![]() ![]() It’s slow, but it’s good-but that’s how we’ve always worked.” Commenting on the crowds, Cosmic Galerie director Claudia Cargnel noted that there were far fewer American collectors this year. Jocelyn Wolff, whose stand featured an installation by Franz Erhard Walther (one of the artists participating in FIAC’s debut performance program), noted: “I was skeptical half an hour ago, but now everything is fine. ![]() We’re not going to start looking for the best stocks we’re going to continue to do what we’ve done for the past forty-five years: look for the best artists.”ĭealers under the Cour Carrée tent (where younger galleries set up shop) also seemed committed. ![]() As VIP crowds pushed into the tent at 4 PM, someone shouted, “It’s better than Frieze-everything is sold!” I ran into the Rubells outside Frank Elbaz’s booth, where Mera Rubell gave accolades to the emerging Parisian scene the globe-trotting collectors didn’t seem put off by the economic crisis: “The financial world has been turned upside down, but we’re still addicted to art. Yet in spite of the cheerless weather, the fair itself opened with excitement last Tuesday afternoon in the Cour Carrée du Louvre. MY FIAC WEEK COMMENCED with a cold and rainy morning tour of the Tuileries sculpture installations led by fair directors Jennifer Flay and Martin Bethenod. Right: Takashi Murakami, LVMH's Delphine Arnault, and Pietro Beccari, head of marketing at Louis Vuitton. Left: Pasquale Leccese and Yves Saint Laurent creative director Stefano Pilati. ![]()
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