Duc competition away. Top Channel , compiled from the ratings of programs, fills it with the budget. So what are these " cultural " programs show from 2 am to 7 am . Or I do not understand something in your conceived ?

Added after 3 minutes
That you are at the title ironic?

The federal channels - public , they can not from these ratings and shares do.
But here again we come to the question of public policy obalvanivaniya population. Brought up a box of trash compartment is easier to convince about the " stability", " getting up off its knees ", " special way of Russia," " we are the most - and why we envy the West , and hate us " and so on fairy tales.
Yes , and you even on this forum can these accidents obalvanennyh lowing seen - they are there , they even called themselves "healthy part of the forum." <! - ~ 7 ~ ->
And this is not no "my idea ".
I just said why I think it unnecessary to separate the channel "Culture".

Added after 3 minutes
Yes, what irony there ...

In the scoop treated, but now will not. Competition. Even if not for advertising budgets, and for state subsidies.

Posted 5 minutes
Actually, the box - is a tool of manipulation. Who controls it - that it and use it.

Posted 1 hour 12 minutes
Galkovsky stebetsya over Malginov:
<! - ~ 7 ~ ->
No, treating with irony to the scribes ("columnist"), I can say in favor Galkovskii that it is quite ambitious, and keeps the price. It is clear that he is trying to grasp the situation (I can not say that it is possible, maybe I'm not the CA) - but it's good. Conditions and a high price - it's what you need for success <! - ~ 7 ~ ->

Maskit is a promise, and says that he is a businessman first and foremost. If he gave the money just like that, I would definitely ceased to respect him. What does it mean to double the capital under the presidency? To judge the intent is not correct, but for quite a even correct. Therefore, we need to look at those whose capital has doubled in the inning, against the background of the wholesale impoverishment.

Perhaps this option. We are, unfortunately, the channel Culture is not caught, and I do not know what's going on there now. Left some fragmentary memories from the past and when I come watch, but too rarely.
Yes, there is such a moment. I think that something like this out there and calculated.

I do not know what "keeps the price," but Galkovsky - a reading for Msc even managerov and Lipetsk and Tyumen, which does not have the heart to take off in the Msc.
It's short, I marked the level. And this is gud, because they had some things I find out about some people will read.


Canal is good, even excellent.
But! Reservation.
A Culture (transfer case, reports from events, interviews with actors, round tables) should be everywhere on the federal channels, rather than 30 seconds on the evening news before the big block of racing events.

Okay, I'm just pinning and over, and over the other <! - ~ 1 ~ ->
But again, you judge with his bell <! - ~ 1 ~ ->

Cyril, yesterday looked at the link next russ-trash on YouTube, and there on the right is relevant videos. Well, I ran through the list. Most European-made transmission, the content will not recount (I in PM), it is not even Comedy Club, this ... it ... Kusturica with his famous scene from "Black Cat" rest, because it is in the studio to a live audience. It is in Europe, again.
There is also apparently being duped by the state.

So, I doubt that's possible - and again to solve these problems with mass culture by some fairly obvious voluntarist measures in the society, to-e is based on the so-called "Freedom." Anyway: I believe, to hope to solve anything that way - it's like to build a dam to expect in the way of the universal flood. You can swim and others to help yourself, and stop its attempt to dam ... But this general argument.

By the way, what you offer is realized on the wired radio (there are other costs money). But now very few people listen.

