Featured in Spear's Magazine: "Revealed: the top HNW advisers working in art, wine and classic cars in 2018"

Spear's Magazine
Spear's Magazine

Published in Spear’s Magazine, 12 November 2018

The markets of fine art, wine and classic cars are subject to unique influences and fluctuations, so the advice of the top experts identified by Spear’s is crucial, writes Arun Kakar

Over the past 12 months we’ve had the ‘Last Leonardo’ and the ‘Sale of the Century’: what on earth can we expect next? As the art market grows increasingly global, navigating one’s way through it can resemble the work of a detective. Where can one find the best art beyond auction houses – how best to arrange a collection? Once again Spear’s has gone in search of the best art advisers, fiduciaries and experts, handpicked to accommodate every variety of HNW collector: from logistics through to leasing, every aspect is covered in the 2018 Alternative Assets Index, in association with Borro Private Finance.

Impartiality – as rare a commodity as ever in today’s market – is the paramount factor bringing together the experts Spear’s has selected. The art world in 2018 has seemed on the cusp on continuous changes from crypto to contemporary – a strong adviser has never been more essential. ‘The reality is that the client will be the one living with the art,’ says Christie’s head of client advisory Isabelle de la Bruyère, hot off a record year at the auction house and leading this year’s index. The role of an adviser for de la Bruyère is to help remove the market’s intimidation factor for their clients by giving them the means to trust their taste: HNWs always need to be aware that one price doesn’t make a market, she says.

Leading the new entrants this is Harry Smith, executive chairman and managing director of Gurr Johns, who seized headlines after a two-day scoop of 13 Picassos. Meanwhile, Guy Vaissière of Falcon Fine Art bolsters our coverage of art finance as the sector grows among collectors. ‘The European market is continually growing,’ he says of art finance. ‘As more people look to explore options with art markets, it just goes to highlight the relationship between art and money.’ There are also figures familiar to index readers that have continued to maintain momentum – no easy feat, considering how crowded the market has become.

Philip Hoffman continues to pioneer art as an investment, and last year’s rising star Ariane Belisle remains on the cutting edge of contemporary. And no one quite does advisory like the ‘legendary’ Thomas Gibson, whose depth of industry understanding remains unmatched. He tells Spear’s that he can ‘almost always’ source the works that his clients are looking for.

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Featured in Spear's Magazine: "Ariane Belisle - AIB Art Advisory"

Ariane Belisle

Published in Spear’s Magazine, 02 November 2018

Private collectors, galleries and foundations make up the clients of Ariane Belisle, whose ascent has been nothing short of remarkable since she established AIB Art Advisory in 2015, specialising in postwar and contemporary art with a strong focus on emerging artists.

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Featured in Spear's Magazine: "Top Recommended Art Advisors"

Spear's
Spear's
Spear's
Spear's

PUBLISHED IN SPEAR'S MAGAZINE #65, NOVEMBER/DECEMBER 2018

As well as being a lot of fun, investing in fine art, wine and cars can be lucrative too - as long as you seek out the right advice. That’s where Spear’s selection of the most astute advisers in these niche areas comes in. Here Arun Kakar and Olenka Hamilton profile the leading experts in the fields - beginning with art advisers.

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Featured in Spear's Magazine: "AI and art at Christie’s: algorithmic portraits to ‘disrupt the canon’"

Obvious,  Portrait of Edmond Belamy , 2018

Obvious, Portrait of Edmond Belamy, 2018

Published in Spear’s Magazine, 01 November 2018

The first ever sale of an AI generated artwork raises questions of authorship, authenticity and value.

Edmond de Belamy, from La Famille de Belamy might at first glance seem like a portrait of a European noble. Face blurred and wearing a traditional dark coat and white collar, it wouldn’t provoke alarm if spotted on the walls of the National Gallery. It is, however, created from an algorithm (sets of rules developed to be followed by computers) – signed in the corner of the work – from French art collective Obvious. It became the first work generated by artificial intelligence to go under hammer last week and sold at Christie’s for an astonishing $432,500 — almost 45 times its estimate – potentially signalling the arrival of a new kind of art on the auction stage.

