45 edition of Art Basel

The Swiss city of Basel, a daily quiet community of less than 200,000 people, becomes each year the hub of international contemporary art. Basel is probably the most important art fair in the world and we must be there.
From 18 to 21 June, Basel celebrates the 45th anniversary of Art Basel and makes of its streets and squares the place of recreation for thousands of collectors, artists, photographers, journalists, art critics, museum directors, etc ... that roam the fairs (Basel and the various satellite fairs: LIST - dedicated since 1996 to young galleries - VOLTA - founded in 2005 and dedicated to emerging art - Scope and The Solo Project) hungry for unique pieces. This year, Art Basel involves about 300 galleries with works by 4,000 artists from long experience and prestige in the twentieth century and also the names of young artists of the XXI century, including installation, performance, film,...
Art Basel was born in 1970 as an alliance between several galleries and today is a brand in itself, with branches as Art Basel Miami Beach and Art Basel Hong Kong, and a reference for artists and curators from around the world that should display their best proposals to impress the exclusive selection committee of Art Basel. "It's like being in the Olympics," assures these days the New York gallery owner Fergus McCaffrey, "or as the European Champions League, in which every gallery and artist want desperately to compete."
With different sections: Galleries (the General Programme with 222 galleries), Feature (30 curated galleries), Statemets (16 galleries with emerging art), Unlimited (section on large specific formats, sculpture, installations, performances, ...), Film (curated, video art, film, documentary,...). Art Basel is the thermometer with which is measured the international art market temperature.

Imagen sección Unlimited: Jeppe Hein, 360º Illusion.

Obra de Ai Wei Wei, Stacked 2012.


For this edition of 2015, the Spanish presence in Basel is seen in virtually all the fairs, and in Art Basel will be Parra & Romero (which makes for the first time) and other veterans such as Helga de Alvear, Juana de Aizpuru, Polígrafa Graphic Work, Elvira González and ProjecteSD.

Vista del stand de OBRA GRÁFICA ORIGINAL en Basel.
In LISTE (79 galleries from 31 countries), where Latin American presence is very significant with the participation of 80M2 (Lima); Document-Art (Buenos Aires); Vision Institute (Bogotá); Labor and Gaga (Mexico DF); Jacqueline Martins (Sao Paulo) and Project Ultraviolet (Guatemala), Spain is represented with only two galleries: Maisterravalbuena and NoguerasBlanchard.
VOLTA (69 exhibitors from 19 countries), however, provides the proposed 7 Spanish galleries: DNA Gallery (Barcelona); Alarcon Criado (Sevilla); Rosa Santos (Valencia); Arte Nueve (Murcia); Angeles Baños (Badajoz); Espacio Valverde, Ponce + Robles (Madrid). Among the artists in Volta and represented by these galleries are Carlos Aires, Eugenio Merino, Avelino Sala, Sergio Porlán, Julia Calvo, Andres Pachon, Susanne SD Themlitz, Elena Alonso, Luis Vassallo, Alejandro Botubol, Françoise Vanneraud, Manuel Caeiro, Leslie Smith, Irene Grau and Raul Diaz. To all, very lucky.
Obra de Andrés Pachón, con Angeles Baños Galería en VOLTA.


Buying the first work of art always instils respect. A difficult feeling to define that mixes vertigo with adrenaline. But over uncertainty and caution, a pleasurable sense of connection, understanding, and desire prevails. That work that, once seen, stays in the mind, reappears in the memory several times a day and seems to tell you that it is willing to be part of your home, is the perfect candidate to make the decision.

In the first steps, many collectors do point out that one does not start from an established plan, but rather that one acquires pieces based on taste and the connection one feels with them until, after time, they realise that the volume of works that accumulates can be labelled as a "collection". For example, this is how Alicia Aza explains it:

“I was not aware that I was collecting until many years later when a third party named me as a collector and talked about my collection. In 2005, I became aware of what collecting means and decided to articulate a collection with an identity of criteria and formats”.

Marcos Martín Blanco, co-founder, with his wife Elena Rueda, of the MER Collection, shares this same opinion:

“Collecting has been a passion, driven by a visceral state that encourages you to do so. The collection, in terms of acquisitions, has not been particularly complicated because, let's face it: it is easy to buy because they are all beautiful things and you have some clear idea of where you want to go, but at first those preferences were not so clear. It is with the time that a criterion is being formed”.

It is not always this way, of course, but for the buyer who starts out on this path, the personal connection that entails the first piece is essential. There it is the germ of a lasting relationship that is not limited to a simple aesthetic question but is an open window to knowledge, to exploration, to a world that is often unknown to us and awakens our fascination. The seed of that connection is purely sentimental, and it is precisely this impulse that determines the first acquisitions. The first piece is never forgotten.

Art Madrid'20, photo by Ana Maqueda

Exceeding the usual recommendations made by advisers and agents, rare is the occasion when the art lover decides to buy by pure investment. These paths usually open later, when the volume of pieces is large enough. In addition, there are those who are a bit against this classic concept of the traditional collector, approached from an eccentric, elitist and little accessible vision. On the contrary, art buyers are, above all, art lovers, sentient beings and permeable to creative stimulus who, at a given moment, decide to deepen the relationship they already have with art to take a piece home.

It is not that hard to overcome that small psychological barrier that turns the visitor into a buyer if one approaches the matter from a more personal and intimate perspective than from social consideration. Small-format works, graphic work or serial photography are of great help for this, whose price range, generally more affordable, allows a closer comparison to the daily basis expenses. In this way, the purchase of art falls within the range of feasible activities and becomes something close and possible.

Art Madrid'20, photo by Marc Cisneros

At that moment, a different relationship with art begins, based on pure experience and coexistence with the acquired piece. Perhaps it can be seen as an act of daring, but on many occasions, it is more a matter of necessity and transformation. Collectors also agree that the acquisition of an artwork is an exercise on personal analysis and opening up to a new field of knowledge that was previously alien to us. Alicia Aza explains that the reason she acquired her first piece of video art, by Sergio Prego, is because she did not understand it and because she saw it as a challenge and an opportunity to self-improve. This open window to knowledge creates new connections and bonds with creators, as one of the most fascinating parts of the process. Candela Álvarez Soldevilla explains that

"I think the most interesting thing in the art world is talking to artists. They are people with a special sensitivity to listen and understand.”

And Alicia Aza also says:

"I can share the satisfaction of being able to count on many artists in my circle of close friends today, and that is a long way to go."

Thus, with works that seem acceptable within the horizon of expenses that each one considers affordable, it is easy to find a piece that catches us. Since then, our home also evolves into a space in which art has a permanent place and presence, and there is no doubt that this transforms us inside.

Art Madrid'20, photo by Henar Herguera

Jaime Sordo, owner of Los Bragales collection and founder of the 9915 Contemporary Art Collectors Association, has always defined his relationship with art as a true passion and a vital necessity. For buyers who start on this path, he has the following recommendation:

“It is an essential condition that they feel the need to live with their passion to enjoy the works. Another very important aspect is that before making decisions for purchases, they are informed, so it is necessary to read specialised newspapers and books, visit exhibitions and museums and a lot of contact with galleries, which is an important and very specific source of information of the artists they represent. Finally, the presence in national and international art fairs. All this generates information and training.”

Indeed, fairs have become a good place for discovery because they condense a wide offer and allow diverse and global contact in a concentrated way. For this reason, many new generation buyers start in the context of an event such as Art Madrid, whose closeness and quality constitute a unique opportunity to meet, soak up and feed the passion for art.

(*) quotes taken from various interviews published in public media between 2013 and 2019.