Interview - Samuel Keller

Art | 38 | Basel with Anish Kapoor: Sky Mirror V. Courtesy MCH Swiss Exhibition (Basel/Zurich) AG

What are the characteristics of Art | 38 | Basel

First of all, the art that is shown is more international, coming from more countries in the world, and the art is more carefully presented. It is also more carefully selected, because we spend much more time with the selection process. And the art is not only presented in the booth of the galleries, but also in special sections. So we try to support the extraordinary art works, that may not come without our support. We also have a special section for editions, for photography, for films and for young artists, and this year we also present the Art Premiere, that consists of young artists in dialogue. All these things are really unique, and we have somehow left the traditional way of running an art fair. If fx an artist needs a theater for a performance, we find a theater, and we also works with large dimensions, that usually don’t fit into a gallery booth, i.e. the Art Unlimited. All this has changed a lot of how art is seen. In addition to that, we have created forums to discuss art in, i.e the Art Basel Conversations, which I think makes a big difference, and we have been giving a platform for other organizations, not just our own, to come and share their views.

And you have increased the turn-around three times within your period as a director?

Yes, it’s true that the budget of Art Basel is more than three times bigger than what it was when I took over in 2000. We also have been profitable every year. The number of staff has been growing, and we have become a global organization with dozens of freelance collaborators. So yes, we became something else...

Art | 38 | Basel		Art | 38 | Basel

I’ve noticed that everything have become really much more professional. Earlier on you got the impression that all the galleries were more or less in their own small world and now, it seems, they’re much more aware in the presentation of the works?

Yes, the committee is doing a great job in going through all the booths. We require from the galleries that apply, that they describe a clear project of what they want to show. Things are not only on the walls, because they may sell, it should also tell you something. Therefore you see also one-person shows and special presentations. And where else would you see a one-person show of Picasso’s Modèle et son Peintre? This is an extraordinary effort, and many galleries are doing such an effort – both in the young section and in the masters.

This summer there are several major curated art events going on at the same time, Münster, Venice and Documenta. Art Basel is an art fair, it’s all about money, but you also have curated shows. So how is your relation with the other art event?

The art works are the same, but there are very different ways to show them. We are working with the galleries, because we believe that the galleries, are the ones who are the closest with the artists and know the most about their works. So we are working with the galleries to find the most interesting art works, and with the art dealers who have a high knowledge of the historical aspects of art. And this is reflected in the fact that each gallery is separated from the other, because each gallery would like to have its own profile, and it’s also reflected in the fact that a lot of art collectors come here. In the curated sections, like Art Unlimited, a lot of the works can be similar, or the same as, what you see at the biennials, but Art Basel is not the vision of one curator, but of 300 galleries, and so it become very multifaceted. I think this is one of its strengths also, that so many talented people are able to use this platform and to contribute to it, also with the debates, the conversations, which is very focused on the creation and collection of art - because that is where our audience comes from... It’s fascinating, for all the art events have a very different approach to art.

Art | 38 | Basel		Art | 38 | Basel

Even though these events work together, you must also be competing for attention?

Yes, of course. We’re competing for attention, and we’re competing for getting the best art works. But this is also a positive and stimulating competition. The fact is, that we even benefitted from it. Art Basel has received more applications for artist projects this year, and we have more museum groups, especially from over seas who come, and all the hotels are full. So for us, it has been very positive, and we have also founded an organization together – The Great Tour 2007 – and that shows that there are more a spirit of collaboration that of competition.

Do you have any predictions about the role of these events, in let’s say 10 years, which is the next time it will all coincide?

I’m not a prophet, and in 10 years I have no idea about how things are going to be. I could just tell you what I think, and I think that things are changing in the art world, that traditional barriers are breaking down, and new things are possible. Art Basel has always thought like this, and that keeps us in a very good position, because we are very open. We are open to include the art market, the academics, the institutions, and we are open even to go to other places if necessary. So I wouldn’t see why Art Basel shouldn’t continue to be, and get opportunities, to become stronger. But Venice has the oldest tradition, and is a wonderful place, and has also in the last years done a lot of improvement, and I think Document is a unique experience, where you have to trust one person to make an exhibition. It’s an experiment that should be possible. So my prediction is, that they would all be around and successful also in 10 years!

Thank you •