Brun Fine Art in Ghumantu 2023. Deposquile Michael and Mafini Martina
Yesterday (February 21), Nomad returned to St. Moritz for the seventh time because the exclusive contemporary arts and design fair of Georgio Paes and Nicholas Belavance-Lacompte first mounted a show in the chic Angadin Valley Resort Town in 2018, since, since, the pair has changed its distance to a roven pioneering, which has changed its distance to a glory. A gland is a great concept for a gland’s panopi.
Paes started his career as a researcher and curator in the Metropolitan Museum of Art in New York and since then Venice Bienle, Solomon R. The Guggenheim Museum, DIA Center for the Arts and many other institutions worked with a well -acquired reputation to support unconventional cultural initiatives.
Nomad is no longer ultra of art sites. Paes and Belavance-Lacomte have organized fairs at Venice and Monaco, but regular versions of the fair are in summer and in the winter in Capri in St. Moritz. According to Paes, the mystery of his success, rich collectors, sensible curators and an ideal victory are a Urben art crowd.
Nomadic founder Georgio Paes (L.) and Nicholas Belavans-Lacompe. Deposquile Michael and Mafini Martina
Observer caught with speed as the Swiss installment of his Itinant showcase opened its doors.
- What was the driving force behind the nomad?
- Venue appears to be an integral part of nomad’s appeal.
- Specification is a major topic of the fair. The attendees are usually collectors, and people have to register to get admission. Do you think you will ever make it more accessible?
- Do you see the fair developing the fair? There should be a challenge to keep it fresh and exciting, and is still a boundary-burning event.
- What do you think your background in curition and exhibition management has prepared you for the role of nomadic organizers?
- See also: Magnus needs its latest book and what new art collectors need to understand
- What did you have in the beginning?
- What is this about St. Moritz and Capri that makes them an ideal place to keep them nomadic, and how is the place contributed to the success of the fair?
What was the driving force behind the nomad?
Around 2015 or 2016, I realized that there were many art fairs around the world, but many collectors stopped going to them because there were many and they were no longer unique. They are very large; You can’t really walk around them, even if you are a VIP, and so those major fairs lost the most important collectors. I asked myself, “How can I take some of those collectors back to fairs?” The answer was to do something small and more exclusive.
Venue appears to be an integral part of nomad’s appeal.
Absolutely. At the same time when I was thinking about keeping small art fairs, I was asked to do something around art for Monaco. I saw this beautiful house, La Vigi, where Karl Legarfeld lived, now belongs to the royal family of Monaco. He said that I can rent it from them, so I decided to take the first nomination there, inviting the galleries to take and cure a room. You are in this beautiful villa … you think it may be your own home, but almost everything is for sale, both art and design. It was very small because there were only fifteen or eighteen rooms, but it was a great success. People loved it. It was very exclusive from the beginning – only by invitation.
Specification is a major topic of the fair. The attendees are usually collectors, and people have to register to get admission. Do you think you will ever make it more accessible?
I would say that seventy percent of the spectators are made up of serious collectors, and there are others who want to see only the best people, which is fine. It is important that people register. We need to know who is coming because in our places, we always have a limited place. We are not fries or basal where we can have 30,000 people per day; In addition, we do not want to repeat the mistakes of the fairs where there are many people and the collectors cannot really appreciate art or design and do not have the opportunity to talk to gallery representatives. But at the same time, I do not want to stop the locals from enjoying the galleries, so it is not that we do not give them a chance to participate.
Do you see the fair developing the fair? There should be a challenge to keep it fresh and exciting, and is still a boundary-burning event.
Frankly, I do not want to develop so much because if you make the fair big, it is very dangerous. I would like to detect and take nomad for different destinations. It can be a palm beach or aspen, or it may be Oslo or Riyadh, China or maybe I can go to Korea. I am more interested in searching for destinations where people may have heard of nomad, but have not got a chance to experience it. Of course, then we participate in different problems: the calendar of the fair is a bad dream, and if we nomads, another big fair is when another big fair is, we will lose a gallery or two. There is a lot to consider.
What do you think your background in curition and exhibition management has prepared you for the role of nomadic organizers?
All my experiences were very large in informing the development of my career. I spent ten years in working for various museums in New York, in roles from curatorial to management, and then I worked in publication for fifteen years. I know how to deal with sponsors, partners and with creative people because I was working with artists, designers, photographers and film directors for that time.
See also: Magnus needs its latest book and what new art collectors need to understand
What did you have in the beginning?
In the beginning, I was doing everything by myself because I did not really have a team. I was selecting the artists and was making money to be able to be able to pay for all this, and I was inviting the press, inviting collectors … and I was creating various experiences. All the years I worked at various places, helped me, from New York to Paris to London. In 2016, I met Nicholas, who had a background with galleries because he had his own gallery in Beirut, and I asked him if you would like to be a part of it? They liked this idea, we started doing it together and formed a great team.
What is this about St. Moritz and Capri that makes them an ideal place to keep them nomadic, and how is the place contributed to the success of the fair?
Those who come are really serious collectors. So the good thing is that all these people now hope that every year they will search for new things. Last year, the comments we received from some important American people were that they did not see a fair with such a high -level elegant people. ” In most shows, you do not see any more elegant people. Perhaps they are rich, but they are not chic. And I think this is our strength because people know that they will actually go for something special and meet people of the same level. Being in St. Moritz or being in Capri, it automatically makes a filter because rich people, visitors and collector can risk coming to these places, and they have some tastes. I think this is the key to the success of nomads – people come because they search for things they do not actually see in other fairs.
