Llucià Homs, director of Talking Galleries and co-director of Loop Barcelona, on Changing Gallery and Video Landscape
Llucià Homs, image courtesy Talking Galleries.
Llucià Homs (born 1969) is a cultural consultant, exhibition curator, art advisor and art market analyst. His twenty years as a gallerist have given him the experience to lead projects such as Talking Galleries, the international think tank he founded in 2011 on gallery practices and the art system, or Loop, the Barcelona video art fair and festival, as well as the cultural platform Hänsel* i Gretel*, which focuses on the culture-city-Barcelona triad. He is also a columnist for La Vanguardia, where he writes a weekly column on the international art market, he teaches at the University of Barcelona on the economics of art, and since 2019 he is also the Director of the Salvat Foundation.
His time in the public sector as Director of the Institute of Culture of Barcelona City Council (2011-2015) and of La Virreina Image Centre, articulates a multifaceted professional career, both as an entrepreneur in the cultural industries and as a public cultural manager. This allows him to understand, from a multidisciplinary perspective, the social debates and challenges posed by today’s changing and complex world.
LUCIJA ŠUTEJ: Your contemporary art journey started with your father’s gallery in the 70s — what was the environment like and which figures were important to you? What were the strengths and focuses of the gallery?
LLUCIÀ HOMS: It was easy because my parents had a gallery in a little village near Barcelona for 40 years. I grew up in that gallery, so it was very familiar. After I finished my studies—I studied law in Barcelona—and completed my military service, I became a gallerist. My father had another gallery in Barcelona, and I took the next step by working there. It was a very natural progression.
LŠ: The Galeria Llucià Homs that opened in 1993—was that essentially your father’s gallery that you relaunched? How did you want to define the new gallery?
LH: Yes, it was one of my father’s galleries. It was a very ordinary path. I became a gallerist after working in the original village gallery for 12 years.
LŠ: Moving to Talking Galleries, a fascinating think tank for the art gallery sector—addressing museums, foundations, art fairs, and beyond—how did that idea originate?
LH: As I had decided to close my gallery, I started thinking about the gaps in the sector on a global level. Two major gaps stood out to me: first, there was no structured place to learn to be a gallerist. Today, there are programs on art market studies and institutions like Sotheby’s Institute of Art, but in 2009, nothing of that sort existed.
Second, there were no symposiums for gallerists. Other professions have gatherings to share knowledge, experiences, and innovations, but galleries didn’t. The only opportunities were art fairs or auctions, both commercial environments, which didn’t foster real collaboration or learning.
So I decided to create a platform where gallerists could meet, share knowledge, and collaborate. That’s how Talking Galleries started in 2011. Early this year, we celebrated the 10th anniversary of our flagship symposium in Barcelona, and it has since expanded internationally to places like New York, Brazil, Berlin, London, Paris, and Seoul.
Talking Galleries Barcelona Symposium 2011, inaugural edition.
Talking Galleries 2018 tote bag.
Talking Galleries 2018.
Talking Galleries Barcelona Symposium 2019, with Emmanuel Perrotin and Georgina Adam.
LŠ: Why did you decide to close your gallery?
LH: That was very straightforward. Around 2005, I realized my vocation—my passion for being a gallerist—was fading. After 15 years in the business, it no longer felt like my calling. By 2009, I decided it was time to close. I continued working with my artists, helping them connect with other galleries, but I closed my gallery.
LŠ: Why was Barcelona as a setting important to launch the educational initiative for galleries? Did you ever consider different locations?
LH: The choice was simple—I was living in Barcelona with my family, and frequent travel wasn’t practical as I had two young children at the time. Additionally, Barcelona, with its rich cultural and artistic ecosystem, provided the perfect backdrop for our gathering, and the MACBA Museum served as an ideal venue for this project—a think tank tailored to the city's unique context.
The inaugural edition was a resounding success. We had the privilege of bringing together influential figures, including the now-legendary Spanish women gallerists Soledad Lorenzo and Helga de Alvear, internationally renowned gallerists like Casey Kaplan and Victor Gisler, and a young and promising art expert, Noah Horowitz, who is now Art Basel's Global Director. Having them all in the same space to discuss and share ideas was extraordinary. Both participants and the audience confirmed that this model of encounter was greatly needed in the sector.
LŠ: You mentioned expanding Talking Galleries to New York. How do you see having an outpost there contributing to your work?
LH: That came about naturally. At our 2020 edition, just before the pandemic, we invited respected New York-based art expert Allan Schwartzman as a speaker in Barcelona. He had a great experience, and just before leaving for the airport, we discussed the idea of bringing Talking Galleries to New York.
We planned to develop the idea further, but the pandemic delayed everything. In 2021, I reached out to him again, and we formalized the partnership. The first New York edition took place in 2022, followed by another in 2024.
