Murakami, 59, the leader of Japanese neo-pop, and the late Georges Mathieu, the great character of French lyrical abstraction, same fight?
When a gallery synonymous with very contemporary art like the Perrotin gallery embarks on the race for estates (the successions of artists), with Hans Hartung, Georges Mathieu and, now, Alain Jacquet, the map of art is redrawn and becomes a puzzle on Wall Street.
Behind the wise communiques which follow one another and praise the only merits of the history of art, are engaged in bitter battles and long-term strategies which oppose rivals, more at loggerheads than they want to say. .
Suddenly, the galleries of Paris, London, Zurich and New York claim these historic artists who enter their stables triumphantly, with the same fervor as the young shoots of a market that is still profitable, but flammable, volatile, subject to the vagaries of a globalized world and under cover for a year.
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