The art market as it is

[Artem]

              Net art in the sticky clutches of speculators

The art market as it is

Publication Openspace.ru publishes letter Franco-American galeristka Farida Kado in the newspaper Liberation, which is very pathetic Kado denounced modern art market makers ...

We publish this passionate text of direct relevance to the Russian art scene, courtesy of the author and the newspaper, hoping to open a discussion about the state of the global art market and what role it plays Russian buyers, collectors, dealers and gallery owners.

Globally, the commercialized world where everything is considered, should bring as much profit, art can not escape the general rules. It is a kind of business. Its traditional figures - artists, intellectuals, gallerists, critics - now invisible and inaudible. However, most of these professionals continue to do their job, they live by their labor, silently suffering from the indifference of the media who only talks about the financial or commercial dimension of art, measurement, of course, important, but to which art can not be reduced.

"Hit the jackpot", "passion of the art market," "collectors - trendsetters," "fantastic profits" - that's what words to describe the art fairs today. Bombarded the reader information about records, "24 million euros for two hours," "From the auctioneer's hammer under the flying spray of gold ..." The numbers, numbers, to intoxication, dizziness, ad nauseam!

These excesses in the contemporary art world makes me break the silence. I have now more than thirty years gallery in Paris and New York, I was the curator of several exhibitions in museums and exhibition halls in France and abroad, and I just lose my speech. Money has become today the sole criterion judgments. Press only writes about the "locomotives" of the market, inflating the names of super-Marchand, who rule these business empires.

These characters are raspiarennye the top lines of all ratings. But to enter ratings in art - that in itself is a scandal! Many newspapers and magazines publish lists, fifty or one hundred most important artistic figures. The "most influential people in the world of modern art" has its own roster, as if they were rich heirs or profitable commodity products. But the role of the press is not to strive for sensationalism.

More rarely you can find texts in which we are talking about the historical or cultural significance of a phenomenon. Of course, the art market exists, and it is normal to announce how much it costs what it represented, but in fact it still is not about oil! Art - not a commodity, not a product exchange. But prices reach such heights that it pollutes the information field.

Own works of modern art - it was a sign of belonging to the class of the great world, all the nouveau riche in this endeavor. Professional media presents us with people who quickly make a fortune, buying works of art to capture the imagination quantities. Methods for their stunningly simple: to buy everything, all in a row and for any price. And then get rid of all this, as soon as any new idea. And in the process cut down a good added value to the detriment of the naive collector.

At the risk of ridiculous, I would say that the collection - it's lifework is the story of the senses, it functions as a kind of psychoanalysis, it is accompanied by a collector and he opens himself. The worst thing - is that these new collectors, people who do not work or look for a work of art, nor to think about it, now create a "taste of the time." A handful of so-called patrons, using the tax benefits (for which we fought in 1980), dictates fashion.

This added dimension and mafia - everyone knows that buying and selling works of art has become one of the fastest and most reliable way to launder dirty money. Originated a total, an intolerable chaos! Many professionals, like me, waiting and hoping that imposters who artificially inflate prices for several artists, stars, would be exposed. Because the whole rickety structure is based on ignorance and lack of culture of new customers.

Those whose names are on everyone's lips, because they finance large-scale exhibitions, not deceived: for their personal collections they buy something really valuable, and the big names are used only for public relations in the media. Other kings of the art pay and much, his court, so they scurried around the globe in search of millionaires who do not know what to do with their money. Russian oligarchs buy auction houses, which give customers even more ignorant than they are willing to buy one knows that, his eyes closed, if only it was worth the countless money! Billionaires Qatar grab everything on the fly.

Princelings of the art world take advantage of this to get rid of all that they bought at inflated prices. The art world ruled by a handful of Meydoffa who, not believing in your own product and sell everything from fly, peresovyvayut of Russian arms in the emirate's pockets that they would leave themselves, whether they are even slightly unsure of the value of this junk. We have before us a scene "who can escape to," where everyone in a hurry to get rid of what should be called toxic financial products and does not ask what will happen tomorrow. Before our eyes the art world is sinking, and we are silent.

Some shout his indignation, as an art historian and curator Jean Clair (Jean Clair), who rebels against the "art of traders," and reveals the vicious mechanism that leads "from culture to culture (culturel), from culture to culture of money." [Sociologist] Eynish Natalie (Nathalie Heinich) raises the question entirely grant funding by the state works and institutions, which remain at the same private property (in France. - OS).

Press time to give the floor to those who still believe in art and artists, it must fulfill its duty by informing the reader not only that, how much it costs. It's time to talk about artists that they make and put up, and not only those who miraculously caught the attention of millionaire who is not even being able to remember their names, boasts that he bought three kilos of Chinese and five kilos of the Hindus. I deeply disgusting it all, and many, like myself, feel that they are a victim of the dictatorship of taste and money. Since the value of the reduced now to its price, the old art lovers completely disoriented.

When the ears are a substitute for the eyes, intuition and speculation choking feeling, which is still the most important selection criterion. It's time to get out of arts professionals to its reservation. The silent majority has to be finally heard. Many of us share that frustration and a feeling of powerlessness in the face of an aggressive minority. Wind will sweep away the stories of these students magician who transformed the market for contemporary art in the country of fools! We must now forcefully to protect other persons of the art market - that this, which operates in the shadows, away from the lights of the ramp! - http://al-ghe.livejournal.com/111733.html