Comparing the two locations, it’s interesting to see how both programs complement each other. While the Barcelona edition primarily focuses on generating debate and fostering knowledge within the art market and among galleries—providing insightful and practical tools for gallery practitioners—the New York iterations have allowed us to expand the conversation to the broader art world, addressing larger industry dynamics, developments in public institutions, private collection management, and vibrant art scenes beyond the region, among other pressing topics that naturally attract a more diverse audience.
Talking Galleries New York 2022.
Talking Galleries New York 2022.
Talking Galleries New York 2024.
Talking Galleries New York 2024 with Glenn D. Lowry of MoMA and Pete Scantland of Orange Barrel Media.
LŠ: Having observed and analysed the art market closely over the years, what significant trends have you noticed since launching Talking Galleries?
LH: In the early years, the conversations were simpler—focused on topics like the growing importance of art fairs, digitalization, and gallery location strategies. Now, the landscape is much more complex.
Art fairs are experiencing challenges; the digital art market is evolving strategically; and the world itself has become more intricate. Being a gallerist today is far more difficult than it was in 2011. There are more initiatives like Talking Galleries now, which is great for fostering ongoing conversations about these changes.
Talking Galleries Barcelona Symposium 2022 with Ilaria Bonacossa, Jérôme Sans and Anika Meier (from left to right).
Talking Galleries Barcelona Symposium 2022, with Elvira Dyangani Ose and Carles Guerra.
Talking Galleries Barcelona Symposium 2022 panel. Courtesy of Talking Galleries.
LŠ: Mega-galleries like Hauser & Wirth have diversified their business model into owning restaurants and social clubs. Do you see these trends reshaping galleries—and if so how?
LH: Those examples are rare—99.9% of galleries don’t own restaurants or social clubs. What’s more common is galleries developing editorial projects, such as publishing books. That’s a trend we’ve seen grow significantly. Mega-galleries are a relatively recent phenomenon, becoming especially prominent over the last 15 years. The expansion of galleries like Gagosian started in the late 1990s but became a defining feature of the 21st century.
LŠ: You’ve mentioned the challenges facing art fairs. How do you see them evolving?
LH: I believe art fairs will remain key players in the industry, but galleries will approach them more strategically. Participating in fairs is one way to internationalize a gallery, but the best and most meaningful projects still happen within gallery spaces. In the future, I expect gallery spaces to play an even greater role in showcasing ambitious projects for artists.
LŠ: Since Covid-19, we have seen challenges for galleries and museums alike. In New York you hosted a conversation on the sustainability of museums - how they must expand and look for different revenue streams. How do you see them financially surviving? What new techniques are they or should they be adopting?
LH: At our symposiums, we have often discussed the relationship between galleries and museums or art institutions, and how they can collaborate. I clearly remember a speaker in Barcelona mentioning that today, galleries—particularly major ones with substantial resources—can operate bigger, better, and faster than many institutions, especially museums that are often underfunded. Regardless of their scale, the gallery world is home to numerous alternative initiatives that thrive on considerable freedom, agility, and flexibility that many museums often lack.
On the other hand, when it comes to the survival of museums today, recruiting new private donors has proven to be increasingly challenging in recent years. Thinking outside the box is essential, no doubt. As highlighted in the recent New York edition during the talk on museums, NFTs are emerging as a potential new source of revenue. Even MoMA has started developing collaborations with artists in this area.
LŠ: You’ve shared insightful comments on NFTs in the art world in prior interviews. How do you see them as a lasting opportunity for revenue for both galleries and museums? Why aren’t they being adopted more quickly?
LH: Initially, NFTs seemed revolutionary, with the potential to change the art market paradigm. But today, we know that they aren’t as relevant as we thought. They won’t solve the deep problems of the art market, such as transparency, credibility, or forgery. However, NFTs can help with traceability and security. If you digitalize an artwork and create a token or NFT, the system ensures the artwork’s provenance and security. You can’t forge an NFT, which helps build trust. In the future, this will be crucial.
What's interesting is that NFTs allow artists to earn a percentage of each resale, offering potential revenue in perpetuity, which is something museums find appealing. But this could change; we’ll see how it evolves. In Spain, there’s a tax called the "droit de suite" (4% of a resale price goes to the artist), but it’s harder to track in the traditional art market. With NFTs, the entire transaction history is transparent and traceable, making the system clearer and more efficient. Still, NFTs won’t solve all the problems of the art market.
LŠ: You mentioned the idea of a more stable approach to funding art institutions. What’s your take?
LH: That’s an interesting idea, but it’s still early. The percentage revenue for artists from NFTs is a positive development, but this model could evolve. Let's see what happens in the next few decades.
