The Annual Paris Artistic Sensory Overload

Attending the FIAC has been a tradition since long before moving to Paris. The FIAC is the “Foire International d’Art Contemporain,” although you will NEVER see its name in full on any signage or in any of its materials. It’s simply come to be known as “the FIAC,” the annual International Contemporary Art Fair in Paris.

Every year it seems to grow and take on new shape. This 35th edition ran from October 23rd through the 26th in two locations — the Grand Palais and the Louvre, welcoming more than 70,000 visitors, at the not so inexpensive entry of 25€. The exhibitors are galleries from all over the world, hoping to sell their paintings, photos, sculptures and other works of art.

The Grand Palais as a venue is perfectly stunning. The natural light from the elaborate iron and glass roof could not be better for showing the work at its best. Sunday afternoon was likely the worst time to attend — the queue to buy tickets and enter was down the block and spilling onto the street, but the weather was mild and the ‘die-hards’ where determined to get in.

I had the good fortune of attending with a friend who has dealt in art much of her life and was quite familiar with most of the artists whose work was shown. She could spot an artist’s work from down the aisle and then relate a bit of history about each one. It was like having a walking “Wikipedia” to narrate and enlighten with each step.

It was surprising that of the mix of works on display there weren’t more photography, in light of the upcoming “Mois de la Photo” and “Paris Photo” fair just around the corner. There was also quite an unusual ‘come-back’ of “op-art” works popular in the ’60s. We noticed that the quality of the works on display were outstandingly high — but what I would term “low risk” — meaning tried and true artists whose work is more likely to sell than lesser known artists. Still, not many ‘red dots’ noting a piece as ‘sold’ were visible.

We wondered how today’s economic crisis would affect the sales — would people turn to art as an alternative to stocks, bonds and mutual funds, as possible investments? I’d always learned that one must not collect art for investment, but for pleasure. However, if the collector’s pleasure was keen, the investment could prove to be quite profitable. Still, one must be willing to part with the work — easier for the dealer than the collector, no doubt.

People watching is a pleasurable benefit of the fair. The attendees range from artists to dealers to collectors to simply art lovers. Either way, there is certain bohemian chic about them, at all ages and nationalities. The dealers sit in their booths looking bored to tears, yet stylish and anxious to visit the city, instead.

Cameras were snapping at every turn. No wonder. There was lots of ‘eye candy’ and an overwhelming amount of artistic sensory overload.

Adrian Leeds
Editor, Parler Paris

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