8 Destinations for Art Lovers Recommended by Gallerists, Collectors

Not everyone’s a beach person, or a mountain person: Luckily, there are a host of appealing destinations for art fiends.

WWD asked top international gallerists, collectors and a smattering of artists to identify the cities that are percolating with contemporary art, and their tips for getting the most out of the trip:

Karen and Christian Boros: Between the inspiring chaos of Naples and the deep blue calm of the Amalfi Coast lies a universe of history, art and beauty that constantly seems to ask the existential question: why are we here? The answer may come somewhere between conversations with artists, curators and collectors you may meet on the way.

In Naples, Palazzo Doria d’Angri transports you straight into the grandeur of the 18th century. Contemporary art, meanwhile, thrives across galleries such as Galleria Giangiacomo Rossetti/Giangi Fonti, Thomas Dane Gallery, Zweigstelle Capitain VII, Lia Rumma and Enzo Gallery — together offering an exceptional cross-section of international contemporary art.

The hidden restaurant Da Dora serves unforgettable seafood, while Gran Caffè Gambrinus remains the definitive stop for real Neapolitan coffee. And when it comes to pizza, there is only one address: Pizzeria La Notizia 94. Fondazione Morra Greco is another hidden gem — a private museum with constantly changing exhibitions that reward curiosity and time.

After immersing yourself in the ancient life of Pompeii, you may find yourself an hour later at one of the world’s most sophisticated yet deeply personal hotels: Le Sirenuse in Positano, where Antonio and Carla Sersale have created an oasis of elegance, art and effortless hospitality. The recently opened club Le Sirenuse Mare nearby feels like the pinnacle of European beach life.

And for those tempted by the Amalfi Coast in the quieter months, try to secure a place at the residency program of Marea Art Project, one village further south — an experience where art, landscape and community living come beautifully together.

Daniel Arsham: Sugar Beach (a Viceroy resort) in St. Lucia. They have a large contemporary collection of indoor and outdoor sculpture situated in one of the most incredible Caribbean landscapes.

Jean-Michel Othoniel: The most exciting destination for contemporary art is undoubtedly South Korea. Of course, there is Seoul, with major institutions such as the Leeum Samsung Museum of Art and its exceptional collections of celadon ceramics — true national treasures that cannot be seen anywhere else. The many foundations, along with the recent arrival of leading international galleries, are a testament to the remarkable dynamism of the Korean art scene.

I am personally fortunate to be represented by Kukje Gallery, which has done extraordinary work. They are supporting me in preparing a major exhibition at F1963 in Busan, the country’s second-largest city. Busan itself is a fascinating place — perhaps even more vibrant and joyful. My works will also be presented at Kiaf Seoul (Sept. 2-6), a particularly vibrant fair that opens up exciting perspectives on the Asian art scene, far beyond the usual circuit. If you find yourself in Seoul, I highly recommend an exceptional dining experience at Hulotte, a restaurant that reinterprets Korean cuisine with a contemporary sensibility and subtle French influences.

Emma Lavigne, general director and general curator, Pinault Collection: Right now, I would say Venice. Beyond its historical aura, the city offers one of the most compelling concentrations of contemporary art anywhere today, especially during the Biennale. Every two years, the Biennale Arte di Venezia remains the essential event of the contemporary art world. Around this moment — an opportunity to take the pulse of artistic creation and of the world itself — a remarkable constellation of spaces dedicated to contemporary art has emerged, making Venice one of the most vibrant centers of living creation today. Among them: Palazzo Grassi and Punta della Dogana, which showcase the Pinault collection; AMA Venezia; SMAC San Marco Art Centre; Nicoletta Fiorucci Foundation; Ocean Space, the Fondazione Thyssen-Bornemisza Art Contemporary at the Chiesa di San Lorenzo; Palazzo Diedo; Casa dei Tre Oci, now under the direction of Nicolas Berggruen; the exhibitions of the Fondazione Bulgari In Between Art Film; and the anticipated opening of Isola di San Giacomo in Paludo by the Fondazione Sandretto Re Rebaudengo, transforming Venice into an extraordinary constellation for living art. To recover from this effervescence, Il Palazzo Experimental on the Zattere offers a refined vantage point over the Canale della Giudecca at sunset.

