In recent years, Art Toronto
—like all art fairs—has seen increasing competition at home and abroad, as well as other pressures. Here, Will Morris
, president of Art Toronto owner Informa Canada
(pictured at left), and Linel Rebenchuk, Art Toronto director and founder (pictured at right), tell us how they’re handling big changes in the field.
In the last few years, we’ve noticed Canadian dealers going to fairs in Miami, New York or elsewhere to meet new audiences there rather than stay at Canadian fairs where they feel they may already know most of the collectors. How are you trying to keep pace with these changes?
Will: It’s a very interesting phenomenon. I think buying patterns will always evolve. The challenge for an organizer such as ourselves is to keep up with those changes. Our job is to try and make our shows even more worthwhile, even more relevant—which is not always easy in the art business, because there’s such a huge amount of variety and difference in the products on display. One person’s search for creativity and art is always going to be very different from another’s.
Linel: We are a smaller show, and from the very beginning the show has had about 65 per cent Canadian content. From this perspective, we are different than many other international fairs. And galleries have a lot of choices. We are proud we have been successful in attracting a number of galleries and keeping them loyal since we started in 2000. We are working harder to make programming that will be appealing to a range of galleries, too.
Informa, both nationally and internationally, tends to run trade shows that are not art-related. What’s the difference between running art fairs and other kinds of trade shows? Will:
Indeed, the only art fairs that we run are here in Canada—Art Toronto and the Artist Project
. I visit quite a few art fairs—Basel
, the London Art Fair
in Paris—to see what’s new and changing and how people are adapting their event. I’d say art fairs are challenging because the art world is hugely creative, and quite sophisticated, in how it portrays products and how people interact with them. In other events, it’s a probably a more simplistic buyer/seller relationship. But while art fairs are more challenging, I’d also say they are more enjoyable.
Linel: I can’t compare to other trade fairs, but you know, when I started this fair in Canada, people said I was crazy. It wasn’t easy, but since then I think we’ve made a step ahead every year. Growing doesn't always mean making the show bigger, because this is not our intention. It’s about making the show a bit better every year.
Both of you mention having to please a sophisticated audience or enhance programming to create a better fair. How might this play out at Art Toronto this year?
Well, I think the VIP Program
is a very good example in terms of the curated initiatives that are organized by our team. This helps people get a view of the Toronto scene.
Trade fairs in and beyond the art world have been pressured by the global economic slowdown and the rise of the Internet, which allows merchants to meet new clients without paying booth fees. How do you cope with those challenges?
Online, we have a partnership with Artsy
this year, so galleries can sell works that way as well. We are also going to rebuild our website at the end of this year. Even the project we are doing with Thom is interactive, with QR codes. So I think we are trying to keep step with what is on the web.
Will: You’re right overall, though. It has become a lot more challenging in the last couple of years. I think everybody is measuring their spend on exhibitions or fairs. I think most of the galleries that exhibit with us or other events are relatively sophisticated in their understanding of their market and realize that it’s not going to necessarily always make a return on the initial investment.
Our job is to spend more time beforehand explaining how a trade fair, consumer fair or art show should fit in to their total marketing program for their business. We have to spend more time doing that, more time understanding what their market is and who they are trying to get to and ensure that the audience that we're attracting is right for their products.
There are times, increasingly, where we have to say, “Look, this is not for you—our audience isn’t your buyers and therefore we think there are other events that might be more suited to you.” Our sales job has gotten harder, but I think at the end of the day it’s our duty to spend the time with people to ensure they get the right facts.
Another difficulty is that nobody is reducing prices; we’re getting squeezed at both ends because the venues where we hold these events continue to put up their prices, because their own costs keep going up. So it’s a wicked circle that we’re all caught in, and the exhibitors aren’t necessarily making more sales.
We try to work to find more cost-effective ways to exhibit and more importantly to find ways for them to get more out of it—maybe with a larger gallery, it’s about seeing if they can achieve the same thing with less space. It’s not a take-it-or-leave-it attitude—it’s about saying let’s try and work together to figure out how we can do something you can afford.