(d)). When a taxpayer donates art acquired through inheritance (regardless of whether it was part of the artist’s estate), they are generally eligible for a deduction based on the artwork’s fair market value.

Limitation:

The contribution of artwork to a charity cannot exceed 30% of the taxpayer’s contribution base for the tax year. This is because it is considered appreciated capital gain property, as stated in the IRS Letter Ruling 8143029.

Valuation of Art for Income Tax Purposes:

Cases selected for audit that involve artwork with a claimed value of $50,000 or more per item must be referred to Art Appraisal Services. This referral is required by IRM 4.48.2, which also outlines the necessary procedures and information. Even if the value is below $50,000, Art Appraisal Services can aid the examiner upon request.

Donations of $250 or more require a contemporaneous written acknowledgment from the recipient. For charitable contributions exceeding $500 in value, Form 8283 must be attached to the tax return, and the taxpayer must maintain specific records. Additional substantiation rules can be found in IRC 170(f)(11), Treas. Reg. §§ 1.170A-13(b) and (c), 1.170A-13(f), and Notice 2006-96, 2006-45 I.R.B. 902.

For charitable donations of property exceeding $5,000, the donor must obtain a “qualified appraisal” as mandated by IRC 170(f)(11). If the donated art is valued at $20,000 or more, Form 8283 requires attaching the appraisal to the tax return. An appraisal summary must be included for property valued above $5,000. IRC § 170(f)(11)(D) mandates attaching all appraisals exceeding $500,000 to the return. The specific requirements for a “qualified appraisal,” as well as the “appraisal summary” and related details, can be found in IRC § 170(f)(11), Treas. Reg. § 1.170A-13(b) and (c), and Notice 2006-96, 2006-45 IRB 902.

Charitable donees must file Form 8282 if they sell, exchange, or dispose of charitable deduction property (or any portion) within 3 years of receiving the property. This form is submitted to the IRS and provided to the property donor. It is recommended to contact a third party to confirm if Form 8282 was required but not provided.

To claim a deduction for the full fair market value of tangible property donated to charity, the property must be used by the charitable organization in a way related to its charitable purpose. Please refer to IRC §170(e)(1)(B)(i) and Treas. Reg. §1.170A-4(b)(3). Art is generally considered related-use property for an art museum or school, but likely not for a rescue organization. See IRC § 170(e)(7) for capturing the deduction on certain dispositions of exempt use property.

Deductions for fractional interests in art are possible, but prior to the donation, the property must be wholly owned by the donor or shared between the donor and the charity. Special valuation rules apply to subsequent fractional gifts, and the deduction may be recaptured if the gift is not completed within 10 years of the initial fractional gift or the donor’s date of death. Please refer to IRC § 170(o).

Section 6695A imposes penalties on appraisers under certain circumstances, while Section 6662 provides accuracy-related penalties for donors.

The rules surrounding charitable contributions of artwork are complex and multifaceted. It is crucial for both donors and donees to understand the nuances of IRC regulations to ensure proper compliance. Missteps can result in severe penalties for both appraisers and donors. Therefore, it is always advisable to consult with a tax professional or legal advisor when considering such donations. This ensures that the process is carried out correctly, maximizing the potential benefits for both the donor and the charitable organization.

In conclusion, the legal landscape surrounding the donation of artworks to charitable organizations is laden with intricacies that require careful navigation. The IRS regulations, while complex, serve to ensure fair practices and protect the interests of both donors and donees. As potential donors contemplate such philanthropic endeavors, they must bear in mind the necessity of comprehensive understanding and adherence to these regulations. Seeking counsel from tax professionals or legal advisors is a prudent step towards ensuring a smooth, compliant, and mutually beneficial donation process.

One in five people with diabetes also suffers from retinopathy, a disease causing vision loss and blindness. Problems occur when high blood sugar causes cells to swell and leak, damaging the retina. Because symptoms aren’t always perceptible at early stages, though, many people aren’t diagnosed until the condition has already progressed.

Researchers like Hassanain Qambari and Jayden Dickson have been working toward visualizing the initial signs of retinopathy to aid in early detection, which they recently achieved in an electrifying image that won the 2023 Nikon Small World Photomicrography Competition. A starburst-like web of red and yellow fibers sprawl across the frame, which magnifies the intricacies of a rodent’s optic nerve and offers insight into its function. “The visual system is a complex and highly specialized organ, with even relatively minor perturbations to the retinal circulation able to cause devastating vision loss,” Qambari said. “I entered the competition as a way to showcase the complexity of retinal microcirculation.”

Other submissions to the 49th-annual contest include the venomous fangs of a tarantula, gelatinous slime molds, and spiky sunflower pollen stuck to an acupuncture needle. The 2023 competition garnered nearly 1,900 submissions from 72 countries, and you can see all of the winners on Nikon. It’s also worth taking a peek at the video segment of this year’s contest, which includes striking footage of neurons forming in an embryo.

Sébastien Malo, crab spider (Thomisus onustus)

Dr. Pichaya Lertvilai, coral (Acropora granulosa) fluorescing under blue light

John-Oliver Dum, venomous fangs of a small tarantula

John-Oliver Dum, sunflower pollen on an acupuncture needle

Malgorzata Lisowska, breast cancer cells

Raghuram Annadana, developing stamen and stigma inside a Hibiscus flower bud

Timothy Boomer, slime mold (Comatricha nigra) showing capillitial fibers through its translucent peridium

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article An Arresting Optic Nerve Tops the 2023 Nikon Small World Photomicrography Competition appeared first on Colossal.