In the Western world, galleries, international exhibitions, museums of modern art form a pyramid in which each level has its own rank and cultural capital, which corresponds to a certain monetary value. Artist, gallery director, museum curator, art historian, critic and art magazine easy enough to identify themselves on the ladder art hierarchy. At the top of the stairs is a limited number of directors of galleries and museums of contemporary art, curators, critics, art critics and collectors who form the artistic taste and direction of the artistic process. (4) They collectively (in communion with each other) to decide who and what direction " raise, and who and what "to withdraw from the path."
This common model requires substantial clarification. Contemporary art is often financed by all sorts of foundations, philanthropists (individual and corporate), the Ministry of Culture and other government agencies. A significant number of artists find themselves in the fashion and commercial art, which allows them to comfortably exist, but it does not affect the priorities of the international artistic process. Occupy a special place corporate collections and the markets of provincial towns. Latest supported by local patriots and lovers. In some countries, such as Russia, the strong anti-globalization trends and focus on "special path of development, which leads to support the artistic culture of national identity in opposition to international conditions. However, in Moscow peacefully coexist as international and national artistic contexts. For example, Art-Moscow "and" Art Manege ".
Thus, the main actors of the artistic process are artists, curators, art historians, critics, patrons, galleries, large and international group exhibitions, museums of contemporary art, art journals and specialized periodicals on art. Here you can add more art auctions, corporate collections, journalists, who introduced the general public with cultural events through the media, casual customers who decorate the interiors with works of art, etc.
Western artistic process rather debugged and each party has its own function in the overall structure. In addition to the functional component of this structure has a hierarchical organization. As the artistic process is a "living organism", which is constantly changing (one generation succeeds another artists, galleries are closed and open, constantly changing artistic priorities, new museums of contemporary art, etc.) and its structure is not formalized and elaborated in the course of a long artistic practice, it is logical to talk about the latent structure of the artistic process and its infrastructure.
In relation to society contemporary art process is fairly open. This is - professional or semiprofessional community events in which little effect on the surrounding socio-cultural environment, and if they influence, the indirect and delayed. The general public learns about the various developments in contemporary art through the media. But, unlike literature, music, movies, art is not amenable to high-quality mass-replication and the general public may not be available the art itself, and talk about it. In other words, modern art, unlike other areas of artistic culture is elitist and is brewed in its own juice. "
The art market in Russia, if it exists, in a very peculiar way. Max Frye writes that "there is in Russia no art market, but there are isolated cases of buying and selling contemporary art. But there is a game in the art market - a lot of games, good and different" (5) Marat Gelman argues that in Russia, five " unconditional "galleries (gallery Gelman," Regina "," XL "," Aidan "and" TV-gallery), and for five galleries for fifty artists in the great Russia, there is always at least some market "(6), however, M. Gelman has in mind only the actual art-oriented international context.
The Russian art market, there are 15 years old, whereas the Western at least 150. The first gallery opened in 1988: in Leningrad, "Ariadne," in Moscow - "M'ARS" and "Moscow Palette." In addition to galleries, buying and reselling works of art were engaged at this time many co-ops and various other organizations, because it was a way to convert rubles into dollars (buying paintings from the artist for rubles and selling them to foreign customers in dollars). However, if the official institutions of the art market appear in the second half of the 80's, informal, private form it can be found already in the 60 years.
Prior to restructuring in Leningrad was the only formal business structure - it's art shop (Nevsky Prospekt, 8). It opened in 1965 and belonged to the Art Fund. Work got in the shop, having previously obtained the recommendation of a special Arts Council, which formed the Union of Artists of its members. Initially, the shop went, as a miracle - hanging pictures and they could buy. Later opened two branches Stalls artists - on the Nevsky Prospect, 45, and under the Duma (Nevsky 31). 70-s schedule of artists in the shop sold no more than 30 rubles, painting cost typically 50 to 100 rubles. In the mid-70's price began to rise. First raised the prices up to 50 rubles per sheet prints AL Kaplan because of his work enjoyed an unusual demand by visiting foreigners. In the 70 years are well sold by G. Nimenovoy. Here you can see the work of VF Matyukha, I. Ershov and other left-wingers LOSHa. In the second half of the 70 after the gas-Neva Exhibitions in the shop began to appear the work of selected non-conformists - A. Gennadieva, AA Sysoev, Yu Lukshin and some others who were trying to "tame" the leadership LOSHa. However, no members LOSHa and the more underground artists to sell work through the shop was practically impossible. Shop artists while focused on commercial success, but not at the expense of "ideological saboteurs." It was, above all, an additional "feeder" for members of the Union of Artists.
I do not consider the activities of the Union of Artists and Art Foundation. These organizations are controlled and distributed by well defined rules for state orders, most of which were in one degree or another of ideologically oriented. This does not mean that artists are members of LOSHa did not ideologically neutral and non-conformist works. But if they did, the "table" and an opportunity to show them in the official exhibition was extremely small.
Unofficial art in Leningrad there despite the laws of market economy - the "proposal" existed in the complete absence of "demand". Incentives for creativity were noneconomic. Creativity of independent artists, however, as photographers, musicians, poets and writers emerged in the private sector as a negative reaction to the total ideological control of the state in the public sphere.
Krug Aref'eva "formed in the late 40-ies of the students ÑÕØ at Academy of Art, which was expelled for" formalism ". B. Gavrilchik excluded from the art studio in 1960 for "formalist affectation." "School Sterligova" existed solely in the private sphere. Pupils O. Sidlin engaged in the art studio Palace of Culture. Kpranova and the Palace of Culture. Illich. School G. Dlugach existed semi-official ...
The level of prices from independent artists was somewhat lower than in the shop artists. Graphics cost up to 30 rubles, painting - 100. The only well-known collector of L. Katzenelson was not a wealthy man, and artists often gave him his work, hoping thus to be a fairly representative collection. Before the gas-Neva Exhibitions of work by independent artists nobody bought, and if purchased, then at symbolic prices. V. Kubasov sold in the 60 years of his work no more than 50 rubles, but usually - 10 to 30 rubles. (7) B. Havrylchyk in the late 60's - early 70's sold paintings for 30 - 50 rubles, but extremely rare - there were no buyers. While in Moscow, the situation was different - V. Havrylchyk quite successfully sold his work at the apartment of E. Bachurina. (8) friends and family pictures just were given or exchanged for books, wine, and so on.
In general, many artists of the informal culture of shy and felt awkward set prices and selling their work. Creativity of thought, if not "holy" thing, then, in any case not focused on the sale. Commerce, like politics, are in the category of "forbidden", "dirty", "vile." In the sphere of commerce, many informal artists formed a stable complex of inferiority. In 1979, after a joint exhibition "Still Life" (V. Havrylchyk, A. Polushkin, Valran) I would like to buy from B. Gavrilchik his work "Dry Leaves" for 200 rubles. He declined to such a price and took $ 100. He recently admitted that he feels is still some awkwardness and confusion when it sells its work. (9)
