Posts Tagged ‘art recession’
Posted by artradar on November 11, 2009
ASIAN ART MARKET
Visitors enter a Sotheby's auction room in Hong Kong for a sale of modern and contemporary art on October 6, 2008.
For the first time ever, the total auction revenue from “contemporary art in Asia” is greater than the total of the United States artprice reports. The statistics are collected from a 12-month period spanning from July 2008 to June 2009. Asia generated €130 million versus the United States’ €123 million. China is the highest gainer out of this trend, having generated €95 million from contemporary art during the same period. According to the report, this means China is continuing to “hold on to its third place global geographical art auction revenue ranking.”
The establishment of foreign auction houses such as Christie’s, Sotheby’s and Bonhams in Hong Kong, in combination with the financial strength of Hong Kong and Shanghai are to be accredited for China’s position. For those who are looking to begin collecting Asian art, this does not mean that the price of contemporary Chinese art is back up to its sky-high prices of a couple of years ago. Artprice’s report tell us that in the first half of 2008 the average price of contemporary works sold in China was $65,500, however, in the first half of 2009, this average dropped to $26,800.
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Posted in Asia expands, Auctions, Business of art, China, Chinese, Hong Kong, Market watch, Trends | Tagged: art, art auctions, art collectors, art market, art market 2009, art market size, art news, art prices, art recession, Asian art, Asian art market, Asian art market size, Asian contemporart art market, auction, China, Chinese art, Chinese contemporary art, Christies, contemporary art, Indian art, Sothebys | Leave a Comment »
Posted by artradar on October 28, 2009
ASIAN ART MARKET TRENDS
Usually, to be a part of the bubbling Asian art market scene, buyers need to associate themselves with industry leaders Christie’s and Sotheby’s for lack of other options. In South East Asia, however, there’s a new way for collectors to discover their contemporary art. According to a recent article by the New York Times, a host of new and smaller auction houses—such as Borobudur, 33 Auction, and Larasati in Singapore—have successfully emerged to “fill in the gaps” of the market, which means they are opening their doors to a broader range of the market, from high-end collectors to first time buyers. So far, sales suggest this may be the right strategy to entice new buyers:
“Last week, sales by two auction houses in Singapore, Borobudur and 33 Auction, brought in a combined $10 million, with the larger sale, by Borobudur, easily beating its pre-sale estimate. Later this month another Singapore auctioneer, Larasati, will offer 160 lots of Asian modern and contemporary art with an estimated value of 2 million Singapore dollars, or $1.4 million.”
A.C. Andre Tananma, "Run Away" 2008. Part of Larasati's Asian Modern and Contemporary Art Auction, Singapore, 25 October 2009.
Many of the new auctions houses have developed as off springs from established galleries, such as 33 Auction (Singapore), Maestro Auction House (Jakarta, Singapore) and Kingsley Art Auction (Beijing), as a way of broadening their offerings to current clients, while also becoming accessible to new ones:
“Like everything else, the art market is not immune from the global recession and consequently sales at most galleries have been down for the past 12 months,” said Valentine Willie of Valentine Willie Fine Art, which has galleries in Singapore and Kuala Lumpur, and has in the past helped Borobudur curate its auctions. “Auctions may seem a good way of clearing gallery stock and they offer the possibility for collectors of bargain hunting, especially after the boom of two years ago.”New and smaller auction houses would naturally try to fill in the gaps with more adventurous offerings and lower entry price points because, “the industry leaders, Christie’s and Sotheby’s have a somewhat limited and conservative offering of Southeast Asian art,” Mr. Willie added.”
Some auction houses are targeting the middle class crowd in particular, a demographic rarely cornered by larger and more established auction houses like Christie’s or Sotheby’s. To entice the middle class market, Singapore’s Ziani Fine Art Auction House tactic was to award cash prizes, serve wine, and even offer whiskey tastings at their September 20 debut auction:
“‘When you launch a new business you need to attract new people,” said Frank Veyder, a banker and partner in Ziani, before the auction. “We are very conscious there is a risk that people might think it’s just a fly-by-night, gimmicky house, but we’re holding this auction in a five-star location and we’re offering quality art.
