In 1928, some young artists living in Bordeaux decided to create a local market for contemporary art, as an alternative to the Salon des Amis des Arts of their own city, on the one hand, which they considered retrograde and conservative, and to the centralized and centripetal Parisian world on the other. They joined forces to create the group of the “Artistes indépendants bordelais” (AIB) and they organized an annual exhibition in which they could sell their works, in Bordeaux. This article aims to understand the functioning of this so-called “provincial” alternative to Paris and to measure its potential success, both as a market and as an arbiter of taste. The analysis proves that the AIB exhibitions happened to be a semi-failure, since this local initiative could not detach itself from Paris. In order to gain legitimacy, the AIB invited avant-garde painters and sculptors and they left the door open to Parisian dealers and art critics but all these actors, in turn, overshadowed the artists from Bordeaux. This economic and symbolic domination stemmed from the lack of a strong artistic identity for this group, the absence of domestic galleries specializing in contemporary art and the low demographics of Bordeaux collectors.

中文翻译：

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波尔多与巴黎：本地和独立艺术家的另类市场？

1928年，一些居住在波尔多的年轻艺术家决定建立本地当代艺术市场，以替代自己城市的沙龙阿米德艺术博物馆，一方面他们认为这是逆行和保守，但另一方面和向心巴黎世界。他们联合起来组建了“独立艺术家联盟”（AIB），并在波尔多组织了年度展览，出售自己的作品。本文旨在了解这种所谓的“省级”替代巴黎的功能，并衡量其作为市场和品味仲裁者的潜在成功。分析证明，AIB展览恰好是半失败的，因为这一本地倡议无法脱离巴黎。为了获得合法性，AIB邀请了前卫的画家和雕塑家，他们向巴黎的经销商和艺术评论家敞开了大门，但所有这些演员反过来又使波尔多的艺术家蒙上了阴影。这种经济和象征性的统治源于该群体缺乏强烈的艺术形象，缺乏专门从事当代艺术的国内画廊以及波尔多藏家的低人口统计学特征。