Introducing Dream Hong Kong – An Interview
marzo 15, 2016
Dream is a new series of online contemporary art presentations that will run concurrently with established international art fairs. Each edition of Dream will feature the participation of twelve galleries. Dream hosts each gallery’s “booth” and the digital files of works by artists. The first edition of Dream will launch and run during the Art Basel – Hong Kong fairs.
Limoncello in London and Stereo in Warsaw have selected the following galleries for the inaugural edition of Dream: Antoine Levi (FR), Galerie Emanuel Layr (AT) Frutta (IT), Galerie Gregor Staiger (CH), Galeria Jaqueline Martins (BR), Jan Kaps (DE), Limoncello (UK), Sabot (RO), Sandy Brown (DE), Simone Subal Gallery (US), SpazioA (IT), Galeria Stereo (PO).
We asked some questions to the Director of Dream.
ATP: How did you get the idea to create an online art fair?
Dream: The idea came from sitting watching tumbleweed from a booth at a fair last year, feeling proper down about it, and the general issues at our tiny end of the market right now. We decided to send a booth preview for the next real fair – that we weren’t doing – and… people responded and we made money without the crippling costs of doing the fair. Actual profit. We pondered how to extend it into a project…
ATP: The website will host each gallery’s booth and the digital files of works by represented artists. Which criteria did you follow for the selection of the pieces? Will they only be videos or the project is also open to different mediums?
Dream: Limoncello, London and Stereo, Warsaw, selected the 12 galleries for this first edition of Dream. Besides that the galleries are open to present whatever they wish – a booth as they would if it were actual or using the context of an online presentation. We have no idea how it will be.
ATP: What is Dream Fair’s the main target? Is it more oriented towards the sale or towards the diffusion of contents?
Dream: We’re twelve commercial galleries with the livings of our artists to earn. Everything we do is about sales. The game is to try and do that in a way which is curatorially satisfying and interesting for everyone, artist, us and viewer. No?
ATP: The status of the online images of artworks and their existence in a not-physical environment is rapidly changing. I’m thinking about such projects as Sedtion, which offers and menages limited digital art editions. In your opinion, this evolution is somehow sustainable? How do collectors respond to online-only pieces?
Dream: I’ve no idea, most of my clients don’t even buy video. Ask me in 50 years. But for me, tangibility and experience of artworks and exhibitions is the pleasure of art. And for me, the greatest use of online based imagery is the information within documentation or proposition of the reality of things in the world. I’m old.