ARCO, review of the art fair
It’s worth noting that this year’s ARCO has faced criticism, as is often the case, with two main points standing out:
Nothing really new
Firstly, there’s a noticeable lack of innovation. After almost half a century, things can start to feel repetitive. While consistency is reassuring, there’s a shortage of new ideas, media, and experimental endeavors. Despite being a trade show where sales are paramount, nurturing creativity and pushing boundaries is essential.
Costly
Secondly, accessibility has become a significant concern. With ticket prices soaring to 52 EUR per person at the ticket office and 44 EUR online (22 for students), it’s becoming increasingly inaccessible to those from more modest backgrounds. This high cost alienates potential art lovers and collectors, hindering the growth of the art community. Many online commenters have voiced their discontent with this issue.
The Rise (and Trap?) of Textile Art
Textile art is gaining traction at art fairs, often championed by women artists. They use weaving to revive traditional techniques or elevate craft as an art form. While the art world pushes for inclusivity, women are often confined to craft-based media. The trend reinforces a divide—textiles for women, painting and sculpture for men. How many male artists do you see weaving? Almost none. Instead of breaking barriers, this trend might be reinforcing them.
Women make up 40% of the artists at ARCO
A respectable percentage. But dig deeper: women dominate in the Opening section, which is dedicated to young galleries. Emerging platforms seem to embrace change faster than the establishment. Will this momentum carry over, or will the traditional market gatekeepers keep the balance lopsided?
The market still plays by old rules
Money speaks. The highest-priced pieces at ARCO remain in the hands of dead male giants from a long time ago. Joan Miró’s “Head with Three Hairs Facing the Moon” commands €1.6 million. A still life by Juan Gris, “Pipe et Paquet de Tabac” sits at €1.25 million.