Although the majority of the informal artists of Leningrad did not sell his works, and if they sell, then extremely rare, there were exceptions. Anatoly Maslov in the late 60's successfully sold his schedule, and in 1970 quit his job and lived solely on fees. (10) Mikhail Shemyakin already in the 60 years of buying and supporting Dina Verni. "Among the employees of Western embassies in Moscow Rukhin was a success. His work is a good buy, especially Americans. They all had identical apartments, and to a certain room at a certain wall hung a picture of each Rukhin." (11) Alexander Leonov, Yuri hot, Alexander Arefiev in the early 70's have participated in exhibitions in Moscow apartment. Alek Rapoport wrote in his memoirs that he was in Moscow came to the apartment to his nephew Armand Hammer, which was an exhibition of Alexei Leonov and A. Aref'eva. "The apartment was filled with their works and foreigners to buy them pretty smartly." (12)
The situation in Moscow was much more favorable. Numerous employees of the embassy, foreign correspondents were potential and actual buyers of works of the informal artists. Also known Muscovites - Ilya Ehrenburg, S. Richter, A. Volkonsky, B. Slutsky, L. Martynov - not only interested in the unofficial art, but some of them organized the exhibition in their own flats. In 1960, an exhibition at the apartment Krasnopevtseva D. C. Richter. Some time later - the exhibition EL Kropivnitskogo apartment Volkonskii. Numerous exhibitions of unofficial art in the 60 years were held in research institutes, in the homes of artists. Since the early 60's works of the informal artists began to buy. O. Rabin, the first two of his works sold G. Kostaki. "Arriving in Lianozovo, Kostaki chose two paintings and asked how much they cost. I was very embarrassed, and finally forced himself to say:" Fifty rubles ... "Then he hastily added:" If you dear, I am prepared to reduce the price in half. " He replied: "Your picture, my dear, are much more expensive. I am not very rich, but I will give you a hundred rubles for each. "(13) in 1965 was a personal exhibition O. Rabin Gallery in London" Grosvenorgaleri ", which apparently enabled him to buy a" three-room apartment of 59 square meters for 5,600 rubles. "(14) Of course, not all artists destiny took shape as in O. Rabin. For example, the first solo exhibition in the west at W. Nemukhin passed in 1986, ie 20 years after the exhibition Rabin.
In Leningrad, the situation changed after the exhibitions in the Palace of Culture. I. Strip (1974) and DC "Nevsky" (1975). Disparate group of artists got to know each other and joined together at these shows. Trade shows were so popular that gave rise to the fans and lovers, some of whom later became a collector. Got her own art and criticism, samizdat magazines (since 1976). Despite the fact that gas-neva show by its very fact, as it were legalized Leningrad underground, the government strongly opposed them further publicity. Many artists of the gas-Neva Exhibitions pressure KGB and its own initiative, left the Soviet Union (Yuri Zharkikh, A. Arefiev, A. Leonov, I. Sinyavin, I. Zakharov-Ross, A. Bassin, E. Goryunov, Y. Dyshlenko, E. Esaulenko, J. Tulip, E. Zakharova, N. LYUBUSHKIN, A. Rapoport, A. Putilin, Vladimir Nekrasov, A. Okun, VA Clover, E. Abezgauz, Yupp, and many others). E. Rukhin tragically died in 1976, Morev - in 1979. Some artists - A. Vasiliev, A. Belkin, L. Borissov, V. Ovchinnikov, and others - began to be exhibited in the West.
The official exhibition of unofficial artists in Leningrad during the second half of the 70 extremely poor, both in number and representativeness of the participants. In response, numerous exhibitions have been held in private homes and shops. Some of them turned into a permanent art galleries, keeper of which all sorts of ways were persecuted by the KGB. The most famous are used to show apartments K. Kuzminski, V. Nechaev, S. Kazarinov, GA Mikhailova, T. Valenta.
Official Culture - cultural officials, creative unions, press, TV critics - have pretended that the counterculture is not there. However, they had no right to enter into any contact with her as an independent cultural movement from its inception has been in operation 5 of the KGB to combat ideological subversion. But by the late 70's disregard and ignore such a significant event in the life of the city was no longer possible - standing room exhibitions, seminars, conferences, journals, the core of cohesive, active and experienced in conducting cultural events organizers, who have learned to assert their rights and behave in the not contradict Soviet law.