Should not be ... The trend recently - specialization . Why catching sports such as boxing , on different channels when you can go to the "Sport" and see. So it is with music , you can certainly ponastalgirovat from time to time show " The View" , but this train has already left. If you want to watch , listen to music go to the music channel , and even in their field - pop , rock.
Since culture is the same as a channel - good. A high-profile news will be of course on all channels , for example, is now somewhere to show the diamond skull Hirst - here and tell all . I already asked yesterday about different media. I rattled off something in a hurry out of the car , climbed today to see what smart people say , and came across your comment . That's funny. http://www.kommersant.ru/doc/1908140

In Europe, there is everything there you can dig a lot , but for some records of the clubs and studios have been laid out on the N -Tube should not judge the state of culture in general in European countries.
Doubt , who is against it. <! - ~ 1 ~ ->

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[QUOTE="Konstantin; 2055751 ']If you want to watch, listen to music go to the music channel, and even in their field - pop, rock.[/QUOTE]

Most of the population shows a 6.5 channel receiver box.

Four of them - federal.

[size="1"]Added after 3 minutes[/size]
Today at Tate Modern, the city of London, United the Kingdom.

In the U.S., viewers are being sued for TV shows, because of - literally - that they are so busy watching that you forgot to do something important, and this caused them a loss.
For instance, carried away, forgot to turn off the iron, and the house burned down.
That I'm serious.

This burp dominance of lawyers.
There, in the instructions to the stove microwave, they will say - it is impossible to dry the animal.
Otherwise, without this phrase some dry and sue for something that is not warned.

It is, too.
But including
and the magic of blue screen as a result of competition for the audience.

The magazine "ART" a real contribution to the development of the art market in Russia.
 

Information agency "INVEST INFO" \\\\ main direction, finance, real estate \\\\, St. Petersburg, from April 2012 to start issuing periodical magazine "ART" \\\\ certificate of registration of the Federal Service for Supervision of Communications, Information Technology and Communications
UI number TU78-01 091 \\\\. Expected topics:
cultural news in the field of visual arts, curatorial projects, exhibitions, forums, art colleges, auctions of contemporary art, antiques, hobbies.
We invite the participation of curators, critics, galleries, artists, and all indifferent to art people! For publication in the journal articles will be paid royalties. There will also be printed promotional material content of the galleries, antique shops, artists, producers, etc. hud.materialov
Circulation 15000-20000 copies. monthly. Spread the word: Saint-Petersburg, Moscow, Berlin, New York. Submit your material or you can ask a question
art.z.812 @ bk.ru or by phone. 89681944085

there . [/FONT][/URL]

Looks like a storm in a teacup.
Things do not go to one place, moving closer to the box office.

Apparently, here's an article http://artinvestment.ru/invest/analy...1_sovrisk.html

How to "reset" Russian market of contemporary art?

ARTinvestment.RU - 11.04.2012, 16:14

As part of its economic model of a modern contemporary art, even stylistically must radiate success. The collector should be involved in an intellectual feast, with its celebrities, glamorous exciting glossy media, prizes, awards, auction records, debates adventuresome ... In the eyes of the layman look for certain well-known artists "stars" from imposing fees, and gallery owners, and leaders of the art market - people almost all-powerful. Reasons to doubt this should not be, and the problems in a segment of contemporary Russian art to speak out loud is not accepted. But, unfortunately, is infinitely camouflage sharp economic moment is impossible.
 
[SPOILER] This year, the market for contemporary art in Russia shows symptoms of a serious crisis. Cracking at the seams (with the threat of closure), known gallery, including the sign, whose names are symbols of the market. It has long been empty so-called "commercial" of the 38th Hall of special projects at the Tretyakov Gallery, which in theory should be part of those wishing to exhibit. On the domestic auctions of contemporary artists are rare and mostly remain unsold. And the concrete conversations about the investment prospects of the person sellers are increasingly apologetic look. The mood in the market, such as if a venture project with a planned loss ratio laid down ahead of stupid investors switched to a rigid self-financing. And people began to crawl.
 
What is happening with us is doubly frustrating given that the segment of the contemporary art world is now experiencing a real boom. 2011 was a record for him in history, providing an impressive 12%of the world's auction turnover with sales of 1.2 billion dollars. For comparison: in 2001 the auction market for contemporary art was in the money 13 times less. Audacity, the relative affordability and impressive investment potential attracted to the world market for contemporary art collectors of the army. Why exactly the same arguments do not work in the Russian market?
 