“The pieces are not of the level you would see at Christie’s or Sotheby’s, but we’re not trying to play in that space,” Mr. Veyder added. “Our marketing is targeting to a wider, middle-class crowd.”‘
Though it can be said that the competition between auction houses is good for business, there are some auctioneers that are concerned that the market may have a hard time absorbing everything on offer. Daniel Komala, chief executive of Larasati Auctioneers, explains:
“‘The art market has bottomed out; in fact, it’s fair to say that it has picked up some speed of late,” Mr. Komala said. “Having said that, the real capacity to absorb, over all, especially in Singapore, is only going to increase by 20-30 percent maximum from its rock bottom level. So, it’s wishful thinking to expect that the market will double up in capacity compared to how it performed six months ago.”
Read more New York Times
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Posted in Auctions, Business of art, Events, Market watch, Overviews, Recession, Singapore | Tagged: A.C. Andre Tananma, art auctions, art market, art news, art prices, art recession, Asian art, Asian Contemporary Art, auction, Collectors, contemporary art, Filipino art, Filipino artists, Larasati, New York Times, Singapore art, Singapore artists, South East Asian art | Leave a Comment »
Posted by artradar on August 6, 2009
SERBIAN PHOTOGRAPHY PERFORMANCE ART
Ahead of her performance piece “The artist is present” due to take place at MoMA in 2010, Abramovic talks about her photography, seen on display at the Armory Show in New York. To view click
The Art Newspaper Digital- Video Interview- Marina Abramović at the Armory Show- 03:48 min – April 2009
Happy Christmas, by Marina Abramovic, 2008. Silver Gelatin Print. Serbian. h: 53.9 x w: 53.9 in.
In this video interview, Abramovic discusses her unique performance-style art, and her technique of featuring herself in her powerful visual artworks.
The key featured piece of the show ‘Happy Christmas,’ pictured at right, she says was inspired by her current tumultuous divorce.
Of the recession, she remarks “For an artist it is good to have a recession, because then you come to the real values. Recession is the best thing that can happen. For an artist, the worst is the best. Now is the good time.”
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Contributed by Erin Wooters
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Posted in Events, Fairs, Family, Human Body, Interviews, Marina Abramovic, Medium, New York, Performance, Serbian, Social, USA, Videos | Tagged: Armory Show, art recession, contemporary art, divorce art, family art, Happy Christmas, interview, Marina Abramovic, MOMA, new york, performance art, performance artist, photography, Serbian, Serbian artist, social art, The Artist is Present, Video | Leave a Comment »
Posted by artradar on June 9, 2009
EXPERIMENTAL ART CHINA
By Chris Moore
OV Gallery in Shanghai is displaying considerable chutzpah with its current exhibition, ‘Carry-on Items’.
In the wake of the financial crisis many galleries in Shanghai have retreated into more conservative and smaller shows. OV decided instead to run a series of highly experimental shows. Following on its earlier ‘Space Disoriented’ light-installations by Li Jing, the new show does something quite radical, converting the viewer’s experience into the art.
Walk into the exhibition and you will be confronted by a wall in the middle of the room, installed just for the exhibition. Upon it are displayed a table of numbers, 3 x 11 digits. And nothing else. What is going on here?
Phone numbers
If you live in China then eventually it will dawn upon you that perhaps they are phone numbers. Call them and you will find yourself speaking to a part of the exhibition, one of three ‘beauties’ who attended the opening night vernissage. Then everything looks utterly different.
