Fotofever opened it doors last wednesday along the canal in Brussels. Around 60 “European” gallerists are exhibiting at this photography fair, little sister to Fotofever Paris, which opened there in 2011. As a sort of distant homage to the commercial evolution of our developed countries, the fair is as diverse in genre as it is in quality. From one stand to another, the works of superstars appear next to those by inspired photographers, whether or not they’re famous, like those opportunistic works destined for oblivion. Old-school gallerists speak fondly of their photographers as if they were family, and next door, young art dealers and merchants present their works like they were selling stocks. Paradoxically, it’s this coexistence of different approaches and visitors that makes this young fair so interesting. Both because it openly presents a “state of the market’’ and because it’s obliged, naturally, to move toward those tastes. One hopes that future editions will be able to widen the scope of exhibitions to include all of Europe, to produce an annual fair where European photography will have the pride of place.
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