Art Through the Eyes of Gen Z: Finally a New Image of the World

The exhibition, simply titled “Gen Z”, offers a unique space for artists often overlooked by collectors. Marked by the upheavals of COVID-19, Gen Z addresses themes of deep contemporary resonance: identity, belonging, resilience, and decolonization, offering a fresh perspective. Through their work, these artists invite us to rethink notions of borders and human relationships. So, how does this generation position itself in an art market in full transformation, and what strategic challenges will shape its future?

“In 2005, when the idea of inviting the new generation into the museum began,” explains Julie Dayer, curator of the Gen Z exhibition at Photo Elysée, “artists weren’t being exhibited in galleries, they didn’t have Instagram, no publications. It was very rare for a museum to take an interest in their work.” Twenty years later, things have changed: the emerging art scene is more visible, more connected, and more structured. “Now, many festivals showcase the younger generation and reward their work.” Of the 65 artists exhibited in Lausanne, five are already represented by galleries. Dayer highlights the importance of social networks in spotting talent: “It was interesting to exchange with gallerists, or directly with the artists via private message on Instagram to bring them here.” The reality of the market, however, is that collectors and patrons rarely navigate these platforms, which have replaced the catalogues and portfolios of the past.

But online visibility is not always fair. “On social media, there’s a huge inequality in the number of followers. For some, social media is really part of their artistic practice and an opening into the professional world.” Such is the case for Russian artist Toma Gerzha, who has 440,000 followers, or Togolese photographer Delali Ayivi, who has photographed actor Damson Idris for Dazed and signed several Vogue covers.

Still, most artists continue to juggle artistic projects and day jobs. “Some artists, to make a living, have other activities. If they’re lucky, their day job is linked to their art. Others struggle to find time for their practice,” Dayer laments.

This reality is widespread among the artists Luxury Tribune interviewed. In a struggling art market—where legendary galleries are closing one after another and even the classics struggle at auction—how does Gen Z keep hope alive?

For Florian Gatzweiler, a Berlin-based artist born in 1998, monetizing art is difficult: “It’s hard to commercialize our work because we don’t learn how to do that in school. We teach ourselves and try to make a living. I dedicate 10% of my time to my artistic practice, and the other 90% to applying for grants or doing commissioned reporting for newspapers.” A similar experience is shared by Tianyu Wang, a Chinese artist born in 1997 and a graduate of ECAL in Switzerland: “All these factors—lack of institutional support, market marginalization, and political sensitivity—create a difficult and precarious environment for artists like me, both creatively and economically.”