For the opening night the artists decorated the gallery with a series of ambiguous clues. The first was the photographic and rather anodyne portrait of a young boy which appeared on the invitation but is also displayed as a huge poster covering the gallery’s shop-window. This remains. The second was a large potted orange tree with a neon ‘OV’ sign plonked precariously in its branches. The third was a measuring tape on a wall, possibly referring to other important works of Chinese contemporary art such as Xu Zhen’s 8848 – 1.86 (2005) and Wang Tiande’s recent ‘One Metre Seventy-Three’ exhibition at Contrasts gallery. The fourth was a half-crumpled disposable cup on a plinth. The fifth was a squawk-box (Doorbell) – you press the button and an obtuse announcement is made. All these things are in the first-half of the divided gallery.
Aircraft
Now, from behind the wall comes a juddering, frightening din, the sound of an aircraft taking off. So you take a peek and you see a film of an empty tarmac. The squeal of the engines begins to build, louder and louder, sending your heart racing and shredding your nerves until it is literally disorientating.
For an instant a person flashes by, launching into the sky. There is a moment’s respite but soon the engine whine begins again and another person takes off. These are post-Nietchean and supersonic versions of Bill Viola’s Five Angels.
Three Beauties
And all the while a photographer is snapping away at everyone and everything in the gallery. But some people more than others: the three ‘beauties’, women representing success, youth, vigour, modernity, and China, but also superficiality, consumerism, anti-art and – pause, wait for it – China.
After Duchamp, it is very hard to make a real anti-art exhibition. In one sense it was a great liberating moment in art but he set the bar very high. Manzoni did it and so did Beuys; Hirst also, before he became a brand. ‘Carry-on Items’ does it too, by subverting, ridiculing, and then re-appropriating the notion of ‘Found Items’.
As one of the artists, Gefei, said to me, the opening is not the exhibition. In fact, the exhibition is not the exhibition. Rather the exhibition is something that takes place when you walk in, and it goes with you when you leave, or when you call one of the numbers or make a ‘connection’. It is easiest to find it in the future as a possibility framed by preconceptions or in the past as a memory shaded by experience. Which sounds a bit pretentious. And it is too. After all, this isn’t an exhibition, it’s just pretending to be one. The artists themselves would just smile.
The final aspect of the exhibition, the catalogue, is yet to come. Prepare for take-off.
Another of the 'Three Beauties', Xiao Mi, with Xin Yunpeng's Doorbell (2009) installation - the 'squawk box'
One of the 'Three Beauties', Doing, with other guests at OV Gallery's vernissage
Ge Fei, Boy (2009) with one of the exhibition's 'Three Beauties', the intriguingly named Doing
Phone numbers of the ‘Three Beauties’
Contributed by Chris Moore, a writer and a partner in the contemporary art investment firm mooreandmooreart.co.uk. He lives in Shanghai and specialises in contemporary Chinese art.
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Posted in Chinese, Chris Moore, Gallery shows, Shanghai, Y Contributors | Tagged: contemporary art, Chinese art, Chinese contemporary art, art recession, OV Gallery, ready made art, anti-art exhibitions, Gefei, Three Beauties, Xiao Mi, Xin Yunpeng, Doing | Leave a Comment »
Posted by artradar on May 12, 2009
ASIAN CONTEMPORARY ART WEEK NEW YORK 2009
Director Leeza Ahmady talks to Art Radar about some of the highlights of the Asian Contemporary Art Week in New York 2009 and tells us how excited she is that it has come together so well despite the recession.
This is the third part of a 3 part interview:
Back Seung Woo, Utopia #007, C print, 2008
AR: Tell us a little about the specifics of the event.
LA: It is scheduled May 10 to May 18th for 8 days.
AR: Why did you choose 8 days in May? Any reasons?
LA: Usually we try to skip a year because we need that time to produce it but 2008 was such a big success in every way. We surpassed expectations. I was prepared to have about 30 institutions but we ended up with 47 and immediately after there was such a high and so many inquiries about whether we would do it again in 2009.
Because of the huge amount of work the team and participants had put into the event, we felt that we should continue the momentum even though the economic situation was just beginning to change. Some were beginning to be scared but everyone signed up. But since October things of course have changed dramatically and some venues did pull out.
