The 2001 Paris International Contemporary Art Fair (FIAC) attracted many visitors between October 10th and 15th 2001 despite the gloomy atmosphere which has been prevailing on the art market since the deadly terrorist attacks carried out against the United States on September 11th.
Susan Sheehan, who has not yet reopened her Manhattan gallery, showed many interesting Pop Art works during this 28th edition of the FIAC, which served as a kind of standard-bearer for Western culture now openly threatened by the enemies of freedom.
There were some very good works shown by the 163 exhibitors to discover apart from the masterpieces by Picasso, Matisse, Klee, Lichtenstein, Warhol, Miro or Dubuffet exhibited at the FIAC and are a tasty hors d'oeuvre likely to induce visitors to better apprehend the works of Contemporary artists.
Professsionals and collectors were however somewhat cautious and even paranoid in view of the situation. Still, there were some buyers around, notably for Nan Goldin photos, works made with matches by David Mach, “photograms” by British artist Adam Fuss and stunning video films by Pierrick Sorin.
Some exhibitors went as far as saying that the crisis now prevailing on the market was a kind of omen likely to correct some recent price abuses. They said that speculative moves regarding several artists, notably Damien Hirst, Maurizio Cattelan, Dan Friedman or Jeff Koons would probably become memories of a recent past.
Thus, there was some positive thinking despite a rather low volume of sales especially as recent auction results recorded in London or in New York have further calmed down fears of a dire recession.
Contrary to previous editions, the FIAC exhaled this year some good air of creative mood thus giving a hint of a new turn taken by Contemporary art. In this respect 2002 will certainly be a crucial year.