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Review for This Is Tomorrow: Contemporary Art Magazine: "Eddie Peake: People"

Eddie Peake, People, 2018

Eddie Peake, People, 2018

Published in This Is Tomorrow: Contemporary Art Magazine, 05 October 2018

Galleria Lorcan O’Neill, Rome

20 September - 10 November 2018

Identity has long been a subject of artistic investigation. From Vincent van Gogh and Frida Kahlo’s self-portraits to Richard Prince’s depictions of masculinity and Tracey Emin’s sexually charged autobiographical oeuvres, artists have mined this concept of what makes us who we are and often challenged it in their art. This lineage leads to Eddie Peake, a British artist whose most recent exhibition at Galleria Lorcan O’Neill, People, continues to question how we reconcile our own identity as individuals in relation to broader social issues. 

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Featured in Spear's Magazine: "Sotheby’s slumps in high-end art, while Christie’s achieves ‘sale of the century’"

Amedeo Modigliani, Nu couche (sur le cote gauche), 1917

Amedeo Modigliani, Nu couche (sur le cote gauche), 1917

Published in Spear's Magazine, 20 August 2018

A disappointing half-year at the auction house signals to the intensity of competition at the top, particularly with its biggest rival. 

Sotheby’s announced their half-year results last week, curiously reporting a 23 per cent rise in consolidated sales alongside a 26 per cent dip in net income compared with 2017. While it might not signal trouble for the world’s second largest auction house, it does reveal the state of 2018's auction market.

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Interview for Candid Magazine: "Speaking About Cultivating Wastelands At Rossi & Rossi Gallery, London"

Suleman Aqeel Khilji, Cultivating Wastelands, 2018

Suleman Aqeel Khilji, Cultivating Wastelands, 2018

Published in Candid Magazine, 04 August 2018

Exhibiting artworks by eight emerging Pakistani artists, Cultivating Wastelands is the second collaborative project between Project Art Divvy and Rossi & Rossi gallery in London. Currently on view until August 17that Rossi & Rossi in the art hub St. James’s, the show highlights the widespread effects of rapid industrialization and urbanization. Candid Magazine’s Ariane Belisle sat down with the curator of the exhibition and founder of Art Divvy, Zahra Khan, to discuss the exhibition.

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Featured in Spear's Magazine: "Disappointing modern art sale at Sotheby’s could belie a shifting market"

Pablo Picasso, Buste de Femme de Profil (Femme Ecrivant), 1932

Pablo Picasso, Buste de Femme de Profil (Femme Ecrivant), 1932

Published in Spear's Magazine, 20 June 2018

It was a slow start to the summer for Sotheby's as the Impressionist and Modern evening sale failed to reach its pre-sale estimate, writes Olenka Hamilton

There was disappointment for Sotheby’s Modern and Impressionist department in London this week, when it achieved its lowest total for a sale since 2012. The evening sale reaped just £87.5 million – below its pre-sale estimate and down 32 per cent from a year ago.

Expectations were low from the start, with the pre-sale estimate of £99.7 million to £124.6 million pitched lower than for the equivalent sales in three of the past four years. The auction house sold a disappointing 26 of 36 lots, ten of which fetched below-estimate prices. Even the top lot, Picasso’s 1932 painting of his lover Marie-Therese Walter, which was guaranteed before the sale, fetched £27.3 million, falling short of its £33 million estimate.

‘There were two main factors that contributed to the limp auction results at Sotheby’s,’ explains Ariane Belisle, an art advisor and curator based in London. ‘Firstly, sourcing outstanding masterpieces for the sale proved to be difficult (this was seen in a modest pre-sale estimate); and secondly the fact that Impressionist and Modern art saw very successful sales in spring 2018 – namely, Christie’s Rockefeller auction in May – which meant that the demand just wasn’t there.’

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Featured in Spear's Magazine: "Top Recommended Art Advisors"

Spear's Magazine, No. 59, November/December 2017

Spear's Magazine, No. 59, November/December 2017

Spear's Magazine
Spear's Magazine
Spear's Magazine
Spear's Magazine

Published in Spear's Magazine #59, November/December 2017

Alternative assets continue to be a popular and stable investment option in a world where financial markets can wobble alarmingly. Over the next 20 pages Olenka Hamilton profiles our pick of the leading experts in the fields of fine art, wine and classic cars who help those HNWs who enjoy mixing pleasure and profit - beginning with art advisers. 