Not being an active participant in the internal processes of the market of contemporary art, ARTinvestment.RU may well be judged on how this whole situation looks from the outside. Especially having before our eyes an example of Russian antiques market - not the standard, but functioning far more effectively. Our explanation of what is happening with the market based not only on his own observations, but also on the opinions of collectors and experts who were interviewed at different times ARTinvestment.RU. So ...
 
Who's to blame?
 
Prolonged poor economic situation has led to an aggravation of the old, formerly well-known diseases of the Russian market of contemporary art, among which are the following:
 
A. Imbalance prices. The sharp rise in prices for contemporary art market before the crisis in 2008 then left them feeling "dutosti" and cut off a significant number of potential buyers. On the nature of missed opportunities is well said in an interview with Sergei Popov AI gallerist gallery owner: "The Kulik, AES, Vinogradov and Dubossary prices rose ten-fold. And it was too harsh and very early jump. As a result, a number of names (I'm not talking about those three) "hung" with prices in the tens of thousands of dollars. And the reason is that in Russia six years ago appeared a pool of top customers and top ten collectors has played a huge role in the promotion of the market, there are a few people have moved the prices several times and cut off a lot of other customers. The gap has turned a giant. " In fact, the market for contemporary art "tuned" to the few wealthy buyers, and it cost them to leave the market as a failure occurred. The balance has not recovered to this day. Galleries, for understandable reasons can not sell for 20,000 that six years ago sold for 40,000. To order "retreat!" We have not learned. A secondary market, which could help regulate prices, not created.
 
Two. The absence of a secondary market (the mechanism re-sales). For a long time it was convenient to pretend that he is not needed. The question of whether you can bring to you on the resale of previously purchased item (a common practice antique galleries), caused a genuine surprise gallery owners. Say, why resell? Our customers and so all is well. The situation, I must say, it is very convenient for gallery owners: the only measure of prices in this case is a figure which he calls the buyers selling gallery. And as without resale value you can check it out? With contemporary art auctions, too, not friends, and eventually the collector if necessary sales are often forced to remain alone with their problems. And stories about such a bad experience passed from mouth to mouth, which clearly does not increase the number of new customers.
 
Three. The failure of the domestic auctions. In fact, auctions now reigns antiques and second half of the twentieth century. The Art of the XXI century exhibited extremely rare. And when put up for auction, often remains unsold. In addition to the vicious passions of collectors to buy directly from the artist, so cheap, that there are dozens of reasons. Up to the most absurd. In particular, the "party" buyers of antique and contemporary art are highly fragmented. Therefore, many simply never occurs to catch his contemporary artists to "antique" auction. There is no such tradition. Well, do something in our auctions is difficult to blame. They tried to sell art, did not get a descent, and this trend was postponed until better times: the trade should not that like, but that is for sale. As a result, contemporary artists, the auction does not accumulate statistics, the channel does not develop a civilized regular sales in the auction game is not drawn new customers.
 
By the way, the foreign trading with the Russian contemporary art, too, not all the glory of God. I remember in an interview with AI Svetlana Maric of Phillips de Pury said that unlike the Chinese, Brazilians and Ukrainians, Russian collectors and galleries are reluctant to support their artists on the international market. Rarely insure them against failure. "And explain to them that buying at international auctions, they give a higher status of your collection, it is impossible. The fact that care work for the greater money is automatically raises the price of their entire collection - very few people understand they have no time for it. " In short, like all successful auction. But no one wants to pave the way for others, paying at auction.
 
4. Inefficient work of local art galleries on the cultivation and promotion of artists. From the looks, the rate for many years was made on the tested material - of "names", shot in the late 1990s. A lot of us can recall the "stars" that have sparked our galleries in recent years? Units. By unfortunate coincidence, the generation of 25-35-year-old Russian artists included in the economic crisis does not dialed no fat, no inertia. Many did, and left without the support of gallery. As a consequence, did not form a mass middle segment, which normally is the backbone of any market.
 
