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By Alex Greenberger. Senior Editor, ARTnews. When Emanuel Layr opened his gallery in Vienna in , there were few other commercial businesses that specialized in showing the young artists he wanted to support. I was running an alternative space. I thought: Why not sell art? Evans and Dominique Knowles. A host of cutting-edge galleries have sprung up in Vienna in the past five years, among them spaces like Gianni Manhattan, Shore, and Felix Gaudlitz, all of which have figured in internationally respected fairs such as Liste in Basel, Artissima in Turin, and FIAC in Paris.
Layr, however, is confident that there is a solid collector base in Vienna and a strong gallery ecosystem to meet it. By contrast, more than 70 of the galleries taking part had a space in New York.
Still, there are signs that the Vienna scene is on the rise. That community is home to some more established galleries with long histories in the city. Stephan, which were founded in and , respectively. But these three galleries are the outliers in a city whose gallery scene is these days mostly defined by smaller, younger spaces that show emerging artists. These newer enterprises are known for showing conceptual art of the kind that many dealers typically fear because it is challenging and hard to sell.
Layr was showing a new body of work by Lili Reynaud-Dewar that featured images of the artist, painted in red and shown in the nude, along with questions directed at the viewer that address sexual orientation and private property. Vin Vin was displaying a two-person show by Alfredo Aceto and Thomas Liu Le Lann whose centerpiece featured the artists chewing white chocolate cubes in a Subaru Legacy while driving around Geneva. Meanwhile, art fairs, which can often be costly gambles due to the prices for booths, also pose less of a threat to Austrian galleries than ones based in other countries.
