The exhibit All Things French, on view at Miami’s French Pavilion, is more than a typical art display. For the first time in the city, more than 20 French artists from different disciplines showcase their work under one roof.
“I focused on selecting talented and experienced artists who could send and share positive and hopeful messages in a global context,” said curator, Sébastien Laboureau, when asked about his vision and strategy for this exhibition.
All Things French is a transcendental aesthetic experience for both visitors and collectors. The show is an invaluable opportunity to connect with the energy of contemporary French art.
Curator Sebastien Laboureau comes from the financial world and is an experienced art consultant. Born into an art collector’s family, Laboureau has managed to unite a valuable selection of works to show them in a stunning exhibition space of more than 4,300 square feet. The goal was to showcase the vitality of modern Gallic art through its various manifestations, from painting, sculpture, photography—even fashion and design. The show respectfully includes other hybrid art forms.
The selection features sculptor Richard Orlinski, known for his disturbing and iconic wild animals, and considered the best selling French artist according to the experts at Artprice, the leading source of information about the art market.
Raphaelle Ricol, whose works are present in substantial Feench private collections, such as the Pinault collection. We also have the multifaceted Maurice Renoma, who in his 60s changed the French man’s style of dressing while creating provocative photography informed by surrealism. In this occasion, he surprises us with an eclectic selection of eclectic furnishings.
Urban art is represented, among others, by artists Kai and KURAR. The former experiments with cement and texture while the latter produces art cleverly steeped in poetry, humor, and transgression to address sensitive issues.
Clara Poupel and Claude Charlier—both based in the United States—elucidate the role of the French artist living abroad. Other talents included in the show: Zevs, Sophie Petitpas, Alain Godon, Peggy Mella, Rud & Vano, Ray, Yom de Saint Phalle, Cedrik Cavallier, Moz, Norma Bessieres, Anne Valverde, and Julie Mimran.
The France Pavilion and the Tourist Office of the Government of France have prepared a display of photographer Braden Summer, who captured—during a month—images full of the lyricism of several French cities for the “Fall for France” campaign.
The fashion world is exquisitely represented by Haveney and its young designer Laetitia Rossazzana, who brings twenty of her creations directly from Marseilles.
The France Pavilion also offers lectures on the art market with themes such as “investment art” or “how to build your art collection”. The series adds an educational component to this exhibition and sheds light on the complexities of the art market.
Art for Collectors
The exhibition—with a flexible concept and structure—allows the rotation of the samples, and gives visitors and collectors the opportunity of enjoying the French presence after the conclusion of Art Basel Miami Beach. According to CNN, the Swiss fair in Miami generated approximately US $800 million in art sales, in addition to the enormous economic impact on the host city.
“When it comes to the global market, Art is extremely dynamic as proven by recent auctions. More people are looking to art as a potential investment. Over the past few years, prices have been rising for the simple reason that there are more wealthy people who are increasingly buying art,” said the curator.
According to Laboureau, contemporary French art is still underrepresented outside France and, as a result, emerging artists are little known, so their work tends to trade at lower prices in the international market given a reduced buyers pool.
“For example, the work of a contemporary French artist could—on average—reach about US $20,000 or US $30,000 while American artist of the same generation, with the same level of experience, fetch US$ 80,000 or US $100,000,” said Laboureau.
This does not mean that the news is entirely negative. The underestimation in monetary terms can lead to opportunities for those who think of art as an investment advantage.