Art Berlin Contemporary

Art Berlin Contemporary
Name	Art Berlin Contemporary
Status	defunct
Genre	Contemporary art fair
Frequency	Annual
Location	Berlin
Country	Germany
Founded	1996
Years active	1996–2012
Predecessor	Kunstmesse Berlin
Organiser	ABC Art Fair GmbH

Art Berlin Contemporary was a major contemporary art fair held in Berlin from 1996 until 2012, positioned as a commercial and curatorial platform competing with fairs such as Art Basel, Frieze Art Fair, and Fiac. Founded during the post-reunification cultural expansion of Germany, the fair sought to connect galleries from Europe, North America, and beyond with collectors, curators, and institutions including the Berliner Festspiele, the Neue Nationalgalerie, and the Hamburger Bahnhof. Over its lifespan ABC both reflected and influenced the reshaping of Berlin's art scene amid processes involving Deutsche Bank sponsorship, municipal cultural policy, and private gallery networks.

History

The fair emerged from a lineage that included the Kunstmesse Berlin and fairs in Cologne such as Art Cologne. Early editions coincided with the growth of institutions like the Hamburger Bahnhof – Museum für Gegenwart and the expansion of galleries on Auguststraße and in Kreuzberg. Prominent figures associated with Berlin's cultural policy such as representatives from the Senate of Berlin and patrons from Deutsche Bank Kunsthalle participated in opening ceremonies. Over time ABC adapted to shifts prompted by the internationalization driven by events like Documenta and the market forces evident at TEFAF and Frieze Masters. Financial pressures and competition from fairs in London, Paris, and Basel contributed to its final editions, after which several participating galleries shifted focus to events such as Berlin Gallery Weekend and regional fairs in Leipzig and Hamburg.

Organisation and Management

Organisational leadership involved a mixture of private fair directors, trade associations, and municipal cultural officers, with operational partners including logistics firms connected to the Neue Messe Berlin and PR agencies that previously worked with institutions like Hamburger Bahnhof and Museumsinsel. Steering committees often included gallery owners with affiliations to Galerie nächst St. Stephan Rosemarie Schwarzwälder, Peres Projects, and international dealers who also participated in Art Basel and FIAC. Sponsorship networks featured corporate entities such as Deutsche Bank, collectors associated with the Meridian Foundation, and support from foundations tied to figures like Friedrich Christian Flick. Programming decisions were shaped by curators who had worked at institutions including the KW Institute for Contemporary Art and the Berlinische Galerie.

Exhibitions and Programming

ABC combined commercial booths with curated sections, special projects, and performance programs involving collaborators from institutions like Schaubühne, Volksbühne, and the Max-Planck-Institut für Bildungsforschung for interdisciplinary encounters. Special commissions and solo projects frequently showcased artists previously exhibited at the Tate Modern, Museum of Modern Art (MoMA), and the Centre Pompidou. Parallel events included talks and panels featuring curators from the Stedelijk Museum Amsterdam, directors from the Serpentine Galleries, and representatives from the Guggenheim Museum. Satellite initiatives aligned with the Berlin Biennale calendar and with institutional partners such as the Deutsches Historisches Museum and the Prussian Cultural Heritage Foundation.

Artists and Galleries

The roster mixed established practitioners and emerging artists represented by international and Berlin-based galleries including Galerie Eigen + Art, Neugerriemschneider, Southern, White Cube, Sadie Coles HQ, and Gagosian Gallery-affiliated projects. Participating artists ranged from figures exhibited at the Venice Biennale and recipients of awards like the Turner Prize to graduates from academies such as the Universität der Künste Berlin and the Royal College of Art. The fair fostered exchange between institutions like the Ludwig Museum and private collections including those of Herta Müller-era patrons and the Saatchi Collection.

Reception and Impact

Critics and commentators from publications such as Die Zeit, Frankfurter Allgemeine Zeitung, The Guardian, The New York Times, and Artforum debated ABC’s role in consolidating Berlin as an art market hub alongside initiatives in Prenzlauer Berg and Mitte. Cultural analysts connected the fair’s trajectory to broader trends affecting European art markets exemplified by Art Basel Hong Kong expansion and collector shifts toward contemporary markets highlighted at Armory Show. ABC played a role in increasing visibility for Berlin galleries internationally and contributed to curatorial exchanges with museums such as the Neue Galerie New York and the Museum of Contemporary Art Chicago.

Criticism and Controversies

The fair faced critiques regarding commercialization and the displacement effects similar to debates around galleries’ migration in Berlin neighborhoods like Mitte and Friedrichshain. Commentators linked its commercial focus to tensions reported in outlets like Der Spiegel and Monopol about rising rents and the squeeze on artist-run spaces such as Künstlerhaus Bethanien. Controversies included disputes over selection procedures, perceived favoritism toward larger international galleries with ties to fairs like Art Basel, and financial struggles that mirrored funding debates involving the Senate of Berlin and private sponsors such as Deutsche Bank. Allegations of opaque governance surfaced in commentary by critics associated with ArtReview and curators who preferred models exemplified by Manifesta and the Berlin Biennale.

Category:Art fairs Category:Contemporary art in Germany