Parisian galleries under tension

France. While the summer holidays are looming. Moreover, Parisian gallery owners are taking the almost unanimous assessment of a sluggish market in the first half of 2025, while observing that buyers’ behaviors are evolving. Meanwhile, If they agree overall on the observation of a period marked by strong instability. Furthermore, the latter is however graduated: some do not hesitate to qualify the semester as bad, very few sales having been made, when others claim to draw their faces.

“Slower” fairs

So all of them do not share the same concern, but most of them feel a significant slowdown. Nevertheless, Sébastien Carvalho. In addition, director of the Mitterrand gallery, notes that “The first semester was less dynamic than in previous years”with fairs “Slower” – Par EXEMPLE TEFAF NEW YORK. Similarly, “The trend in a slight slowdown is confirmed. Meanwhile, the volume of activity is about parisian galleries under tension 20 % less than in 2023”, adds Niklas Svennung, at Chantal Crousel. Furthermore, Christophe Gaillard. Similarly, for his part, nuances this generalized impression of stagnation, even decrease: “Some decisions are postponed, but we must still admit a real activity. Therefore, »» Almost all agree: it requires more efforts. Similarly, “You have to be more proactive than in the past to conclude sales”. Meanwhile, explains Louis Vassy, ​​co -founder of the Galerie Parliament. Consequently, “Overall, we spend more time working, for the same result”, abounds a colleague.

The weighing economic climate is obviously implicated. Moreover, Several galleries point to geopolitical tensions and inflation. In addition, Christophe Gaillard believes that “This anxiety -provoking period” modify the behavior of buyers. The latter are more cautious. Guillaume Sultana is “A real reluctance on the part of French collectors”. Louis Vassy. ​​however, evokes a salutary rectification of the market: “There is from collectors a rejection parisian galleries under tension of speculative practices around emerging artists without institutional recognition. »» “The year 2024. the first half of 2025 were marked by many political and economic uncertainties, but the appetite for art is still as strong”, wants to believe Anne-Claudie Coric, director of the Templon gallery. “The problem is that collectors always want to buy. but they pay very late,” deplore a gallery owner who prefers to remain discreet.

The partial withdrawal of the institutions is also involved in this slowdown: museums. FRACs (regional contemporary art funds) are affected by the decline in public subsidies, and several merchants emphasize that money now comes from more collectors, partly foreign, than French institutions. In a situation where “Debt persists. where growth is slowed down, cuts in budgets are inevitable”, notes Olivier Antoine, Director of Art: Concept. A colleague compares the current period of crisis with that of the Gulf War. “If not until the parisian galleries under tension institutions at the time had major acquisition budgets, which made it possible to wait for better days”.

This uncertain market does not exclude good surprises. Anne-Claudie Coric depicts a “First semester in clear progression”chanted by “Commercial success”. Fabienne Leclerc says that “Some good sales have saved [s]We start from the year ”. Thanks to the constant demand for a flagship artist of the in situ gallery. The Sator gallery finds a “Net improvement compared to 2024”. Anne-Laure Buffard admits to feeling herself “Against the tide” Since 2025 started very well for the gallery: “We highlight artists recognized by institutions. who have many news and whose prices for works are between 1,000 and 60,000 euros. »» The price range in which sales are made indeed indicates rather reasonable amounts. “These are the works between 20,000 and 200,000 euros that find takers without difficulty”, says Anne-Claudie Coric. The role of the fairs parisian galleries under tension remains significant: Templa still achieves 40 % of its figure there. And. assures Niklas Svennung, “We must more than ever be present in different parts of the world to compensate for certain regions currently slower”. However, several merchants, anxious to save money, are more selective in their participations. Among them. Guillaume Sultana, who nevertheless relies on the back -to -school fairs, like Art Basel Paris, which will correspond to a strong institutional visibility of the artists of the gallery.

“Produce locally”

Apart from the Galerie Salle Salle (yet present at Art Basel Paris 2024). which announced in January wanting to take a break of fifteen months, most galleries resist and try to balance their accounts by rationalizing costs. Christophe Gaillard thus internalized storage. transport by investing in a place of 2,500 m2 and the recruitment of a manager/carrier; Others, such as Fabienne Leclerc or Templon, which has two spaces in Brussels and parisian galleries under tension New York, say they are trying to limit air freight. “We encourage artists to produce locally for exhibitions”supports Anne-Claudie Coric. Many people also reduce productions. postpone them or decline the solicitations of institutions within the framework of exhibitions, for example for the costs of publishing catalogs.

Everyone must make choices. Vincent Sator leaves his Romainville space and agrees for a few months «And Stand-by». Parliament plans to leave the 10th arrondissement in order to move in the start of the marshes. And for some. summer will be active: “Contrary to popular belief, this is a time when transactions can end because collectors have time. In any case, it will take a solid fall to consolidate a turnover comparable to 2024 ”, warns Sébastien Carvalho. For many, this second half will be decisive.