But incredibly enough we have over 30 organisations this year with many new and emerging participants. They are excited because of the history of the event and they want to be a part of it.
For example this year Tyler Rollins, which specialises in art from Southeast Asia, Vietnam, Thailand and Cambodia is presenting an exhibition and Tyler is also organising a panel discussion to give some perspective on what is going on in Southeast Asia.
AR: Do you work with artists who are not represented by galleries?
LA: Yes we do. In 2006 we did a video programme in which 85 artists were nominated by experts from all around Asia and after a jury selection 30 were chosen and screened in different participating venues.
In 2008 we created a programme called Artists in Conversation and artists went through the same process but this time they had the opportunity to pair up with a curator or critic. It was called ”up close and personal with the best of the best in Asian art”. That was our slogan.
This year we have a programme called Open Portfolios. About 20 artists or more are part of it, two are from Central Asia. Kyrgryz artists Muratbek Djumaliev and Gulnara Kasmalieva will have a screening and discussion of their video work at MOMA on May 18th.
We have an event in which Qiu Zhijie, one of China’s leading artists, talks with Alexandra Munroe, senior curator of Asian Art at the Guggenheim Museum, at the China Institute May 12.
I am very excited about the Payal Choudhri event as she and her husband have one of the best modern art collections. They have agreed to hold a VIP event hosting one of our artists Huma Bhabha from Pakistan in their home on May 12th.
We have all these exciting new venues and the question is how are they doing this? I am in disbelief about how this is coming together. I do end up talking a lot more about money than programming of course. Consortium members that participate and support the ACAW initiative include: Japan Society, China Institute, the Guggenheim Museum, Ethan Cohen Gallery, Bose Pacia, Art Projects International, and Sepia International. Other participants with wonderful programs this year are the Marlborough Gallery and MOMA. The Rubin Museum is hosting a special installation of art from Thailand.
AR: How are the events allocated over the days?
Usually the week is divided into locations. On Monday night we hold our signature event at the Asia Society. Melissa Chiu will be talking about the future of Asian art with Carolyn Christov-Bakargiev, Documenta 13 Artistic Director.
Tuesday is dedicated to uptown galleries and museum, Wednesday midtown and Thursday is Hot Chelsea Night… I sayhot because there are so many participants that day. Friday will be downtown and Tribeca and on Saturday and Sunday we go to different boroughs.
The idea is to create a circle of people who hop from one place to another. It is a powerful way to share audiences as normally venues are naturally very protective. In this way everyone’s programme is broadcast through the website and printed pamphlets and we ask everyone to promote this to their own audiences and it ends up being a wonderful way to connect.
AR: So what do you have to say to people in these gloomy economic times?
LA: Well I love what has been coming out of the Asia Art Archive in Hong Kong….these incredible public programming events like the performance of Raqs Media Collective. It is so incredible. Instead of stopping and staying quiet at this time they are forging on. And that is a message I would love to get out. We can curl up and say times are so bad and what are we going to do and it is going to get worse. Many people are doing that and it is one option and the other option is to do even better with what you have.
AR: Do you find that you can reach out in another way in a recession because art has so many facets? It is different things to different people. Therapy, entertainment, education, sensory stimulation, distraction, spirtual connection, activism…all of these things come to the fore when you take out the investment and speculation buzz.
LA: Absolutely Absolutely. I feel the recession is going to change things dramatically. I don’t think that the recession will be the worst thing that can happen. I think it will help us all reflect on our relationship with art and its practice, and that is a really good thing.
