And thus, with the usual Italian delay, the counter-attack begins…
Monday November 13, 2006 | 00:18 by | permalink
Email from the La Biennale di Venezia organizers (referring to the Cornice art fair):
We would like to refer to some pages published on art magazines and web sites, announcing art fairs in Venice related to the preview of the 52nd International Art Exhibition of La Biennale di Venezia (June 2007) which have been moreover advertised through pictures showing art works and exhibition spaces of former Editions of La Biennale di Venezia itself.
We want to formally underline in any case that such commercial initiatives happen not to be connected with or included by any kind of collaboration with La Biennale di Venezia.
Therefore, they are completely unrelated to the organization of the 52nd International Art Exhibition.
Not surprising. I saw a Manhattan Contemporary art dealer and he was complaining of “art fair fatigue” — too expensive, not enough business, etc etc.
I think it’s somewhat noteworthy that the world’s most prestigious biennale felt the need to make clear that they’re not endorsing a minor fair.
Would anyone have believed that was the case? I guess in today’s artworld anything is possible, especially the week after Pierre Huber and Lorenzo Rudolf announced that they would be essentially curating the artists that will appear at their new ShContemporary fair in Shanghai. Still in La Biennale’s place I would just have ignored the interlopers.
I am sure András’s quote from that dealer is correct: too many fairs competing for the same rich eyeballs. Maybe they are starting to thin out the crowds as there are now too many choices of where to go. Competition amongst the various venues is logical. But I also agree with Marc: If I was managing the Biennale I would have said nothing publicly. If they feel that the newcomer is trading unfairly (read illegally) on the Biennale reputation, they can always send a cease and desist letter to the upstarts forbidding them from using images or information related to the Biennale.
But then one of the attractions of the Art space is the relative lack of competitive business experience.
You’re forgetting something: lawyers cost money and La Biennale is famously broke/tightfisted/both.
I’m kind of amazed that the fair would have used that material. Just proves what an amateur operation it must be.
That is the joy of cease and desist letters. They look fierce, cost very little (even from major law firms), but the receiver gets the impression that the might of a great legal engine will descend upon them if they transgress again. Most firms never need to do a follow up.