New drawing and sculpture fair shakes up Paris fine art world

New drawing and sculpture fair shakes up Paris fine art world

A new fine art, drawing and sculpture fair is due to open in Paris in November, filling the gap left by the Paris Tableau fair which folded two years ago. More than 30 international galleries—including Didier Aaron of Paris and Galerie de Jonckheere of Geneva—will participate in the Fine Arts Paris fair held at the Palais Brongniart (8-12 November).
Officials at the Salon du Dessin, Paris’s longstanding drawings fair which launched in 1991, are behind the new initiative. “Diversity and quality are the hallmarks of this new fair, whether in media, periods, subjects on view, but also budgets because museum quality works exhibited by major galleries can be shown alongside “discoveries” by young dealers presented at lower prices,” according to a statement.
Paris Tableau, which was also held at the Palais Brongniart, was founded in 2011 by a consortium of mainly Paris-based dealers. These included Galerie Eric Coatalem and Galerie Canesso who said at the time that no art fair catered specifically for the Old Masters market. Galerie Canesso is among the participants in Fine Arts Paris.
Paris Tableau closed its doors in November 2015, and merged with La Biennale Paris, formerly the Biennale des Antiquaires, which is held every September at the Grand Palais. Last year, 16 dealers from Paris Tableau took part in La Biennale Paris.
The Syndicat National des Antiquaires (SNA, the French association of antiques dealers) founded the Biennale in 1962. Asked about the latest developments, SNA president Mathias Ary Jan, tells The Art Newspaper that “La Biennale Paris is an international level fair held in a prestigious institution, the Grand Palais, with many specialties: furniture, decorative arts, contemporary and Modern Art etc. You can’t compare such different events.” He also points to the appointment of the Qatari prince, Sheikh Hamad Bin Abdullah Al Thani, to the fair’s honorary committee.
Jill Newhouse Gallery in New York, which specialises in 19th- and 20th-century US and European works on paper, is taking part in Fine Arts Paris. “I believe this fair is a reboot of Paris Tableau but that it will have a broader outlook,” Newhouse says. “I have always sold well in Paris and to European collections so when this opportunity arose, I jumped!”

Call for Papers, AICA 50th Congress, Paris (France)

Day: Thursday 16 November 2017
Location: Palais de la Porte Dorée: Musée national de l’histoire de l’immigration

Title: Everywhere and Nowhere: migration and contemporary art Convenors: Mathilde Roman, Marjorie Allthorpe-Guyton and Niilofur Farrukh Migration has taken centre stage in critical practice in the visual arts. War, economic hardship, racism,  ethnic and sectarian tensions have forced the mass migration of peoples, including artists, curators and critics who have also been mobilised by the affinities, opportunities, and resources, of a global art market.

The rapid development of communications has led to an art discourse where the local is in continuous  dialogue with the global. Our inherited vision that gives a subjective experience of art is framed by, and battles with, an international perspective. The attempt to build theoretical views on art and its relations to a globalized world can often fail to take into account the significance of place and the singular.

Travelling physically, or most often virtually, across borders is fraught with contradictions and difficulties, not least translation between languages and cultures. Universalism is a surface illusion. The deeper the context explored, the more singularities reappear, offering multiple points of view.

Has the impact of recent migration on contemporary art given a wider vision of the world, one where
differences and singularities are not denied?

This Day 3 of the Congress, hosted by the Musée
national de l’histoire de l’immigration, the former
Palais des Colonies, is an opportunity to discuss political questions on migration in the context of post colonial studies and critical art practice.
(max.700 words) must be written in English, French or Spanish (+ short biography), and must be sent before the 26 June by email to, specifying «Congress call for papers» as subject.

Speakers will be asked to send final papers (40 mins) in advance, for translation, before 16 October 2017.