In this situation, either it was necessary to destroy the counterculture, or search for acceptable forms of legalization. Officials from the culture, after a lengthy approvals from the KGB and party bodies, on the one hand, and the constant onslaught of non-formals - with another, began to accept applications for the exhibition of unofficial artists. However, the true turning point came after the apartment exhibitions "The Bronnitskaya" (1981), who was arrested by the authorities. In response, the artists have established an Association of Experimental Art (initiators - S. Kowalski, Y. Novikov, S. Grigoriev). In the same year, employees samizdat magazine "Watch" Ivanov, Yu Novikov, Adamatsky opened a permanent literary "Club 81". Since that time, thanks to the leaders TEII official exhibitions underground became systematic and representative, but as part of "Club 81" is constantly held poetry and literary readings, meeting of the section of translators, conference on contemporary culture. "Club 81" was prepared and was first officially published "Circle", and by 1985 the club produced several magazines - "The Bypass Canal," "Mitin Journal", "pretext", "Red schedrinets" "DIM". In 1981 he also discovered the Leningrad Rock Club.
After the gas-Neva Exhibitions and improved business situation in Leningrad. These exhibitions and afterwards informal exhibition of artists formed the fans and collectors. And while they were on the order of magnitude smaller than the artists, those least likely sales there. Besides the informal artists began to buy the diplomats and foreigners. True, the list of artists, which bought the diplomats, was extremely limited (less than 10 - 15). A number of Leningrad artists exhibited at the apartment exhibitions in Moscow. For example, in yanvare1975 was held one-day exhibition of Leningrad artists Lyudmila Kuznetsova, in 1976 - the apartment group exhibition "Aleph" in Moscow.
Most of the unofficial artists were forced to seek outside earnings of art - rare sales could significantly change the situation. For instance, the W. Gavrilchik there was no sale after the exhibition in the Palace of Culture. Gas (74), DK "Nevsky" (1975), Palace of Culture. Ordzhonikidze (1978) and only after the exhibition in LDHS (1979) had a few sales. (15) V. Kubasov began systematically sell their work year after the gas-Neva Exhibitions. (16) I from 1978 to 1985, sold vsego13 works (oil on canvas) at prices ranging from 100 to 300 rubles. And, in 1981, the Museum of city history, I bought two urban landscape of 200 rubles each. Actually such prices (schedule - up to 50 rubles, painting - from 50 to 300 rubles) were kept until perestroika. At higher prices to buy the diplomats and foreigners - in the second half of the 70 paintings on canvas can be sold from 200 to 500 rubles, in the early 80's prices began to rise slowly. A. Maslov in 1981, sold in Moscow, diplomats painting at an average $ 1000. (17) But, of course, every artist has built its own pricing policy and we can talk more about the range, which ranged in price or the approximate price.
Thus, the art situation in the mid-80's (before adjustment) was as follows. In Leningrad, there were about 300 independent artists who worked "for the glory of art." They had the opportunity to show their work in the official periodical exhibitions or in informal residential. Advertising trade show completely absent. About exhibitions learned from phone calls. The official press pretended that it was an independent art simply does not exist. Similarly behaved art magazines. There was one critic - Yuri Novikov, who took part in all the actions of independent artists. Sympathetic critics and criticism are not officially spoken - is threatened with reprisals for supporting the "ideological saboteurs." Sale of works carried out privately - unofficially and illegally. Georgi Mihaylov for sale works in his salon had been convicted under "commercial mediation." Sales opportunities were severely restricted. Bought diplomats, foreigners, domestic collectors and fans, but mostly they were interested in gas-Neva artists. Most independent artists that came after the gas-Neva exhibitions, not to sell their works.
Since the beginning of perestroika, after the abolition of prohibitions and restrictions on social activities, rehabilitation of the classical Russian avant-garde (in 1988-1990 in timing were the exhibition Filonov, Kazimir Malevich, Wassily Kandinsky, "Soviet Art 20-30-ies") and Western art in the twentieth century, there was a complete legalization of the Leningrad underground.
