Art Basel to Offer Online Viewing Rooms

As latent risks emerge, industry, business, and individuals adapt. Opportunities, and benefits, are discovered in and developed from such adaptation. Opportunities and benefits are discovered also in forward-looking mitigation.

Inaugurated in 1970 by Basel gallerists Ernst Beyeler, Trudi Bruckner and Balz Hilt, owned and managed by Switzerland-based MCH Group, art fair giant Art Basel, facing health, travel, and concomitant business risks posed by the emergent Covid-19 virus, cancelled Art Basel Hong Kong 2020.

The Art Basel fairs, offered in Basel, Miami Beach, and Hong Kong, have succeeded as an effective venue for introducing galleries, works of art, and collectors to each other.

The fairs, while offering face-to-face interactions, are, however, premised on travel, often long-distance. The fairs are premised further on the gathering of large numbers of people together in one place at one time.

The travel and costs (staff, booth rentals, insurance, hotels and lodging, shipping of works of art, …) involved with the fair – and the many art fairs that have developed over the years – are expensive for galleries and collectors alike.

The travel, further, can increase risk. Combustion of hydrocarbon-based fuels releases carbon dioxide into the atmosphere. 

Carbon dioxide molecules are precisely calibrated to attract and retain, in our atmosphere, photons of thermal energy that reach the earth from the sun. (See infographic.) Increasing levels of carbon dioxide in our atmosphere leads therefore to greater thermal energy (heat) in the atmosphere.

Acidification of the oceans, that themselvesabsorb about 30% of the carbon dioxide released into the atmosphere, also takes place.

Increased atmospheric heat leads to consequences such as melting of arctic permafrost, melting of glaciers, sea level rise, fires, storms, the release of pathogens and concomitant health risks. (See infographic developed by Zurich-based reinsurance giant Swiss Re.)

 With regard to large numbers of people gathering together in one place at one time, this currently may pose a risk of transmission of the emergent coronavirus (COVID-19).

To reduce such risk, the Swiss Federal Council, on 28 February 2020, issued an ordinance forbidding the holding of public or private events in Switzerland where more than 1,000 people are present at the same time.

MCH Group has, accordingly, not only cancelled Art Basel Hong Kong 2020 but has also postponed further events and trade shows such as the Baselworld Watch and Jewellery Show 2020 (until January-February 2021), the garden exhibition Giardina in Zurich, and Habitat-Jardin in Lausanne.

Fortunately there are means of bringing galleries, works of art, and collectors together that are premised neither on long-distance travel nor on the gathering in one place of multitudes of people.

Art Basel has been developing such a means, an initiative that, as “the art market continues to evolve, exemplifies its longstanding commitment to fostering a healthy art world ecosystem by creating new ways for its galleries to reach collectors from across the globe.”

The initiative is a digital-only platform for Art Basel’s galleries and collectors. The inaugural edition of Art Basel’s Online Viewing Rooms are planned to go live on 20 March 2020.

“Online Viewing Rooms will give visitors the opportunity to browse thousands of artworks presented by Art Basel participating galleries, many of which will be online exclusives. The exhibiting gallery can then be contacted directly for sales inquiries. The Viewing Rooms will run in parallel to the three shows in Basel, Miami Beach, and Hong Kong.”


Art Basel to launch Online Viewing Rooms,” Art Basel

While recognizing “’the essential personal interactions that continue to underlie the  art market,’” Art Basel Global Director Marc Spiegler notes that “’the Online Viewing Rooms will provide galleries with a further possibility for engaging with our global audiences.'”

All the galleries that were accepted for the cancelled 2020 Art Basel Hong Kong have been invited to participate, at no cost, in the launch of the Online Viewing Rooms.

Art Basel is not the first to organization to provide a means for galleries, works of art, and collectors to meet online. New York-based Artsy has been doing so for several years.

The process of selecting works of art, acquiring them, and developing a collection requires intent, effort, patience, and work. Such work is conducted in increments over a long-term.

Relationships of mutual trust and reliance, between collectors, galleries, and dealers, some private, are developed.

Qualifications of all parties are established. Buyers and sellers alike vet each other for acknowledgement and understanding of contract law as well as willingness to agree and adhere to contractual terms.

As works of art are identified for purchase, high-resolution images taken from multiple angles can be shared. Condition reports, provenance, and valuations provided.

The process enables collectors to learn and value not only the aesthetic, historical, and, increasingly, financial qualities of such works of art but also the supply chain logistics.

Supply chain logistics are themselves complex, often crossing cultures, history, collections, sovereign entities such as cities, states, and nations, and laws.

Supply chain logistics and the logistics of collections management evolving to include collaborations not only with art professionals but also with those with in a variety of industries. These industries include science, tech, law, engineering, energy, water, design, architecture, finance, and, insurance.

Insurance especially in a new iteration: in regard to transparent, data-driven identification of risk together with public/private collaborations structured to foster preemptive mitigation of risk.

See:

Art Basel to launch Online Viewing Rooms,” Art Basel

Anny Shaw, “MCH Group postpones Baselworld watch fair as Swiss authorities ban large events over coronavirus fears,” The Art Newspaper, 28 February2020

Christian Jecker, “MCH Group postpones forthcoming events,” MCH Group Media Release, 28 February 2020

Carbon Dioxide Absorbs and Re-Emits Infrared Radiation,” UCAR Center for Science Education

Swiss Re, “Special Feature: It’s existential – climate change and life & health,” 22 May 2019

NOAA, “Ocean Acidification

is sexy really a measure?

With Art Basel Hong Kong 2020 cancelled, art institutions and openings in China delayed, important spring art auctions in New York postponed, New York’s Art Week 2020 postponed, private museums closing, travel impeded by the COVID-19 virus, wildfires raging in Australia, and floods in Venice, we may rightly ask what the heck is going on.

