High Life

HIGH LIFE #12 Sep 2017 21 “From my experience of working with museums, artists and hotel concessionaires in Macau, I find everyone to be very attentive and understanding. For example, if I tell them I need to change a particular element in an exhibition, they will do it quickly and effectively. In other cities, it does not work that way,” he explains. According toMikael, the lower rent inMacau is attractive to business as profit margins can be maximized when funds aren’t heavily wasted on the location alone. Yet, for now Mikael hasn’t set up his main initiatives for sales in the city. He is interested in lending objet d’arts to exhibitions and artists to further develop art concepts, which can promote both French culture and his antiques. The man about town can be seen mingling in numerous social gatherings with the aim of introducing Kraemer Gallery to Macau and securing its reputation in the hearts and minds of individuals, yet this urge to develop a network does not only apply to Macau’s high society. “During my exhibitions, one of the biggest pleasures is to take young students on private tours,” he says. “You do not have to be a buyer to appreciate antiques as they have a lot of fascinating history and stories behind them. The nuances and craftsmanship will also open their horizon to a foreign culture, which might inspire them to discover more about France in the future.” I comment, “In my opinion, there is a cultural common ground between the Chinese and French when it comes to enjoying the aesthetics of objet d’arts from your family. For the Chinese, 18th century French furniture pieces are the platonic ideal of what western antiques should be and in