In May 1988, in Leningrad, was registered gallery - "Ariadne." True, the first exhibition galleries (A. Vermishev, Vic, V. Voinov) in the store, "Poster" (Lermontov, etc., 38) was not open - the Culture Commission considered its ideological failed. Next action "Ariadne" in the exhibition complex in the harbor - From the underground art to surgery "(1989) - was a huge success. She was exposed to the work of more than 200 artists. Every day, its more than 1000 people attended. It sold 80%of work. For example, C. Trinity on this show is completely updated its exposure because of the constantly sold. (18) With this exhibition the works of many artists bought the timing. Completed this exhibition auction. Among the buyers of the most significant group of foreigners were in second place - Moscow, and just a small part of the Leningrad work purchased by collectors and fans. (19)
In 1990, the "Ariadne" held "The First Biennale of modern art," which was attended by 204 artists. It is visited every day 800 people (on average) and commercial success was much more modest than the previous exhibition. (20) In the same year, "Ariadne," participated in Moscow in the first festival gallery "ART ONE MIF", where sales have been minimal. But at the second festival galleries in Moscow was to sell 70%of the work. (21)
In 1988 was founded the Gallery 10/10 "(Foundation" Free Culture ")," Leningrad free association of artists "(Nevsky 20), 1989 - Gallery" Anna, "the Fund" Leningrad Gallery, in 1990 - gallery "Delta", "Palette", "Modern Art" (in the room LOSHa), in 1991 - gallery "Borey", "Art College".
Galleries in addition to exhibition activity is successfully sold. The main pokupatelemi were foreigners and speculators, who were carrying large quantities paintings abroad and there is either sold in bulk, or staged exhibitions sales. Fashion on the Soviet unofficial art in the world had no doubt politically motivated - interest in and support of Gorbachev's perestroika.
Paintings sold everything - Gallery, all kinds of cooperatives, brokers, dealers, adventurers of various nationalities. The artist could not leave the shop - the city was flooded with dealers who are prepared to buy everything. For many artists this was a shocking experience - after decades of total absence of sales demand exceeded supply.
Prices for paintings up to ten times despite the fact that official salaries have remained the same. On the background of the poor and needy citizens obtain the artists feel millionaires. In 1990, the gallery "Modern Art" has sold six of my work Americans for 29,000 rubles, an average of 5,000 rubles for each job. In this case, my salary is a leading researcher, PhD was 250 rubles, fee for one painting was 20 times higher than official wages.
Since 1987, artists began to carry out group and solo exhibitions in foreign countries where they received considerable fees in hard currency, which they bought used cars, home appliances and so on.
Quite a few adventurers of different wing while engaged in the art business. For example, two well-known artist held an exhibition "Artists of the repressed." They came up with biographies of six artists who have written for them work in different styles, rented an apartment and was invited to the exhibition of foreigners and diplomats. All the works were sold.
Things began to change in 1992. Fashion for the restructuring of the West is over and, accordingly, the commercial interest in Russian art abruptly awake. Prior to 1995, yet ended with overseas exhibition and festival projects that are planned in the early 90's. By 1995, was completely "calm." Many artists who came to the art market at the beginning of the restructuring and focused on commerce, went into other business areas. Closed many of the galleries. Works of famous artists have stopped buying. Many artists were forced to look for earnings for the side that would provide for themselves financially. Some artists have lowered prices of their work is about 10 times, others have transformed their style, hoping to please a potential buyer. But the case was that of a buyer in Russia did not exist. Anyway, in Leningrad-St Petersburg. He was in the West.
Further, it was found that during the perestroika years (1987 - 1992) the artistic process was completely focused on the resale of works of the West and artistic life of the infrastructure remains in its infancy. Paphos many galleries - to gather a collection and a museum of modern art - was a myth. Festival Leningrad galleries, held in 1991, was the only one. Petersburg Biennale of Contemporary Art ended its existence, and In 1998, gently evolved into an annual "Autumn fotomarafon. The only magazine - "The Art of Leningrad" was closed in the early 90's. Few "new criticism" that appeared during perestroika, as unnecessary dispersed. Somebody became a painter, someone engaged in a movie, others have settled in the museums.
True, since 1991, began to appear the institution without which modern art process in the city is unthinkable, but most of them is non-commercial.