Henry Moore: Two Piece Reclining Figure No. 5

Behaviors and institutions that we may have taken for granted – art fairs, travel, museums, museum openings, art loans, traveling exhibitions, gallery openings, the buildings that house works and collections of art, cities, heritage – show themselves as vulnerable.

Vulnerable to various risks – geopolitical, natural (flood, fire), illness, travel (viruses are clever particles, requiring host cells in order to replicate; when host cells travel, so do viruses), funding, disengagement, generational change, wrongdoing, and “art-washing” among them.

In a country where there has always been more space than people, where the land and wildlife are cherished like a Picasso, nature is closing in. Fueled by climate change and the world’s refusal to address it, the fires that have burned across Australia … are forcing Australians to imagine an entirely new way of life.”

(Damien Cave and Matthew Abbot writing in The New York Times, The End of Australia as We Know It, 15 February 2020)

Buildings are deteriorating faster than ever before. It’s indicative of the changing environment and climate.”

Syfur Rahman, Department of Archeology of Bangladesh, quoted in
Heritage on the Edge, How people around the world are protecting their cultural sites against climate change,”
Google Arts & Culture in collaboration with CyArt and ICOMOS

Our shared history is at risk”

(“Heritage on the Edge, How people around the world are protecting their cultural sites against climate change,” Google Arts & Culture in collaboration with CyArt and ICOMOS)

The thousand-year equilibrium long maintained in Venice may, in the space of a century, have been destroyed. With little regard for the safeguards balance provides, risks of flooding, loss of habitats, and loss of livelihoods are increasing.

Venice is “a city that for over a thousand years has built a wonderful equilibrium between a human component, ecological component, art, nature. And in the last century, we have basically almost destroyed that balance.”

(Shaul Bassi, director of the Center for Humanities and Social Change at Ca’ Foscari University of Venice, quoted in Sylvia Poggioli, “With Waters Rising And Its Population Falling, What Is Venice’s Future?”, NPR, 30 November 2019).

In the face of protests, coronavirus, and the cancellation of Art Basel Hong Kong 2020, Tim Schneider of Artnet News asks

Did the coronavirus merely provide a politically agnostic opportunity to call off an event that many Western exhibitors alleged had already lost viability after the ongoing pro-democracy protests convinced a significant number of their buyers and artists to opt out months earlier? 

“And if so, did the organization take until February 6 to decide strictly because its international galleries were facing shipping deadlines? Or was something else entirely at work?”

He suggests that

“To decipher the answers, it turns out that we may have to look in what many, if not most, people view as the single unsexiest realm of arcana in the entire art market: insurance policies.”

(Tim Schneider, “The Gray Market: Why the Coronavirus Canceled Art Basel Hong Kong When the Protests Couldn’t (and Other Insights),” Artnet News, 10 February 2010)

Is sexy really a measure? Is insurance so arcane?

Let’s for a moment look at insurance, and risk, from another angle: able to track perils in real time, Swiss Re is changing the way it understands and models risk. Assessing risk and underwriting risk using real-time data rather than past data, Swiss Re will offer insurance products structured not only as ex ante compensation products but also as anticipative risk management services.

“With new insights from an ability to track perils in real time, we are able to change the way we model and understand risk. This will allow new means of risk assessment and underwriting, augmenting our traditional process of using past data. These shifts will see the nature of insurance products begin to change from ex ante compensation packages to anticipative risk management services.”

(“Underwriting: The Next Generation,” Edi Schmid, Chairman Swiss Re Institute and Group Chief Underwriting Officer, 30 April 2019)

Real value may be developed through collaboration with stakeholders, public and private, globally, together with expertise and capital offered by organizations such as Swiss Re.

What are forward-looking modeling and understanding of risk? What might a shift from ex ante compensation packages to the provision of anticipative risk management services enable?

How might long-term value be developed while using real-time data to anticipate and manage risk?

Let us work to better understand risk and risk management. We might then position ourselves to better enable long-term protections of works and collections of art together with the heritage, information, and value they represent.

See:

Virus,” Science Daily

Underwriting: The Next Generation,” Edi Schmid, Chairman Swiss Re Institute and Group Chief Underwriting Officer, 30 April 2019,

Damien Cave and Matthew Abbott, “The End of Australia as We Know It,” The New York Times, 15 February 2020

Georgina Adam, “Not here to stay: what makes private art museums suddenly close,” The Art Newspaper, 13 February 2020

Elizabeth A. Harris, “As Virus Tightens Grip on China, the Art World Feels the Squeeze,” The New York Times, 13 February 2020

You Want to Pull Your Hair Out’: Artists and Gallerists Respond to the Long-Awaited Cancellation of Art Basel Hong Kong,” Ysabelle Cheung, Artnet News, 7 February 2020

Tim Schneider, “The Gray Market: Why the Coronavirus Canceled Art Basel Hong Kong When the Protests Couldn’t (and Other Insights),” Artnet News, 10 February 2020

Alexander Walter, “Opening of Tadao Ando’s He Art Museum in China delayed due to coronavirus fears,” Archinect, 3 February 2020

Heritage on the Edge, How people around the world are protecting their cultural sites against climate change,” Google Arts & Culture in collaboration with CyArt and ICOMOS

Sylvia Poggioli, “With Waters Rising And Its Population Falling, What Is Venice’s Future?”, NPR, 30 November 2019

Image: Henry Moore’s “Two Piece Reclining Figure No. 5” (bronze, 1963-1964) overlooking the Øresund at the Louisiana Museum of Modern Art, Humlebæk, Denmark. Donated to the museum by the Ny Carlsbergfondat.