於11月3日至6日舉行的東京藝術周將邀請世界各地的訪客體驗東京充滿活力的當代藝術景況

Payal Uttam

東京藝術周為日本文化首都掀起序幕

<a href="https://parisplus.artbasel.com/catalog/gallery/2906/Galerie-Pietro-Spart%C3%A0">Pietro Spartà藝廊</a>是一個有趣的異類。藝廊的空間位於距離巴黎2小時車程的勃艮第郊野，周圍是葡萄園，被運河一分為二。此外，藝廊空間「極具象徵性地」脫離了藝術版圖，因為他們沒有任何的線上展示形式。同名創始人Spartà並不需要任何的修飾來吸引藝術家和收藏家。 Pietro Spartà是一個任性的實驗家，他了解自己所選擇的價值觀，是基於直覺、激情和社群的。

Spartà在法國沙尼（Chagny）的工人階級環境中成長，但他發現圍繞他成長的那些典型職業 &mdash;&mdash; 例如農業和工廠職業 &mdash;&mdash; 並不適合他。「我希望能有一些改變 &mdash;&mdash; 徹底的改變。雖然我愛我的家人，但我不想和他們一樣。」他說道。可是他也不想離開這裡。這位藝廊主的家鄉沒有文化氛圍 &mdash;&mdash; 他坦然承認這一切 &mdash;&mdash; 除了一家米其林星級餐廳。 Spartà自學成才，他通過書籍發現了藝術，並對彼特蒙德里安（Piet Mondrian）和<a href="https://www.artbasel.com/catalog/artist/7524/Kazimir-Malevich">卡濟米爾馬列維奇</a>（Kazimir Malevich）產生了特別的興趣。在書中，他瞭解到貧窮藝術（Arte Povera）、極簡主義（Minimalism）和觀念藝術家，並希望有朝一日可以與書中所記載的令人讚歎的藝術家們見面。他說：「我一定要在他們離世前見到他們。」他覺得自己的這種迫切期望很好笑。但對此的堅持卻十分真誠。「我想知道他們做了什麼，他們如何生活 &mdash;&mdash; 作為一名藝術家是什麼樣子。」

On the evening before the fair opened, after everyone had left to rest up for the next day’s frenzy, Schönholzer would use her show manager credentials to access the halls with her fiancé and walk the fair in the semi-darkness. ‘A very intimate moment with thousands of art pieces,’ she says, ‘to remember why all the hard work and efforts were worth every minute of it.’ Collector Ella Fontanals-Cisneros decided to use the opportunity of the fair to open her first art center, MAC (Miami Arts Center). ‘We knew that everything we did would be for the success of the art fair and the future of Miami,’ she says. ‘I was very excited to start this new journey.’ MAC brought to the city high-quality exhibitions from important institutions worldwide such as the Reina Sofía Museum in Madrid, MALBA in Buenos Aires, and Centre Pompidou in Paris. In the early years, a lot of major artists came to the fair, invited by Miami collectors. And many of Miami’s major collectors opened their homes to the artists and out-of-town visitors, hosting receptions in their homes. ‘You never knew who you were going to meet,’ says the Miami Herald reporter Jane Wooldridge, who has covered every Art Basel Miami since its launch. ‘I remember sitting one night with&nbsp;<a href="https://www.artbasel.com/catalog/artist/7502/John-Baldessari" target="_blank">John Baldessari</a> on the curb outside the home of Rosa and Carlos de la Cruz.’

‘I had never been to Miami before the fair launched,’ continues Marc Spiegler, who joined Art Basel in 2007 as co-director and has led the organization since 2012. [From November 2022, he’s passing on the baton to Noah Horowitz, who’ll take on the new role of Art Basel CEO.] ‘And 20 years later, I still distinctly remember my first night there, because it ended at the home of Rosa and Carlos de la Cruz, filled with amazing art. Their garden, directly on Key Biscayne was filled with many of the best collectors and gallerists in the world that night, a lot of them also Miami first-timers. Rosa and Carlos’ generosity was stunning – the idea of letting hundreds of artworld strangers into your home was completely new at the time. And the fair’s success was important to them. Years later, Sam Keller told me that they had asked him on the last day which galleries had not succeeded financially and then gone to those galleries looking to buy work, so that they would come back the next year.’


	Receptions at the home of collectors Norman and Irma Braman in Indian Creek Village also became one of the major ancillary attractions of Art Basel Miami Beach during its early years – important collectors and curators continue to pilgrimage there to this day. This kind of an open door was unusual for Art Basel; Switzerland collectors were known for being more closed and formal, so the contrast was striking and liberating.&nbsp;

Art Basel Miami Beach also established the importance of the in-person experience, which was essential at a time before iPhones and PDFs. ‘If you came to the fair, you were not able to take pictures,’ collector Lauren Taschen says. ‘People had to be there to see the art.’The first installment of this story can be read <a href="https://www.artbasel.com/stories/20-years-art-basel-miami-beach-oral-history-part-one" target="_blank">here</a> and the second&nbsp;<a href="https://www.artbasel.com/stories/20-years-art-basel-miami-beach-oral-history-part-two" target="_blank">here</a>. The final installment will be published on Friday, November 25.This article was originally commissioned for the&nbsp;Art Basel Miami Beach&nbsp;magazine 2022.Robin Pogrebin has been a reporter for&nbsp;The New York Times&nbsp;since 1995, where she covers cultural institutions, the artworld, architecture, and other subjects.Captions for full-bleed images: A view of Art Basel Miami Beach, 2005. 2. A work by Pope.L installed outside during Art Basel Miami Beach, 2009.&nbsp;3. A work by Karmelo&nbsp;Bermejo on the beach during Art Basel Miami Beach, 2009.

title_style_2

當這位奧地利藝廊主想與新一代思考創作媒體的藝術家們合作，他毫不猶疑地邀請了El-Sayegh

訪問專題

畫作的可能： Mandy El-Sayegh及Thaddaeus Ropac

這位藝術家與Florence Derieux談論了藝術史、她受到的影響及其畫作中的女性

法拉·阿塔斯（Farah Atassi）：在繪畫中，你做的是道德的選擇

水手的談吐、穿高跟鞋騎單車的舉止&mdash;&mdash;這位藝廊主分享何為真正的「巴黎人」

我的巴黎：Nathalie Obadia

After a year-long delay due to 9/11, the show launched in December 2002 to great success

Welcome,

探索更多相關內容