In 1991, the timing was formed Department of Contemporary Art (Head - A. Borowski), who has over 10 years consistently represents domestic and foreign contemporary art.
Since the early 90-ies on the Pushkinskaya 10 settled Humanitarian Fund "Free Culture" in which emerged a decade Center for Contemporary Art. At present, "Pushkinskaya 10" the Museum of Nonconformist Art, six non-profit galleries, gallery of experimental sound, 40 artists' studios and musicians.
In 1996 the group "Mitka" opened its exhibition center on the street. Pravda, 16 - 20.
At the Central Exhibition Hall Manege Larissa Skobkina held 10 annual exhibitions of works by artists from St. Petersburg (1993), 4 international festival of experimental performances and the Arts (since 1996), 5 international exhibition "Dialogues" (1993).
Gallery "Art College" held two festivals, "Anatomy of Modern Art of St. Petersburg" (1998, 1999) and initiated the annual city festivals photo "Autumn fotomarafon" (1998, 1999). In 2002 was the fifth "Autumn fotomarofon, the central exhibition which focused on" Pushkinskaya 10 ".
Since 1998, started publishing the magazine on the art of "Maxim" (ed - M. Raiskin) since 1998 - the magazine "New Art World" (Chapter editor - V. Bibinova) since 2001 - the newspaper "Empire of Art" ( Editor - E. Karabutova).
In recent years, has opened a lot of galleries - "Valencia", "D-137", "On the bypass," Gallery Inc Club, "etc. Do not make sense to list all the galleries - to the city about a hundred (according to D . Severihina), but each of them once there, found, developed, acquired its own niche in the art or kvazihudozhestvennom space of the city. And despite the fact that most experts say that the art market we have not.
In general, the survival strategies of the gallery in the current environment was not so much - Patrons (overt and latent), the establishment of subsidiaries in its territory (typography, design studios, etc.), renting out their own territory and the sale of works of art.
Gallery "Art College" exists solely thanks to philanthropist. Sales of products are so insignificant that they can not cover costs even at the informational support of exhibitions. With two festivals, "Anatomy of Modern Art of St. Petersburg" ("Art College" - 1998, 1999) was not sold a single work, although at these festivals were presented to different generations, trends, schools, groups of artists, starting with the participants Gas Neva Exhibitions.
Borey Gallery survive through the chamber subsidiaries - editorial, design studio, printing press, bookshop, gift shop, and DPI, etc.
Gallery Delta, according to its director, IG Bolotov, ensures their existence exclusively selling works by contemporary artists.
A similar question arises with respect to artists. How to survive in our city 10 000 painters (4,000 members of the Artists Union of Russia), if no market?
Artists of the older generation, who began his career with the gas-Neva exhibitions are quite stable existence. They buy local and foreign museums and collectors, they periodically holds exhibitions in foreign commercial galleries. The most active of them to establish contacts with overseas art market still in the 70 years, the restructuring only legalized these contacts. It should be borne in mind that not all of them have achieved commercial success. V. Kubasov, for example, in a year sells one or two of work (at prices ranging from 1 to 3 thousand dollars), which allows him to work to make ends meet (22). I know of at least 6 six painters of the circle who do not buy, and if they are buying, it is extremely rare, and they have to earn outside the sphere of art, or eke out a miserable existence.
Artists who came to the Leningrad art scene to the adjustment or during the reconstruction, the most benefited from democratization. They are actively included in the foreign art hangouts at various levels, cooperation with which to one degree or another is still ongoing. On the other hand, they sought to gain cultural capital within the country that allowed them to take full advantage of the opportunities - to get exhibition space, to hold exhibitions of the museum level, publish brochures and catalogs, to place their work in museums. I mean, first of all "Mitkov", "Pushkinskaya 10" and the artists grouped around T. Novikova ("New Artists" or "New Wild", "The New Academy of Fine Arts). That's projects of the artists of these groups received an advantage when the distribution of grants from various funds in the last 10 years.
