You've probably already come across her in the aisles of art fairs and shows. From TEFAF to Art Paris, via Frieze and Art Basel, Pauline Loeb has been exercising her discerning eye and expertise of the art market for nearly 15 years. In 2019, she founded artfairmag, initially conceived as a database and comprehensive calendar of international fairs. In just a few years, her site has become a reference magazine recognized by all market players. Interview with a professional who has become a partner of the Art Basel & UBS Global Art Market Report in collaboration with Dr Clare McAndrew.
"I grew up surrounded by art. In my opinion, art fairs are still a must for all market players."
1. How did you become interested in the art market?
My father was an auctioneer and expert in antique art at Drouot. I was immersed in ancient art, attending auctions, museums and exhibitions. We often helped my father prepare sales at the Libert firm. I'd spend hours pacing the halls and rummaging through crates overflowing with treasures. It was here that my passion for antique art was born. I then naturally chose to study art history, with courses taught by professionals and focused on the art market. As part of this course, I was lucky enough to do my end-of-studies internship at Galerie Kugel, specializing in very high-end art from the 15th to the 19th century. I ended up staying there for 8 years, a period of extreme richness. I came into contact with objects of astonishing quality, while conducting fascinating research alongside Alexis Kugel.
2. Why did you choose the world of fairs?
When I took part in TEFAF (The European Fine Art Fair in Maastricht) with the Kugels, I fell in love with the atmosphere of fairs, their ephemeral yet inescapable nature. I love the emulation and collective energy that emanates from them, the gathering of visitors from all walks of life, from the collector to the art lover to the curious visitor. At the very beginning of the show, I can also smell the glue, the carpet and the still-fresh paint... It's a very emotional attachment!
3. How did artfairmag come about?
4. What are your plans for the coming months?
Every month, we send a newsletter to 10,400 people around the world. Recently, I've decided to transform it into a blog post, to bring a personal point of view and perspective, based on my experience at each fair. At the same time, I'm planning to send out a highly factual and quantified report on all the international fairs once a month. Finally, I'd like to continue developing the "Conversations" format around broad subjects such as the art market in Dubai, the emergence of a style among young artists, the position of women artists in Kenya... I can even have several people deal with the same subject and have completely different points of view. It's a format that I find very interesting.
5. How do you see the future of trade shows?
In 2020, the global pandemic completely challenged the fair model, and the shadow of an outdated model loomed large. In fact, I believe that the number of fairs and salons in the future could be concentrated on the biggest players, or on those with a very strong identity, such as tribal art fairs, urban art fairs and so on. The fair format has always existed, and is likely to continue to do so. Indeed, art professionals and enthusiasts need to get together, exchange ideas and see a work of art. The all-digital era seems to me hardly feasible in our market, as the sensory relationship with works of art is far too important. This is not incompatible with a "phygital" approach, as demonstrated by the Online Viewing Rooms, which complement physical events. More and more fields and sectors are moving towards a hybrid format, as evidenced by the growing share of digital in auction houses.
6. Is Paris once again a major center for modern and contemporary art?
Ten years ago, Paris was still far behind New York, London and Berlin. Today, with major galleries setting up shop in the "Golden Triangle", Paris + by Art Basel and London suffering the impact of Brexit, the French capital has regained all its splendor. Art fairs are at the heart of Paris' rise in the international market. Art Paris, the only fair to be maintained during the pandemic, is a fine example of this, with the introduction of new international galleries while retaining a large share for Parisian galleries.
7. How do you relate to works of art?
I'm still very influenced by ancient art. In contemporary art - which I've been collecting passionately for some years now - I'm finally looking for what I love in classical 17th-century painting: the human figure, bodies in motion, chiaroscuro and composition. I mainly collect the young emerging French scene, a little sculpture but mostly painting, with artists such as François Malingreÿ, Bilal Hamdad, Samuel Yal, Marine Wallon, Abdelhak Benallou and others. I also have a strange obsession with back portraits, and have around fifteen of them at home: backs of men, women and babies, paintings, bronzes and drawings! In addition to its aesthetic appeal, the back intrigues: what face is behind it? Where does the gaze turn?
8. Your first art purchase?
Two works by Gaël Davrinche discovered at Art Paris in 2020 (Galerie Provost Hacker Lille). Since then, we've bought many works, almost exclusively by emerging French painters and sculptors.
9. What is your relationship with gallery owners?
First of all, I'm lucky enough not to have a commercial relationship with them. It's a relationship of trust, with a great deal of humility on my part as regards my knowledge of contemporary art. I arrive at their gallery or stand as a curious visitor eager to learn. My choices are therefore very spontaneous and sincere. I can fall in love with a work.
10. Your most memorable encounters?
First, I met Marc Spiegler, a leading figure in the contemporary art market, in Miami last December, who had just left the Art Basel management team after more than 10 years at the helm. The other pivotal moment was my collaboration with Clare McAndrew, who approached me in November 2021 to reuse artfairmag data in her annual report. I remember being at the clinic about to give birth to my daughter and hearing myself say to my husband "wait, I've got to send these last figures!". I'm extremely proud and happy to participate in this report, which I find unrivalled and extremely comprehensive. We've built up a real relationship of trust.
artfairmag in figures
- Online magazine and database of international trade shows since 2019
- 421 trade fairs listed in 51 countries
- 124 exhibition managers interviewed
- 40,000 visitors per month
- 172 "1 minute in the booth" videos
- 23 videos "Follow Pauline
- 7 "In Conversation With" interviews
- 1 monthly newsletter sent to 10,400 people worldwide
- 14,000 followers on Instagram
Further information on artfairmag
