Vladimir,
Цитата:
Сообщение от Vladimir
qwerty,
whether other local markets tracked this trend? For example, as a growing national Finnish art? