Saturday, September 1st 2018, from 2PM
Artist: Brad Robson (Sydney, AU)
Painter and Muralist
While his artworks on canvas are featured in worldwide private collections, they can for instance be found amongst works of Andy Warhol, Keith Harring and Jackson Pollock at Woodward Gallery in New York.
Robson has also left his artistic imprint on the walls of Sydney, Barcelona, New York and Los Angeles with his bold and powerful murals. Several mural projects in Berlin, in addition to the exhibition, are currently in discussion.
Metropolis, pop culture and human psyche are central subjects of the Australian artist‘s inspiration. His artworks - mainly urban landscapes and portrait series - consist of an intense mixture between street, pop and abstract art. Robson’s strokes are fast, free and capture a sense of dynamic and restless urgency in both the finished artwork and the way in which he approaches his work.
All featured artwork at LUCKY GALLERY will be created in the city of Berlin. For this purpose, the artist will travel to Berlin already in August to let himself get inspired by the city.
This will be Brad Robson's European gallery premiere and at the vernissage dedicated to him on September 1st 2018, he will be available for questions and interviews to the public.
WHO THE F*CK IS LUCKY?
Pop-up gallery model and Instagram marketing: an example of how the new generation of art dealers is applying new concepts and strategies in a strongly changing art market
Nathalie Crivelli is 34, speaks five languages, has a Magna-Cum-Laude Bachelor in Corporate Communication and a Summa-Cum-Laude Master in Management. After work experience in the fields of event-management and finance in her home country Switzerland, she entered the art scene as a nude art model in 2014. Known under the stage name LUCKY, she currently has over 20.000 followers on Instagram and has been living in Berlin since 2016. In this context, the idea of applying her communication and managerial skills by promoting and selling artwork of her fellow artists as an art dealer was born - similar to the path of Judy Lybke, one of the most famous German art dealers who also started his legendary career as a nude art model. However, she plans to do so with an updated approach.
Art Market Management as an Education
At the Freie Universität Berlin, she attended courses in art history followed by a further education in art market management, the first university program for aspiring gallerists and other actors of the art market. It imparts theory and practice of different gallery models as well as the dynamics between the different roles within the art scene. A particular focus is hereby given to the current change that the art market is facing, being it influenced by increased globalisation as well as more transparency of information and price as result of the growing power of the Internet.
“Don’t you ever open a gallery!“
The Swiss entrepreneur explains: „One of the most common statements of established gallerists whom I’ve had the chance to speak with during my study was to ‘by no means ever open up a gallery!‘ as nowadays, it is not considered a profitable business any longer. And especially not in Berlin, as ‚nobody is buying art there anyways!‘.
I am, however, convinced that there are indeed chances for young art dealers- if they adapt to the ongoing change. The world has become mobile and gallerists should align to this with timely limited exhibitions at changing hotspots. This is why I strongly believe in the ‘pop-up‘ gallery model: it offers geographical flexibility, reduces high and continuous rents and, by its short period of existence, it also creates a feeling of exclusivity. Besides that, Berlin is currently experiencing a boom of start-ups and with that a new flow of liquidity. The main players of this phenomenon are 30-somethings with high social-media affinity, hence people of my generation. These people are indeed interested in art, but they often perceive its scene as being outdated and elitist.“
„My goal is thus to build bridges to allow this new client segment access into the art world. And why should I despise the power of social-media by doing so, as many of the older generation of art dealers is still doing? My followers react with enthusiasm when I post content about art on my profile: they show interest and dare to ask questions. Instagram will therefore be a key marketing tool for my exhibition and presentation concept.“