This is the third part of a 3 part interview:
Part 1: How art from half of Asia has been missed
Part 2: Pockets of change in Asian art infrastructure
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Posted in Interviews, Leeza Ahmady, Nonprofit | Tagged: ACAW, ACAW 2009, ACAW New York, Art Projects International, art recession, Asian Contemporary Art Week New York, China Institute, Guggenheim, Gulnara Kasmalieva, Huma Bhabha, Japan Society, Leeza Ahmady, Marlborough Gallery, MOMA, Muratbek Djumaliev, Payal Choudhri, Qiu Zhijie, Raqs Media Collective, Rubin Museum, Sepia International | Leave a Comment »
Posted by artradar on April 20, 2009
CHINESE ART MARKET
Art galleries are hooking up with hotels, art projects are on hold, and artists are printing fine art onto silk scarves. Just about everyone in the art world is compromising in the economic downturn, reports Wang Jie for the Shangai Daily.
ShContemporary art fair
There’s speculation that ShContemporary will take a break this year but this has not yet been confirmed and the fair began active media promotion last month.
“No comments, but more details will be given later,” says Gu Zhihua, director of the organizing committee of Shanghai Art Fair, and the Chinese partner of ShContemporary.
Last month, Gu and his team began media promotion and planning for the 2009 Shanghai Art Fair scheduled for September at ShanghaiMart – a half year earlier than usual.
“We will try to find buyers for galleries coming to our fair,” says Gu tersely. “The size of the fair won’t be reduced, it still covers 24,000 square meters.”
Galleries partner with hotels
Dealers are making moves to show their works in hotels including the Hilton, Renaissance and 5 star Shanghai Xijiao State Guest House to broaden exposure to their works and attract new buyers.
“A five-star hotel could be a helpful venue,” says Zhang of Simply Noble Gallery. “I want to give more exposure to the art in my gallery instead of locking them in the warehouse” due to hard times.
He might be onto something. Hotel guests are mainly businessmen and tourists who aren’t visiting to satisfy their aesthetic sense, but a picture might just catch their fancy.
At the Hilton, enquiries have already been made about some of the works on show from their local gallery partner.
Cheaper products
The Hilton Shanghai has also developed some art side-products, such as postcards and albums. Other art products being sold by artists in Shanghai include art dolls, limited edition silk screen prints and scarves.
For full article read Shanghai Daily: Can’t afford a multi-million yuan canvas? How about a silk scarf? Apr 2009
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Posted in Fairs, Galleries, Market watch, Recession | Tagged: art recession, art recession strategies, Shanghai art fair, ShContemporary | Leave a Comment »
Posted by artradar on February 16, 2009
RUSSIAN ART COLLECTOR
Varoli reports on Bloomberg that Leonid Mikhelson is sponsoring a display of 30 works by 20th-century Russian master artist Kuzma Petrov-Vodkin, many of which are well known to the public.
Billionaire Leonid Mikhelson’s company OAO Novatek is sponsoring Russia’s first exhibition of a state museum’s works by a private gallery, with a display of 30 masterpieces by the 20th-century master Kuzma Petrov-Vodkin.
Russia’s second-biggest gas producer is making history 534 miles southeast of Moscow at the Victoria Gallery in the Volga city of Samara. Patronage is aiding Russian culture despite the decline in economic growth, stocks and the ruble.
Some of the paintings, known to many Russians since childhood, show a Bolshevik leader dying on the battlefield and a peasant riding a red horse which sails off into the sky.
“Novatek doesn’t abandon friends in hard times,” Vladimir Smirnov, Novatek’s vice-chairman, said in an interview. “We will continue to finance exhibitions at leading Russian museums.” The pieces are on loan from St. Petersburg’s State Russian Museum.
Novatek’s is also financing the Russian Pavilion at the Venice Biennale in June 2009.
The company is the main sponsor and has pledged 300,000 euros ($385,700). Mastercard Worldwide is another leading sponsor of the pavilion, while the Russian government pays about 10 percent of the costs.
“Without Novatek’s support, it wouldn’t have been possible to pull this off,” said Olga Sviblova, chairwoman of the Russian Pavilion. “Most Russian companies prefer to support classical art, not contemporary art.”
About Mikhelson:
Novatek Chief Executive Officer Mikhelson is a collector of Russian fine art. While he declined to comment about his collection, art dealers say he prefers 19th-century and early 20th-century Russian art.