Five. Lack of state support. Exhibitions of contemporary Russian artists of the state represented by a set at big corporations stubbornly sponsors. The reasons for this are well explained in an interview with AI Alekseev and Cyril Cyril Svetlyakova from the Department of Contemporary Art at the Tretyakov Gallery. In a situation where there are five conditional sponsors and 20 exhibitions, there will be more money in the antique win-win projects. It is clear that for Labasa Korovin, and write and all specialized publications, and the general press (frankly, free and without suspicion of commercial interests), and a living - a question. Firefly does not hide the "Sponsors are looking ratings which attendance by Levitan and how everyone else. So, naturally, the money identify Levitan, and not an unknown name. " For contemporary art, no matter how innovative it was, a vicious circle: there is no exit at the viewer, do not have access to prestigious sites, so why should a large-scale public interest? The state also maintains all of its resources primarily of interest to the classics, ignoring his contemporaries. In the West all wrong. Remember where exhibited the same Hirst, Jeff Koons, Ai Weiwei? Tate, the Louvre, the best museums in the world ... And if you think large-scale exhibition of contemporary Russian artists in our major museums? Where do we get "spark" from which the flames flare up consumer interest.
 
6. The lack of large-scale commercial activities in contemporary art. Yes, there is good for the current fair "Art Moscow" (once a year holiday), and some attempts to start competing commercial projects on a regular basis. And what else? For comparison, the annual antique segment are two antique shops, almost every weekend, "banging hammers" a few auctions and carried far more gallery exhibitions with obvious commercial intent. Buyer to choose from. In addition, to think about buying it pushes massive exhibition projects conducted with the entire scale (again, remember the show Levitan, Labasa, Korovin and others). Let the formal exhibition of these non-profit, but the gallery, then such events are great to react and adjust range.
 
7. Dissociation and confrontation of market participants. It's not just that, every man for himself - it is almost always the case. But, for example, the same "antikvarschiki" on important issues can present a united front in its structure - the Confederation of antique and art dealers (MKAAD). When there is a structure that is to say to whom - and with the state, and with each other. There is someone to provide legal support, to assist in organizational matters. The "aktualschikov" so there is no overall structure. The subjects of the market of contemporary art in this sense is much more fragmented, atomized. It is clear that trade in contemporary art - is a sport that requires high individual skill. But in fact the lone missing opportunities only small projects. A big draw is not. There is another delicate moment. On the part of striking that the agents of the market of contemporary art are inferior "antikvarschikam" in kindness toward customers-neophytes. Although it would seem, everything should be vice versa. Snobs are everywhere, but the feelings, in a segment of modern art developed stronger relationships, "get-together," lining up the hierarchy and barriers: do not go there, these are not good friends, those are not calling, etc. Safety is a reaction or something like that, but for the beginner and any untrained viewers that the world is enough "jerkiness." The internal confrontation of market participants is also evident: they were trying to unite several times, but a descent began to blame each other in a tug on the blanket itself. The result is a blanket over the years to a state of disbelief worn out Trishkin coat.
 
Eight. Imperfection of business ethics. In addition to the practice of civilized relations between the artist - gallery owner, based on legally binding documents (at the expense of its illusions no no), there are additional ethical complications. On the Russian market of contemporary art had long been respected the "rules of war." I feel that the time needs to be explained. The fact that not all collectors are buying regularly sponsors clean. You have to own something and resell the sake of strengthening the collection, and for some friends to do the deal. Happen here and nuances: the collector sold the work for a thousand dollars, but after some time the buyer learned that the artist is someone gave a similar thing for five or put up for auction at a price much lower than the market. Information about such things spread very quickly. And how then to explain the situation to the buyer, who feels betrayed? But in an embarrassing situation can get any collector. Good mood, they did not add: burchat that a lot of trouble with the living - and, too, can understand.
 
