15 Mar 2024
© Laura Peh
International. Well-travelled. Knowledgeable. Proactive. These are words that accurately describe the new generation of millennial and Gen Z contemporary art collectors. Earlier this month, I attended the 43rd edition of ARCO Madrid for the second time, on my third visit to Spain. It was my first time experiencing ARCO's International Collectors Programme (courtesy of Mor Charpentier) - coming back home with a different view of Madrid and a more positive impression this year, most noticeably having met a diverse range of collectors who travelled in from other cities in Spain, around Europe, and even further away on 12- to 18-hour flights from the US and East Asia. In their 30s to 70s, some had been visiting the fair every year for over 25 years and others for the first time. Many were older seasoned collectors; others were art lovers; a handful were potential next generation collectors, with or without an interest in art, who came with one or two parents.
A myriad of art fairs around the world exist for different profiles of visitors, from mega fairs (Art Basel, Frieze) to international fairs (ARCO, Artissima) to boutique and local fairs. ARCO Madrid has carved a reputation in the art world for its curatorial quality, long-term partnerships with corporations (who sponsor their awards) and public institutions (who set aside funds to acquire artworks at the fair), and investment in their GUEST, Professionals and International Collectors programmes. The fair itself also purchases artworks through Fundación ARCO, of which funds are secured from private donations through their annual dinner with additional support by IFEMA - the entity in charge of the main convention centres in Madrid and majority-owned by the Madrid government. Aside from being the most attended art fair in the world, attracting 95,000 visitors over 5 days, ARCO also reserves the first two days of the fair for VIP cardholders (GUEST), welcoming 400 invited international collectors and 200 professionals (e.g. curators, museum directors) from 40 countries this year, on top of visitors with the GUEST pass. For comparison, the visitor numbers from major fairs in 2023 were: Art Basel Hong Kong (86,000), Art Basel (82,000), Art Basel Miami (79,000), Frieze Seoul (70,000), Frieze London (60,000), ART SG (45,300), Art Jakarta (35,000), Frieze LA (35,000), Artissima (34,000).
At the heart of a successful fair is keeping its clients (galleries) happy, which translates to attracting a good crowd of visitors (clients of galleries) as well as ensuring a positive experience for both galleries and collectors. Referencing the four adjectives at the top - in today's world, many collectors expect more from art fairs than simply visiting to acquire artworks and discover artists.
This leads us to wonder: What factors prompt collectors to visit art fairs today?
1) City Engagement: Today, putting up an art fair is not enough. Collectors are well-travelled and those flying into the city expect an art week, rather than just an art fair. Involving the whole city, particularly nonprofit spaces, public institutions, artists and locally-based collectors, creates a strong foundation for a vibrant art week, encouraging long-term investment and relationship-building from the fair's organisation. The best insight into a strong arts scene is through introducing the finest quality art displayed in museums, visiting diverse collections of locally-based collectors, showcasing the city's contemporary artistic production and presenting curated shows in nonprofit spaces. Having an exciting programme attracts first-time visitors and incentivises collectors to return the following year. The engagement with locally-based collectors fosters new ideas and encourages other collectors to be more active in patronage or opening up their collections. An exceptional example of private - public cooperation was the performance - installation by young Nigerian artist Precious Okoyomon, held in the historic artificial mound 'Montaña de los gatos' in the UNESCO El Retiro Park, commissioned by the Fundación Sandretto Re Rebaudengo Madrid.
2) Networking & Exchange: Living in the times of internationalisation, many collectors travel globally throughout the year and engage in international business. Conversations and exchanges with other collectors - humans - about shared passions and interests, without a sales pitch, are a rich form of communication and sincerity. Meeting fellow art lovers from different countries and cultures often sparks the most interesting conversations, a potential friendship, and results in a fond first memory of meeting at ARCO. I had the privilege of meeting people from Brazil, Germany, Denmark, Belgium, South Korea, Portugal, UK, Switzerland, Ukraine, France, Mexico, USA, Peru, as well as various institutional patron groups. This exchange can also be produced through public fair programming such as talks with an assortment of contributors to the art ecosystem from diverse backgrounds, roles, age and cultures - the more divergent opinions, the better.
3) Niche Focus: Apart from its selective main section, ARCO has established a strong connection to Latin America with an invitation-only section, and additional rotating curated sections aimed to highlight the best of emerging art from a particular region such as the Caribbean or Mediterranean. This specialised focus also attracts the particular group of visitors to the fair - perhaps those with an interest in Latin America, emerging artists from specific cultures, or pursuing institutional-quality works at reasonable price points.
How can art fairs exceed collectors' expectations?
1) Tailored Programmes: Identifying and sorting collectors and professional visitors into different groups based on profession (in the case of curators and museum directors), collectors and commercial art professionals. There will be events that appeal to everyone - Invited curators may prefer a more discerning tour with artist studio visits, established private collections and meeting with fellow institutional curators; while leisure art collectors may prefer more social activities. As with members' clubs and patron groups, the crowd you attract reflects on your organisation. At ARCO, the VIP programme was split into four groups - International Collectors, Young Collectors, Professionals, GUEST.
2) Professionalism: ARCO's programme was carried out by Around Art, a cultural management and travel agency based in Madrid. They were the pinnacle of exceptional service - ample staff, quick responses on email and onsite, smartly dressed and always polite. The welcome desk was open daily from 9am to 6pm in the lobby of the fair's partner hotel, Westin Palace, with information for the day's activities and transportation arrangements clearly displayed.
3) Diversity of Events: Having a range of events happening at the same time minimises overbooking, allows collectors a choice based on their interests, and entices collectors to return the following year. There are two types of events that I find the most valuable in an art week visit:
Collection Visits: Access to a range of private collections to meet locally-based collectors, see, and learn about what they are acquiring - giving insight into the personalities and tastes that live in the city. This is a unique and highly personal feature of a city's art week and demonstrates the breadth of relationships that the fair has with local collectors. At ARCO, several collectors such as Juan Vergez and Patricia Person Vergez exhibited a selection of their works in a warehouse space, while other collectors were assigned small groups of collectors to their private home visits.
Excursions to Art Spaces outside Madrid: A highlight of my visit to ARCO this year was the day trip to Collegium in Arévalo. About a 2-hour drive from Madrid, Collegium is a developing nonprofit art space housed in a former monastery complex founded by collectors Javier Lumbreras and Lorena Pérez-Jácome. During ARCO, the Collegium team had organised a show co-curated by MOCA Los Angeles Chief Curator Clara Kim and Collegium curator Aldones Nino, as well as a performance and beautiful lunch in a local restaurant following the visit. Collegium plans to host more exhibitions and showcase the founders' Adrastus Collection once the complex's refurbishments are completed.
Offered by ARCO, which collectors should be delighted to accept but not always expect are:
4) Accommodation: An art fair is a commercial event and international collectors have already made the effort to travel into the city. If it is within the fair's budget or hotel partners are found, it is gracious to offer a few nights stay as a gesture and many would extend their trip to experience the city. When everyone congregates in the same location, it makes it easier to arrange transportation to the fair, programme visits and spot collectors at breakfast or after dinner.
5) Meals at the Fair: ARCO hosted daily lunches for international collectors, of great quality and a beautiful presentation, kindly sponsored by Iberia. It was lovely meeting fellow collectors and industry professionals over lunch, and much more comfortable when you do not have to wait in the lounge queue, look for a benches in the aisles, or exit the fair to look for a proper meal.
With the warm hospitality and wonderful experience at ARCO Madrid this year, I look forward to returning next year and keeping in touch with new friendships that were formed.
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