交易商们曾经诉讼过展会(未成功),90年代末,瑞士官方意识到展会的市场力量,调查该展会是否违背了本国的反垄断法。最后没有发现任何违法现象,但官方说服展会为被拒绝的画廊开设上诉程序(每年有50个画廊上诉;最终会有五个画廊在艺术展要求他们升级展品后,得以进入展会)。
“We bend over backwards to be fair, said Lucy Mitchell-Innes, a juror, who formerly ranSotheby’s contemporary art department and co-owns the New York gallery Mitchell-Innes& Nash.
“我们想尽量做到公平,评委露西·米歇尔-英尼斯(Lucy Mitchell-Innes)说,此前她曾负责苏富比的当代艺术部门,并与他人联合拥有纽约的米歇尔-英尼斯与纳什画廊(Mitchell-Innes & Nash)。
The committee looks for galleries that, among other things, are cutting edge, reflectgeographic diversity in the art market and can demonstrate they have developed an artist’scareer.
在众多条件当中,评委会最希望参展画廊拥有自己的特色,能反映出艺术市场的地域多样性,并展示出他们对艺术家发展自己事业生涯的帮助。
“They have to evolve, Mr. Spiegler said of the galleries.
“他们必须不断进步,斯皮格勒说。
He said he travels the world encouraging emerging galleries to apply.
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