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Featured in Spear's Magazine: "Revealed: The 2017 top alternative assets advisers for HNWs"

Spear's Magazine

Spear's Magazine

Published in Spear's Magazine, 30 October 2017

Spear’s unveils the elite 73 names in the fields of art, wine and classic cars servicing HNW needs today. Olenka Hamilton reports

The authoritative 2017 Spear’s Alternative Assets index is finally here — bringing HNWs the best names in wine, art and classic cars. With 16 new names across the 73-strong power index, this, our second annual guide, is a comprehensive line-up of luminaries and fresh talent, reflecting the dynamic and evolving landscape of the alternative investments.

Among those best placed to help the HNW navigate the art market, we have repeat entries from New York-based art advisory duo Guggenheim Asher as well as independent art consultant and former gallerist Thomas Gibson, who has been in the business for half a century.  Also on the list is former Spear’s award winner Viola Raikhel-Bolot of international advisory firm 1858, as well as art advisers Bettina Von Hase and Emily Tsingou. Among our London gallerists are Philip Mould, Jonathan Green and Joseph Friedman.

A new entry this year is Ariane Belisle, whose focus is on helping new collectors navigate the world of emerging art. The youngest of our art advisers, Belisle already has the ear of some of the world’s most powerful collectors.

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Featured in Spear's Magazine: "Ariane Belisle: AIB Art Advisory"

Spear's Magazine

Spear's Magazine

Published in Spear's Magazine, 16 October 2017

Top Recommended Art Advisers

Canada-born, London-based Ariane Belisle, who specialises in postwar and contemporary art, set up AIB with the primary aim of ‘leveraging emerging artists and art with a primary focus on new collectors who may not know where to start’, she explains. She offers the full range of art advisory services, from buying, selling and collection management to shipping, valuation, framing and organising collateral loans.

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Review for Espace Magazine: "Do Ho Suh: Passage/s"

Espace Magazine: Frissons Shivers, No. 117, Fall 2017

Espace Magazine: Frissons Shivers, No. 117, Fall 2017

Published in Espace Magazine #117, Fall 2017

Disputing Le Corbusier’s assertion that a house is merely a “machine for living in”, 20th century designer and architect Eileen Gray posited that a house should rather be viewed as “the shell of a man, his extension, his release, his spiritual emanation”. While Gray passed away in 1976, her sentiment is still relevant in our increasingly globalized world. It is echoed in the premise of Korean artist Do Ho Suh’s Passage/s on view at the Victoria Miro gallery (1 February to 18 March 2017). The show marks the first exhibition of the artist’s work in London since Staircase III was presented at Tate Modern in 2011. It also constitutes the most comprehensive display of Suh’s oeuvre since his retrospective at the Serpentine Gallery in 2002. 

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Interview for Candid Magazine: "An Interview with the Curator Marine Tanguy Ahead of Art Night London"

Marine Hardeman, Art Night , 2017

Marine Hardeman, Art Night , 2017

Published in Candid Magazine, 27 June 2017

On July 1st 2017, the streets of East London will be transformed with art, performance and music. Encouraging the public to view art and the city through a new lens, Art Night focuses on a specific area of London to explore its distinctive identity, culture and architecture. Few artists are better equipped than Marine Hardeman to create a dialogue between the city and visual arts. For this particular project, she will be spotlighting sewer drains with a ballet of lights. Candid Magazine’s Ariane Belisle sat down with the curator of the installation and CEO of MTArt, Marine Tanguy, to discuss the project.

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Text for MTArt: "Art as a Sensory Experience"

The Feuerle Collection, Berlin

The Feuerle Collection, Berlin

Published in MTArt, 19 June 2017

Marine excitedly guided me through the deserted streets of Kreuzberg in search of The Feuerle Collection. Hidden from street view, the collection is housed in a German Second World War telecommunications bunker renovated by British architect John Pawson. Eschewing the white cube space in favor of concrete walls and dim spotlights, visitors are plunged into a world of collector Désiré Feuerle’s making.