Born in a town on the Caspian Sea in Russia’s republic of Dagestan, Mikhelson graduated in 1977 from Samara’s Civil Engineering Institute. Before helping to create Novatek in 1994, he spent most of his career building gas pipelines.
In April 2008, Forbes estimated Mikhelson’s fortune at $5.9 billion, and ranked him as Russia’s 27th richest person.
Source: Bloomberg
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Posted in Biennials, Recession, Russia, Russian | Tagged: art recession, Leonid Mikhelson, Russian art, Russian collectors, Russian Pavilion, Venice Biennale | 1 Comment »
Posted by artradar on February 12, 2009
INTERNATIONAL ART FAIRS
ARCO Madrid, one of the largest and most important international art fairs holds its 28th edition from 11 February to 16 February 2009 in a new location: Halls 6, 8 & 10 at Feria de Madrid, Spain. 238 galleries from 32 countries are participating.
Financial downturn hits art world – BBC – 16 Feb 209 – video clip – An insubstantial very brief video story about how the crisis is affecting the art fair: some artists are using the crisis as inspiration for their art: interview with art fair director Lourdes Fernandez who says it is more difficult for some dealers this year.
Dealers reported mixed results at Spain’s monster contemporary art fair Arco – Financial Times – 14 Feb 2009 – Georgina Adam reports that Spanish museums budgets have melted and prices of artworks have been reduced. Artists attracting interest/buyers included Georg Baselitz, Amaya Gonzalez Reyes, Eugenio Merino’s take off of Damien Hirst ‘For The Love of Gold’.
Click to buy
Arco Beep New Media Art Award – We Make Money Not Art – 13 Feb 2009 – Post written by a member of the jury about the award, the entries and the winner. The award was won by Ubermorgen.com for its EKMRZ Trilogy, a fascinating triptych about the three kings of ecommerce Google, Amazon and ebay. The Google art work ‘Google will eat itself’ involves the artists raising money with google text ads and using the money to buy Google shares.
Panorama India Artslant provides a list of artists and galleries from India, Arco’s special guest country 2009.
Tatsumi Orimoto performs Punishment at Arco 2009 video – Vernissage TV
Hirst statue stars at Madrid show as dealers aim to defy slump – Bloomberg – 13 Feb 2009 – A Florida collector bought Merino’s sculpture of Hirst committing suicide “Hirst is always trying to think of ways to make his art the most expensive. If he killed himself, then the value of his art would increase a lot.” Despite India being guest country only 13 galleries from there. US galleries dropped from 26 last year to 7 this year. Plenty of bargains. Russian GMG Gallery sold 2 photographs by Anatoly Zhuravlev to a prominent Swiss collector of Chinese art.
Image carousel - Telegraph – 19 images of artists: Isaac Montoya, Filomena Soares, Jose Batista Marques, Enrique Marty, Madeleine Berkhemer, Vivek Vilasini (India), Jitish Kallat (India), Valay Shende, Eugenio Merino, Yi Hwan-Kon, Samuel Salcedo, Bernardi Roig.
Indian art draws Europeans - IANS via Zee News – 13 Feb 2009 – New trend in Indian art away from works on canvas towards installation and new media apparent in gallery shows and Panorama, the show of Indian art curated by Bose Krishnamachari. Dayanita Singh in solo show, Shilpa Gupta work finds European buyer.
Gloom at major European art fair as boom in sales seen over – AFP – 12 Feb 2009 - This is a prediction story about the mood prior to the event. Galleries predict limited cash, prices down 25% for contemporary art, buyers will take time over purchases. Artist view: lower prices an opportunity for young. Includes image carousel.
Arco Madrid 2009 opens – calm forecast – Art Daily – 12 Feb 2009 – This is a facts piece with a promotional tone. It covers details of the move to the new location and the fair’s programmes and projects: India is showcased, three curated shows cover performance art, contemporary art and technology in art, there is a list of talk forums by experts and a description of the section showcasing capsule collections from private museums.
