Jean-David Malat is a distinguished celebrity art curator and owner of JD Malat Gallery. His collaborations with icons like Madonna, Kate Moss, Dolce & Gabbana, and Bono have solidified his prominence within the art world. Jean-David’s perspective within the art community stands out due to a unique blend of expertise, evoking admiration and garnering accolades. This quality makes him an engaging interviewee, as his insights possess the power to captivate and enlighten.

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Exclusive Interview with Jean-David Malat – Part 1

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In your opinion, who are the top 5 artists to invest in right now?

I would recommend considering artists from my own representation. Kojo Marfo is a remarkable artist to consider (when I began selling his work a few years ago, they were priced at 5000 pounds, and recently one of his pieces fetched 130k in an auction). Other exceptional artists are Yann Leto, Georgia Dymock, Santiago Parra, and Luis Olaso.

North America, Europe, Asia, Middle East, perhaps Africa or South America – where should art investors be focusing right now and why?

From an economic perspective, particularly for collectors investing solely for profit, I would recommend North East Asia. The market has gained substantial strength following the reopening of events like Frieze in Seoul. However, it’s crucial to acknowledge that there’s a pool of underrepresented artists in South America, the Middle East, and Africa that deserves recognition and the backing of investors. Investors have the potential to significantly propel these artists’ careers.

Traditional (time-tested) or Modern (often sensational) art – which is better from an investment point of view?

I would lean towards Modern & Contemporary art, but the choice hinges on your investment approach. Investing in Modern and Contemporary art offers a sense of discovery that may not be as prevalent with ‘time-tested’ works. In the past two years, the art market has witnessed substantial growth in sales for emerging artists, particularly in the UK and China.

What factors do you consider when identifying new talent?

The process is intriguingly immediate. For example, I recall meeting Georgia Dymock and, after seeing her work, it took just 10 minutes into our conversation to propose full representation. While it may seem risky to leap in, persistence and belief yield positive outcomes.

Art trends can be transient. How do you ensure that the exhibitions you curate have a lasting impact and resonate with the audience?

Our approach involves a blend of exhibitions featuring both emerging and established art. Chasing trends can be precarious. To ensure longevity in artists’ careers, it’s essential to be astute about when to showcase their work and how it aligns with societal currents. Artists with work relevant to our ever-changing world maintain their impact. Furthermore, sustaining discussions about their work, even during periods of non-production, is crucial. Social media is a valuable tool for this, allowing us to remind audiences of the reasons they initially connected with an artist’s work through exhibition-linked campaigns.

Art can be provocative. How do you navigate the ethical considerations related to exhibiting controversial artworks?

When faced with a provocative artwork, our team engages in discussions to comprehend the potential points of controversy. Yet, every piece of art deserves visibility. It falls upon us to contextualize and present controversial works responsibly, acknowledging their contentious nature in a respectful and educational manner, always bearing the audience’s perspective in mind. An example is our recent exhibition by Sophie-Yen Bretez, featuring numerous nude paintings. Initially, not everyone connected with it, but as they learned the underlying narrative and context, their appreciation grew.

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Part 3 is Coming Soon!

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www.JDmalat.com

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^{Interview organized by Plus 1 Communications. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are only an opinion. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News}

Jean-David Malat is a distinguished celebrity art curator and owner of JD Malat Gallery. His collaborations with icons like Madonna, Kate Moss, Dolce & Gabbana, and Bono have solidified his prominence within the art world. Jean-David’s perspective within the art community stands out due to a unique blend of expertise, evoking admiration and garnering accolades. This quality makes him an engaging interviewee, as his insights possess the power to captivate and enlighten.

---

Exclusive Interview with Jean-David Malat – Part 1

---

In your opinion, who are the top 5 artists to invest in right now?

I would recommend considering artists from my own representation. Kojo Marfo is a remarkable artist to consider (when I began selling his work a few years ago, they were priced at 5000 pounds, and recently one of his pieces fetched 130k in an auction). Other exceptional artists are Yann Leto, Georgia Dymock, Santiago Parra, and Luis Olaso.

North America, Europe, Asia, Middle East, perhaps Africa or South America – where should art investors be focusing right now and why?

From an economic perspective, particularly for collectors investing solely for profit, I would recommend North East Asia. The market has gained substantial strength following the reopening of events like Frieze in Seoul. However, it’s crucial to acknowledge that there’s a pool of underrepresented artists in South America, the Middle East, and Africa that deserves recognition and the backing of investors. Investors have the potential to significantly propel these artists’ careers.

Traditional (time-tested) or Modern (often sensational) art – which is better from an investment point of view?

I would lean towards Modern & Contemporary art, but the choice hinges on your investment approach. Investing in Modern and Contemporary art offers a sense of discovery that may not be as prevalent with ‘time-tested’ works. In the past two years, the art market has witnessed substantial growth in sales for emerging artists, particularly in the UK and China.

What factors do you consider when identifying new talent?

The process is intriguingly immediate. For example, I recall meeting Georgia Dymock and, after seeing her work, it took just 10 minutes into our conversation to propose full representation. While it may seem risky to leap in, persistence and belief yield positive outcomes.

Art trends can be transient. How do you ensure that the exhibitions you curate have a lasting impact and resonate with the audience?

Our approach involves a blend of exhibitions featuring both emerging and established art. Chasing trends can be precarious. To ensure longevity in artists’ careers, it’s essential to be astute about when to showcase their work and how it aligns with societal currents. Artists with work relevant to our ever-changing world maintain their impact. Furthermore, sustaining discussions about their work, even during periods of non-production, is crucial. Social media is a valuable tool for this, allowing us to remind audiences of the reasons they initially connected with an artist’s work through exhibition-linked campaigns.

Art can be provocative. How do you navigate the ethical considerations related to exhibiting controversial artworks?

When faced with a provocative artwork, our team engages in discussions to comprehend the potential points of controversy. Yet, every piece of art deserves visibility. It falls upon us to contextualize and present controversial works responsibly, acknowledging their contentious nature in a respectful and educational manner, always bearing the audience’s perspective in mind. An example is our recent exhibition by Sophie-Yen Bretez, featuring numerous nude paintings. Initially, not everyone connected with it, but as they learned the underlying narrative and context, their appreciation grew.

---

Part 3 is Coming Soon!

---

---

www.JDmalat.com

---

^{Interview organized by Plus 1 Communications. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are only an opinion. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News}