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。」

When Art Basel was thinking about a US location, Braman championed the idea of Miami Beach, brokering discussions between the fair’s executives and local leaders. Robert Goodman, president of Miami Beach-based Garber &amp; Goodman Advertising and Marketing, remembers attending one such meeting at Braman’s invitation, which centered on viability questions such as whether people would travel to Miami so close to Christmas. Braman firmly believed visitors would be attracted by the relatively reasonable pre-holiday hotel rates as well as by the climate, insisting, ‘The weather is perfect,’ Goodman says.Similarly, Alberto Ibargüen says Miami was well suited to the fair. Now president of the Knight Foundation, he was at the time the publisher of The Miami Herald and El Nuevo Herald. ‘The hemispheres collide and combine here,’ he says. ‘It’s a place of startups and entrepreneurs and new beginnings. For anyone who wants to build community, it’s ideal because no one has a corner on history. Our surveys by [analytics and advisory company] Gallup and our own experience show art and culture top a short list of what attaches people to place and to each other, and no place shows that better than diverse Miami. And the water’s warm.’

When the idea of a US-based Art Basel was being hatched, Keller came to visit Ibargüen while in the process of scouting possible locations. ‘He was considering Chicago, New York, and some West Coast sites,’ Ibargüen says. ‘I said we would support the fair in every corporate way we could, and that I thought the newsroom would regard this as a big story.’Collector Lauren Taschen says she encouraged Rudolf and Keller to choose Miami. ‘I said, “Miami is the gateway to South America. You’re going to be able to show a lot of galleries who wouldn’t be able to show in Switzerland because they couldn’t afford to.”’

According to longtime Art Basel VIP Representative and Senior Business Advisor Stefanie Block Reed, New York, Los Angeles, and even Orlando’s convention center had been in consideration. The Art Basel team visited Miami for intense weeks of meetings. They met with Braman, as well as Robins. An initial meeting with the Miami Beach Convention Center proved demoralizing, Robins shares. ‘We needed a foot in the door. One of my good friends Nick Pritzker owned the company that managed the convention center, so he organized a meeting for the director to meet with Norman, Sam, and I.’ The trio aimed to overcome two challenges. Art Miami, the longest-running Miami art fair at Miami Beach Convention Center, met the city’s stipulation of 1,500 hotel rooms sold to secure its fair dates. Art Basel Miami Beach would need the same guarantee. Braman called Goodman, then president of Garber &amp; Goodman Advertising and Marketing, to help find a way. Based on the hotel statistics of Art Basel in Switzerland, Goodman confirmed it could happen... and went on to work with Art Basel for 22 more years.

The second challenge was that Art Miami opened each January, with a deal stipulating that no art fair could take place 45 days on either side of its dates. Art Basel Miami Beach was cornered to December, at that time considered off-season. But it proved ideal for access to hotels and restaurants, and superlative for Latin American and European travel. To seal the deal, collector Mera Rubell explains, ‘We arranged for a delegation of Miami Beach city officials, including Mayor Neisen Kasdin and Commissioner Nancy Liebman, to accompany me to Switzerland to experience the world-class nature of Art Basel firsthand. The trip was a success.’In 1999, the contract was signed. A 2001 e-flux announcement promised, ‘The art world’s new favorite winter meeting place will offer unique experiences as well as lots of sun!’ Once Art Basel had settled on Miami, a local team was assembled that included Goodman, who worked on promoting the fair as the Florida representative for Art Basel; Taschen, who became events manager; and Reed, who became responsible for VIP relations along with Sara Fitzmaurice and Sascha Nikitin. Having helped develop the Art Basel VIP relations network, as well as the concept of art fairs hosting trustee groups at their shows, Sara Fitzmaurice – founder and president of public relations firm Fitz &amp; Co. – became part of the effort. The small but determined group went into high gear, planning details and getting the word out.

‘One of Sam’s great allies in making the fair successful was Isabela Mora, whose role was described to me as an “art connector”,’ remembers Marc Spiegler, who joined Art Basel in 2007 as co-director and has led the organization since 2012. [As of November 2022, he will pass the baton to Noah Horowitz, who’ll take on the new role of Art Basel CEO.] ‘They traveled relentlessly – sometimes together, sometimes apart – and she helped build up a group of super loyal collectors, people who at the time were not nearly as famous as they are now, such as Eugenio Lopez, Patricia and Juan Vergez, Patrizia Sandretto, and Dakis Joannou. Today, we have a VIP team of more than 30 people, but I’ve never met anybody with Isabela’s ability to make people incredibly passionate about both collecting contemporary work and being part of the artworld.’Fredric Snitzer, the longtime Miami gallerist, says he was ‘very excited’ at the prospect of luring Art Basel to Miami Beach. While Art Miami existed, Snitzer says it ‘was not doing a good job in terms of quality’. Snitzer, who opened his gallery in 1977, was one of the early champions of contemporary Latin American art in the United States and has led the way with Cuban artists, launching careers such as that of Hernan Bas. His shows have included ‘They would rather Die’, an exhibition of a documentary film, paintings, and actual rafts used to flee Cuba. When the fair decided to come to Miami, Snitzer was asked to serve on the selection committee, and did so until 2021. He has also had a booth in the fair every year since the beginning.The second installment&nbsp;of this story will be published on Wednesday, November 16, 2022.This article was originally commissioned for the Art Basel Miami Beach magazine 2022.Robin Pogrebin has been a reporter for The New York Times since 1995, where she covers cultural institutions, the artworld, architecture, and other subjects.

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