Juxtaposing international contemporary artists with Imperial Chinese furniture and ancient Southeast Asian art, the museum’s considered curation initiates a dialogue between different periods and cultures. Presenting visitors with a reinterpretation of ancient art, the pieces can be perceived through an alternative lens. Hence, artworks by Anish Kapoor, Cristina Iglesias, Zeng Fanzhi, Nobuyoshi Araki, James Lee Byars and Adam Fuss rub shoulders with Khmer sculptures from the 7th – 13th century and Chinese pieces from the Han and Qing Dynasties (200 BC to the 18th century).

The colossal museum space – measuring 6480 m2 to be exact – is composed of two main exhibition rooms on the ground floor and the lower ground floor, housing a Sound Room, a Lake Room (reminiscent of Richard Wilson’s “oil room” art installation 20:50) and an Incense Room. Arguably, it is the setting that lends the space its divine quality. In Pawson’s own words:

“It is difficult to think of places more charged with atmosphere than these monumental concrete structures. They fall very much into the category of ‘engineers’ architecture that so appealed to Donald Judd. I knew from the beginning when I visited the site and first had that visceral experience of mass that I wanted to use as light a hand as possible. Concentrating all the effort on making pristine surfaces would never have felt appropriate here. Instead this has been a slow, considered process – a series of subtle refinements and interventions that intensify the quality of the space, so that all the attention focuses on the art.”

We are encouraged to “let the music pierce our hearts” before being led to the pitch-dark preamble Sound Room where John Cage booms out of the speakers. As we enter the exhibition space (the distant echo of Cage still with us), our irises expand to allow the little light in. Having worked with private collections for nearly a decade now, never have I seen a display quite like this one; each artwork – spotlighted with a single light – appears to be cocooned within its ethereal aura. Here, the sensory experience is privileged as the artworks take center stage.

It is precisely through this unique approach to curating that the artwork is elevated to new levels of contemplation. To redouble and rephrase, it is the oeuvre’s greater contextual framework that triggers within the beholder a genuine sense of awe.

I cannot help but draw parallels with religious iconography and pious modes of display. While the Catholic Church’s uncanny ability to violently overwhelm may raise the eyebrow of a non-believer, it is irrefutably amongst the strongest impulses for the creation of art in Europe since the inception of Christianity. Even the staunch atheist cannot help but feel besotted by the soaring nave of Notre Dame or to stand awestruck looking up at the dome of Florence Cathedral. Yet, upon hearing of viewers swooning as a result of divine piety in front of Gian Lorenzo Bernini’s Ecstacy of St. Teresa (1647-1652), the cynic surely questions: Would they have done so if experiencing the sculpture in a broom closet, or in the quietly contrived setting of the Contemporary art museum? Is it only the grandiose devotional spaces where we encounter these artworks that dictate the impending enormity of our experiences?

Fused through Désiré Feuerle’s radical re-interpretation of both art and display, both concept and context are essential to the viewer’s experience. Hence, the work is not dependent of its setting but rather becomes it. Arguably, it is this transcendence that elevates these pieces to new levels of viewership.

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Interview for Candid Magazine: "Procedures & Materials: An Interview With Artist Scarlett Bowman"

Candid Magazine, Issue 15, The Luxury Issue

Candid Magazine, Issue 15, The Luxury Issue

Published in Candid Magazine, 05 June 2017

Repurposing the recycled waste of contemporary culture, Scarlett Bowman’s artworks revisit the Duchampian readymade. Brightly hued fragments of discarded materials appear to hover over the off-white composite, as the semi-abstract forms they create develop an autonomous and distinctive visual language. Eschewing their preconceived utilitarian value, the pieces transcend into the symbolic realm. Through the artist’s re-appropriation of humdrum objects, the compositions simultaneously convey familiarity and strangeness, as well as completeness and provisionality. Candid Magazine’s Ariane Belisle sat down with Scarlett to talk about her practice, in light of the Procedures & Materials exhibition at Collectionair, until 24th July 2017.

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