Interview with Priska Pasquer at AMA
Owner of Priska Pasquer gallery and member of the Art Paris Art Fair committee, Priska Pasquer plays an important role in the Parisian art fair. In an exclusive interview with AMA, the German gallerist gives a very positive report on the 3rd edition of the fair.
Would you say that the number of visitors seems to be much higher this year?
We have definitely had many more visitors this year, yes. Especially on the first day, we were very popular, which is fantastic. Thursday, the day when Paris welcomed the Chinese President, was also an excellent day for us.
You are member of the Art Paris Art Fair committee. How did you get involved in the committee?
One of my personal priorities is to further develop the emphasis on having a global oulook. Art has a global language and it creates communication. My involvement in the committee is equal to everybody else’s, we do not have different roles. In preparation for the fair, we all worked together, looking at the dossiers the galleries sent us and discussing which ones should finally be represented on the fair. …
How would you evaluate Art Paris Art Fair in comparison with other European art fairs?
Over the past three years the committee has tried to build a new concept and vision. I think that Art Paris Art Fair has the potential to become an important fair. In the past, the fair was very French and there are still only a few American galleries and artists represented. The United States has a very important role in the art sphere and this should not be neglected but what I personally like is that Art Paris Art Fair does not try to imitate other big art fairs. It has its own identity and is really working on being inclusive rather than exclusive. On the fair’s website for example we created a section called “we are all collectors”. The idea here is to actively encourage the visitors – especially younger ones and those who are not necessarily professional art collectors – to dare to interact with galleries and even buy artworks. That is what I tried to put into practice at my gallery. This year we invented a new concept, pu tting artworks up for sale that only cost 49 euros each, so that visitors and especially young people interested in art could afford to buy works of art, perhaps even with a view to becoming collectors. What inspired us to do this was a work by the artist Rudolf Bonvie from 1973 — a series of thirteen pictures called Dialog, which is on display at our gallery’s stand here at Art Paris Art Fair. Published on Tumblr, it was shared over 60,000 times, particularly popular among the younger members of the public aged between 16 and 24. We wanted to bring this work out from the virtual sphere and place it in reality, so we printed out a similar work by the artist (also from 1973) several hundred times to sell the copies at our stand. …
In your opinion, what have been the positive and negative aspects of the fair?
A positive point is that we have continuously worked on getting new, younger clients to come to the fair. Furthermore, I think that the focus on the East, especially on China, was an excellent idea as, through this, new markets are being developed. A recent survey shows that there are new art capitals emerging, for example in Istanbul and Budapest. This is why at Priska Pasquer gallery this year we are exhibiting several works by Turkish artists such as Yağız Özgen and Bengü Karaduman. There is still a lot to do in this field, so Art Paris is a pioneer in this respect. I think that the fair definitely has the potential to become one of the most important art fairs in the next five years as it is opening up more and more, responding to these new developments in the art sphere. What is most important for me is to present a fair that is inclusive, as opposed to exclusive, because today we live in a sharing-community. Art Paris Art F air certainly offers the possibility for such inclusion.