LŠ: In terms of expansion, what are your plans for Talking Galleries in the next few years?
LH: We’re not looking for major expansion right now. I think Barcelona is a great place to develop the European aspect, and New York is ideal for the American side. We may open small "capsules" or specialized Talking Galleries in places like London or Paris, focusing on specific topics, such as digital art, and hosting one-day events in key cultural institutions like the Pompidou or Tate. We’re on the right path.
LŠ: Would you consider collaborating with universities to reach future generations of curators and gallerists?
LH: Yes, that could be interesting, but universities tend to focus more on academic credentials, which isn’t our approach. We focus on professional conversations around current trends. We look at what’s happening now and discuss topics that matter, from a business-oriented perspective.
LŠ: Talking Galleries is produced by Screen Projects, the cultural agency also behind the video art festival Loop Barcelona. Why specialization in video art? Were there specific movements like the 80s video art scene or places like the art/tapes/22 in Florence that were influential for you?
LH: In 2003, video art wasn’t as significant as it is today. It wasn’t yet a mainstream medium. While artists like Bill Viola emerged in the 70s and 80s, video was not as accessible as it is now. Technology has made it much easier for everyone to create video art, especially with smartphones. By the early 2000s, video started to gain importance as a medium for contemporary art, and that momentum led to the foundation of Loop, an initiative I co-funded with my colleagues Carlos Durán and Emilio Álvarez, both of whom also run their own galleries in Barcelona
LŠ: Loop Barcelona’s central venue—a hotel, creates a fascinating distinction and explores new exhibitions venues. In 2024, the platform was hosted at the Almanac Hotel.
LH: When we first started, we hosted a fair in a hotel located near the city's main train station. It was convenient because the rooms provided a unique space for exhibiting video art. A couple of years later, Klaus Biesenbach, visited the fair and told us to never leave the hotel—it was the perfect setting. So, we continued the format, exhibiting video art in different hotels, which made it unique.
Loop Fair 2009 (Catalonia Ramblas Hotel).
Loop Fair 2009 (Catalonia Ramblas Hotel), Galeria Vera Cortes with John Wood and Paul Harrison.
LŠ: What were some of the challenges in establishing a festival dedicated to video art?
LH: It was natural to develop the fair, but we faced challenges with other spaces in Barcelona not fully embracing the conversation around video art. So we invited them to be part of the discussion under our umbrella. In a way, we turned the city into a temporary capital of video art, with exhibitions, talks, and festivals spread throughout the city.
LŠ: You work closely with collectors of video art. How do you see their role in preserving video art as a medium?
LH: In the beginning, there weren’t many collectors specializing in video art. Today, there are more collectors interested in this medium. We’ve built a strong, integrated community of collectors, curators, galleries, and professionals. This community helps guide us in shaping the fair and its direction. Collectors are passionate about video art, they support productions, and they actively participate in exhibitions. This sense of community is key to understanding Loop's success.
LŠ: Do you see video art as still being somewhat niche compared to traditional media like painting?
LH: Yes, video art is still niche compared to traditional media, which dominates the art market. The traditional art fair format doesn’t always work for video. For example, video works often need a controlled environment—lighting and space are important for projection. And most art fair visitors don’t have the time to sit and watch a 15-minute video. At Loop, the format is designed for collectors and professionals who are willing to dedicate time to engage with video art, making it a more appropriate setting for this medium.
Loop Festival 2024, “The Myth of Trinity II” by Thomias Radin, at Institut del Teatre.
Loop Festival 2024, “The Myth of Trinity II” by Thomias Radin, at Institut del Teatre.
LŠ: How does Loop as an exhibition model help other art fairs and festivals navigate the presentation and promotion of video art?
LH: The traditional art fair format isn’t ideal for video art. We know from experience that video requires specific conditions, like proper lighting and space for projection. That’s why Loop provides the right environment for video art. At other fairs, visitors don’t have time to sit and focus on video work. But at Loop, people are prepared to engage with time-based media.
Loop Symposium 2024. All images courtesy Loop.
LŠ: Loop is also actively supporting curators with residencies at partner institutions such as Matadero, Madrid. How do you plan to expand on this in the future?
LH: We work closely with our video art community, listening to their needs. This community guides our decisions and helps us develop initiatives like residencies, exhibitions, and talks. As their needs evolve, we adapt and develop new projects to support them.
One of our key features is providing young practitioners with opportunities for professional development by connecting them with our network of collaborators and partner institutions. This fosters a deeper engagement with the field of moving image. Additionally, we offer curators the chance to interact with artists, institutions, and art professionals from the contemporary art scenes in Barcelona and Madrid, creating a dynamic and enriching exchange of ideas and experiences.