Parallel Lines: Photo London
© Maisie Cousins
By Federica Belli
Every first time somehow feels like an unprecedented rush of adrenaline, which is precisely what keeps our curiosity and ambition alive. And showing for the first time at Photo London is definitely one of those occasions every artist looks forward to. In fact, as opposed to most fairs one could visit, the British kermesse boasts the presence of many photographers along with their supporting gallerist. But what makes Photo London such an exciting and unique happening in the fine-art photography scene?
First of all, an exhibiting artist entering Somerset House has not the feeling of entering a marketplace, but rather a collector’s cove: each gallery, nested into the neoclassical architecture, is encouraged to dialogue with the warmth of a palace proudly boasting high ceilings and huge fireplaces. The outcome is that both classical black and white photographs by the masters such as Lindbergh feel like they were made exactly to be shown here, while the contrast of the contemporary bright coloured artworks of Maisie Cousins makes them shine even brighter. Each and every artist is delighted to see her work shown in such an atmosphere.
Moreover, while potentially stemming as much from the frustration of lower than expected revenues as from stellar sales, the gallerists here do not fear interaction with visitors even after it becomes clear to them that they won’t become clients. Photographers as well are for once gladly discussing about their work and responding to the stimuli coming from visitors. If the blend of these two occasions is not a collector’s dream, I don’t know what is.
© Pia RIverola, Flechazo
However, one can’t help but wonder about the effect of Brexit on the upcoming editions of the Fair. With inflation rising and exchange rates not helping, the additional hassle of passport controls is definitely not inviting Europeans collectors nor galleries. The outcome depends on the ability of the management and the marketing team to give the Fair an Americanised allure rather than to appeal to a mostly European public as it has been done until now. Otherwise, with fairs such as the giant ParisPhoto and the rising MIA Photo Fair in Milan, the center might soon be displaced towards other shores quite soon. After all, artists are fleeting the country already towards nations proving to be more inclusive and more sensitive to their status – France, first and foremost. With Bachelors and Masters becoming more and more expensive for overseas students, the dream to study art in London is becoming more and more unreachable for European youngsters: their families’ incomes are not comparable to the American ones, yet the price to pay is the same. Too many signs pointing towards a bad time for the UK art scene.
In the end, maybe, the time for change has come?