The current state of the market - a source of frustration for several generations of artists. And especially hurts the 25-40th. Indeed, contemporary artists speak another language, their thoughts no longer enough canvases and paints. Today, the creation of works of art are increasingly requires a serious financial, industrial and infrastructural support. But where to take it, if all does not sell?
 
What is happening in contemporary art around him does not benefit anyone. Neither the artists nor collectors or gallery owners, no figures of the market. Among them are many of those who are concerned about all of this seriously. And then it's time to move to the second eternal question of the Russian intelligentsia ...
 
What should I do?

What does it take to make the art market?
 
A. Demand - the desire to buy and military collectors.
Two. The offer - quality products that are available in different price segments.
Three. Infrastructure Sales - galleries, fairs, auctions, etc.
4. Cash flow as a "blood" of the market.
Five. "Magic" - impulses that "spark" ideas, a set of rational and irrational factors that cause this whole car move.
 
Here, too, with more questions than answers, for which nowhere. But potentially all be solved.
 
I must say that most of the ideas contained here has long been discussed the expert community, collectors, dealers and artists. Many of these provisions seem utopian, but it is up to the pores. I'll try to list just a few steps, it is theoretically able to "reset" the market for contemporary art.
 
A. Learn to work effectively with the state. It just so happened that the money for culture today is largely concentrated in the hands of the government - federal and municipal authorities. And not only money but also the administrative levers - the possibility to allocate spaces for art objects and the development programs of urban sculptures, etc. The possibilities are. Another thing is that the state does not need to go with abstract ideas, and with ready-made, carefully decorated projects for which it is clear that worked on them, not only creators, but also lawyers. Need a team lobby. In single-handedly make it unlikely to succeed, and therefore must be ...
 
Two. To unite and organize. We need a formal structure for representing the interests of the community - an analog of the International Confederation of antique and art dealers - on behalf of which you can engage in dialogue. Overcome personal conflicts to help a collective governing body. The name and form of organization - it's technical issues. Already there are, for example, Interregional Public Organization Art Community "New Culture". Its registered Sergei Gridchin owner Gridchinhall, but immediately warned that made it all and he does not claim to leadership. While this is only legally admissible structure, which has yet to be filled with content. As well as membership fees. Something.
 
Three. Establish a creative dialogue of contemporary art with a recognized, a modern classic. For example, negotiate and implement joint exhibition of contemporary art with the representatives of the sixties - to arrange duets, to build bridges. It is important for the public, increases the overall prestige of contemporary art and expanding base of potential collectors and the general range of stakeholders.
 
4. Learning to work with existing auction houses. Out of work on the secondary market - a rather painful process of stripping the price of many illusions. But flounder about in the unjustified expectation is it better? Sales results will fall into the open statistics, benchmarks, and will cause the trust of future customers. And so there was no failure, use the "recipe Phillips'a" - just hedging their artists and to control the first sale, as it is a long time and mass do Ukrainians. Over time, the practice will become widespread yet sporadic commit earlier transactions through an auction, so that the result remained in the database.
 
Five. Encourage the establishment of clubs of collectors of contemporary art. Opinion of the hard-core collectors as solitary now more myth. Collector's important to know that he is not interested in one particular artist's work, a group of artists. He, too, it is important to exhibit and promote their assembly to participate in exhibitions, cooking directories. In an environment of like-minded and fun to do it, and chipped costs. One example of successful self-organization of collectors - an art studio "Dominant", regularly participates in key exhibition projects. Pleasure to watch. They managed to create a real market for several artists. So, the idea works.
 
6. Generate accessible price range. Today, in the range of 1-2 thousand dollars minimum supply of quality items.
 
7.
 
Eight.
 
9.
 
10.
 
11.