Not all groups and artists were able to fully consolidate its position in the West during the restructuring. For example, "Kocevje" and "Hermitage", after several successful foreign tours, after the restructuring were not in demand overseas. And, despite the fact that they hold their exhibitions in the Manege, the commercial success that does not work. Most of the artists of these groups earn teaching. Two groups of college graduates Mukhina - "Battle elephants" and "his" - conducting a series of outstanding exhibitions in Leningrad and other European countries, have broken up. Art fate of members of these groups has developed in the future quite differently.
Post-Perestroika artists, object-oriented, installation, performance, new technology, in my opinion, and do not expect to sell their works. They initially focused on all sorts of grants and foreign art-parties, who invited them to participate in various exhibitions and sponsored various projects. For example, a group of "new stupid" during its existence but have never managed to sell their projects, but some times they have received grants and paid for their participation in various festivals of contemporary art.
Thus, an artist in the current situation raises money for art from the following sources. Firstly, it is - all sorts of grants, not only from domestic but also from foreign funds. It also may include awards and scholarships received by artists from various organizations. Second, the patrons. If they do not fund the process of creation, it is often involved in the financing of exhibitions, publication of brochures, catalogs and other information. Thirdly, the artist is selling their own work. Ways of selling completely different - gallery, auction, directly from the studio. And finally, the last way - the artist makes outside of art, and he financed his own artistic creativity.
Artists who are fully provide its own existence selling their own works, much less than those who make money not art creativity. And it does not depend on the quality of works of art. I know a number of commercially successful artists, whose work on the level significantly lower than those who have, to design, teach, or to repair the apartment and do creative work in their spare time.
The main buyers of our artists are still foreigners. My gallery-experience shows that, what can be set, you can not sell the domestic buyer, but what can he sell it, can not stand - it's either kitsch or salon.
I know of no commercially successful artist in St. Petersburg, which would rely solely on the domestic market. More than 90%of sales made or other countries or foreign customers. Artists who are trying to survive solely on the domestic market, most often fall into the gap between interior and kitsch.
In general, the situation with the art market in St. Petersburg more than strange. There are a huge number of artists, there are many different levels of galleries - from those who specialize in souvenir painting, to those who represent predominantly contemporary art, a lot of patrons in one degree or another support the artists and galleries, there is a department of the latest trends, RM, which performs the function Museum of Modern Art, a number of large-scale periodic exhibitions of local and international level, there are quite skilled curators and critics of contemporary art, there is a media, which in one degree or another inform the public of developments in the artistic life of the city, beyond the specialized journals, and there is no art market. What is it? Whether all these necessary elements and agents of the infrastructure of the art market work piecemeal, in isolation and independently of each other, or each of them does something wrong, and wrong? Or, perhaps, has not appeared yet, not mature enough domestic buyers of contemporary art?
Gelman believes that the infrastructure of the art market we operate much differently than in the whole world. "In Russia, the artistic situation is sometimes paradoxical manner. Here the elements that would seem to have a key role, in reality, just off of context" (23) For example, Igor Metelitsin wrote: "Clearly the absolute independence of exhibitions of contemporary artists living in the most prestigious museums in Russia and the price for them. In the West, these things are inextricably linked. In the West, art critic of The New York Times about the exhibition is tantamount to the commercial success of the exhibition. A combination of some museum already assumes a high price "(24)
Director of the gallery "New Collection" Michael Krokin said that "it is very difficult to exist when there is no institution sponsorship, Institute of collecting, when there is no club," art lovers "(25)
Gelman believes that "the most fundamental thing we do not, it's a secondary market, the resale market (26)
One could continue citing the Moscow gallery owners about the problems of the art market, but it is already clear that Muscovites are worried about problems that St Petersburg is still too early to think about. What kind of resale market can say, if there is no market for sale? M. Gelman in 2001, according to him had paid taxes for the art business with 200,000 dollars in profit. "This, of course, less than 97 m (27) I have no doubt that the income of all the galleries for a year in St. Petersburg was much less than the income of one Guelman.