Recession triggers improvement in Indian art quality- SindhToday via IANS - 11 February 2009 – This is a views piece about how the collector base for Indian art is changing and broadening particularly in Europe and is based on interviews with Bose Krishnamachari curator of the special Indian Panorama section and Peter Nagy of Nature Morte, an exhibitor.
Fine Art Publicity - click to buy
Galleries drop out of ARCO- Artinfo – 5 Feb 2009 – Edited version of Der Standard story below.
ARCO hit by crisis- Artforum via APAvia Der Standard – 3 Feb 2009 – 20 galleries of 270 cancelled – dropouts include 2 from South America, one from Spain and Lisson Gallery London. Portugese Ministry of Culture provided funding to prevent more.
Related links: ARCO website
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Posted in Acquisitions, Bose Krishnamachari, Collectors, Dayanita Singh, Electronic art, Fairs, Indian, Interactive art, Madrid, Market watch, New Media, Participatory, Shilpa Gupta, Spain, Virtual | Tagged: Amaya Gonzalez Reyes, Anatoly Zhuravlev, ARCO, ARCO 2009, Arco Beep New Media Art Award, ARCO Madrid, ARCO Madrid art fair, art fair, art recession, Bose Krishnamachari, contemporary art fair, Dayanita Singh, EKMRZ Trilogy, Eugenio Merino, For the Love of Gold, Georg Baselitz, Google Will Eat Itself, international art fair, Jitish Kallat, Nature Morte, Peter Nagy, Shilpa Gupta, Tatsumi Orimoto, Ubermorgen.com, Vivek Vilasini, Yi Hwan-Kwon | Leave a Comment »
Posted by artradar on January 30, 2009
Beliayev-Guintovt Star
RUSSIAN ART PRIZE
The Art Newspaper reports that Kandinsky Prize prize winner Alexey Beliavev-Guintovt continues to cause controversy and threatens a split amongst the supporters of the Russian contemporary art scene.
“These (art) unprecedented divisions in a community which hitherto has been more-or-less united to promote contemporary art in and outside Russia,” said Matthew Bown, a Russian art dealer based in London.
Artist accused of being fascist, jury member disavows vote
The debacle began on the night of the award ceremony when 2007 winner Anatoli Osmolovsky
stood up and lambasted Beliayev-Guintovt when he was announced the winner. In the days and weeks that followed, prominent dealers, critics and curators readily gave interviews accusing the artist of being a “fascist” and “ultra-nationalist” for his views, and his art style that harks back to Stalinist-era aesthetics.
Friedhelm Hutte, a jury member and representative of Deutsche Bank, the prize’s co-sponsor, retracted his vote for Beliayev-Guintovt in an interview with the German website, Taz.de.
Beliayev-Guintovt prices boosted by controversy
Whatever the state of the argument, and despite the economic downturn, the Kandinsky Prize and all the surrounding controversy have done the winner no harm at all. Triumph Gallery reports that prices of Beliayev-Guintovt’s works are up by 30%.
Source: The Art Newspaper
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Posted in Emerging artists, Moscow, Painting, Prizes, Russia, Russian | Tagged: Alexey Beliayev-Guintovt, Anatoli Osmolovsky, art recession, Friedhelm Hutte, Kandinsky prize, Russian art, Russian artist | Leave a Comment »
Posted by artradar on January 24, 2009
ART RESEARCH ART MARKET
This month, ArtTactic launched its first version of the Art Market Survival Rating methodology, as part of its US & European Art Market Confidence Survey.
The new measurement captures the likelihood of whether an artist will be of High, Medium or Low importance in 10 years time. ArtTactic says that the rating is particularly useful in the current environment, as the art market attempts to clarify which artists are likely to survive the current downturn, and what importance they will play when the market rebounds.
ArtTactic
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Posted in Research | Tagged: art market, art recession, Arttactic, art market recession, art research, art market research, Recession | Leave a Comment »