Afroditi Panagiotakou, artistic director of the Onassis Foundation: Come to Athens for the things you cannot see, but you can feel, for the contradictions that make sense or not. For the ancient walls next to a block of flats. And, yes, for the Parthenon and the Acropolis. Not just for the architecture but for being the symbol of democracy. Go to the Cycladic museum to see what modernity looked like 4,000 years ago. Go to the Byzantine museum to see how saints burn in hell and admire what a miracle religious art can be, especially if you’re an atheist. And EMST — the museum of contemporary art for the stories told bringing together Greek artists that matter. Sit next to Cavafy, the Alexandrian poet of philosophers and heathens, and look at Hadrian’s gate still welcoming you in the city of Theseus. See and experience absolutely everything that the Onassis Stegi does. For the art, the vibe, the people, the madness.

Lorraine Kiang, cofounder of the Kiang Malingue gallery in Hong Kong: I would recommend New York! The New Museum has just reopened. SculptureCenter has an exhibition of an important Hong Kong video artist Ellen Pau, while Indonesian art collective Tromarama is showing at the Kitchen.

Justine Durrett, director of David Zwirner Paris: I would recommend Paris, of course: It’s a city where history meets the present, a place that has always been a center for art, and the contemporary art scene is thriving right now. A must is the Bourse de Commerce — Pinault collection, which usually showcases Francois Pinault’s vast contemporary art collection. This fall they have invited artist Barbara Kruger to do a site-specific installation in the main space, which should be spectacular. Their restaurant upstairs is a great place for an upscale and delicious lunch, with stunning views of Paris. I also love the Musée d’Art Moderne, and am looking forward to their Kerry James Marshall show this fall. Right next door is the Palais de Tokyo, which is a hub for younger and more emerging artistic voices. Any contemporary art lover in Paris should stroll through the Marais, which has a concentration of contemporary art galleries in historic spaces (David Zwirner, Marian Goodman, Thaddaeus Ropac). Lafayette Anticipations shows more experimental installations and films, in a Rem Koolhaas renovated building. And the neighborhood offers so many fantastic restaurant options! I am a regular at Café des Musées, for traditional French cuisine, as well as Glou, which is a more seasonal, fresh menu. And when you need a break from all the walking around, sit outside at the local institution Le Progrès for a coffee or apéritif.

Lyndsey Ingram, gallerist: The city for me is Nice. It’s the perfect jumping off point for all the amazing things to see in the south of France. The Matisse chapel — possibly the most important site-specific art installation that ever existed — is the best reason to visit Nice, but also Maeght Foundation, Cezanne’s house, Château La Coste, Eileen Grey House, Villa Kerylos and Thoronet Abbaye. A bit further but worth the trip is Fondation Carmignac.

Belma Gaudio, founder and creative director of Koibird, and art collector: Venice, because the Biennale right now feels unresolved. It is happening in the middle of geopolitical fractures and controversy around national pavilions, artist protests and even its jury stepped down. The exhibition is less about masterpieces and more about exposing tensions. It is forcing the art world to question whether the nation-state model still makes sense, and whether institutions can ever be neutral. The sense I get so far is that the real energy isn’t in the main exhibition, but rather in the collateral shows across the city. That’s where artists are pushing ideas — around authorship, politics and materiality —without being forced to package them. The main pavilions are worth seeing and I am looking forward to seeing Lubaina Himid’s British Pavilion, as well as the Moroccan pavilion by Amina Agueznay, whose artworks I picked up a few years ago at the 1-54 Contemporary Art Fair in London so I am super excited that she is leading her national pavilion.

Outside the Giardini I would go see Michael Armitage at Palazzo Grassi, Lorna Simpson at Punta Della Dogana, glass artist Marcantonio Brandolini d’Adda at his studio in Palazzo Brandolini, “The Only True Protest Is Beauty” at the Fondazione Dries Van Noten and the Picasso, Morandi, Parmiggiani still-lives at Fondazione Bevilacqua La Masa.

I always visit Palazzo Fortuny, and Jesurum for sheets and pajamas. Best lunch seafood place is Corte Sconta, and dinner at Antiche Carampane. I like to have a Bellini on the terrace of the Gritti Palace looking at the bustling canal or go to their Bar Longhi at night for a cocktail.