Synopsis
In 2005, the so-called “Venice effect” was on full display, as artists who gained attention at the Biennale were swiftly monetized at Art Basel a week later (at the time the biennal opened in early June). Dealers didn’t just capitalize on buzz — they orchestrated it, often subsidizing production and transport in Venice to trigger market momentum in Switzerland. From Candice Breitz’s €120,000 video diptych to Gabriel Orozco’s fresh return to painting, the art-market meme was, "See it in Venice, buy it in Basel..."