Igor Metelitsin president of the Eastern European branch of the LCA says that "today, holding a number of exhibits a good level ... I can state - from exhibitions are not buying. In Tokyo or New York with the exhibition of such level is sold from 80 to 100 percent of the work. We also show just the event , cause hang out, drink good wine "(28) Any St. Petersburg gallery owner or curator agree with this opinion. However, further Igor Metelitsin brings financial data necessary for the existence of a full picture. Gallery of the average level of "must have their goods on the selling price of five million, is the minimum." In addition, "to gallery there, not counting the purchase of goods, it is 15 -20 000 a month" (29) Refers to the dollar. For the St. Petersburg gallery owners is exorbitant, the astronomical sums.
And although no doubt that the art market in Moscow and St. Petersburg are at different levels at different stages of development, however, there is one common problem - involving the formation, and the deceitfulness of domestic buyer of artistic production.
Are there any prospects for the Russian art market? "We think that the Russian art market is on the potency of today, the world number one, because it is an unrealized currency incredibly high energy potential," (30) - said Igor Metelitsin, who spent 8 years in the Western art-bisnese and 3 years in Russia.
Sources:
1. Memories of Durand-Ruel. In the book.: "Impressionism." Ed. "Art", LA, 1969, s.268
2. Ibid, s.291
3. A. Mol. Sociodynamics culture. M., "Progress", 1973, s.267
4. See J. Norman. Contemporary art market. In the book.: "The art of the twentieth century. Results of the century. SPb., Ed." Hermitage ", 1999, p.17.
5. Max Frye. Alphabet of Modern Art. In the book.: Art Against Geography. " MI - St. 2000, pp. 206
6. Gelman. Culture should be redundant. In the book.: Art Against Geography. " MI - St. 2000, pp. 156
7. Proceedings of an interview with V. Kubasov (November 17, 2002)
8. Proceedings of an interview with V. Havrylchyk (11dekabrya 2002)
9. Proceedings of an interview with V. Havrylchyk (11dekabrya 2002).
10. An interview with A. Maslov (January 21, 2003)
11. G. Makhrova. Forbidden colors era. St. Petersburg, 1998, pp. 174
12. Alek Rapoport. From the book of memories .- Petersburg Readings. 1999 № 4, p.103
13. O. Rabin. Chapters from the book of memories. - In the book.: Lianozovo: origins and destinies. " M., 1998, p.8
14. Ibid, p.10
15. Proceedings of the interview (December 11, 2002)
16. Proceedings of the interview (17 November 2002)
17. An interview with A. Maslov (January 21, 2003)
18. Proceedings of the interview with Colin Trinity (January 11, 2003)
19. Proceedings of the interview with the curator of "Ariadne" IB Vinogradova (7fevralya 2003)
20. Author - gallery "Ariadne." Interview with T. Kulikova and IV Vinogrdovoy. - "Decorative Art", 1990, № 7, pp. 22-27
21. Proceedings of the interview with the curator of "Ariadne" IB Vinogradova (7fevralya 2003)
22. Proceedings of an interview with V. Kubasov (November 17, 2002)
23. Gelman. Museums: image, market power. - In the book.: Art Against Geography. " MI - St. 2000, pp. 19
24. I. Metelitsin. Double through the looking glass of the Russian art market. - "Decorative Art", 2001, № 3, pp. 77
25. Interview with the Director of the gallery "New Collection" Michael Krokin. - "Art Magazine", № 32, p.82
26. Gelman. Conversations with gallerists. - "Empire of Art", February 2001, p.10
27. Gelman. I want to persuade the country. - "New World of Art",. № 4, 2002, p.4
28. I. Metelitsin. Double through the looking glass of the Russian art market. - "Decorative Art", 2001, № 3, pp. 76
29. Ibid, p.78
30. Ibid. 76
Source
02.02.2011, 01:16
Formation of the art market in Leningrad-St Petersburg [Valery Valran]
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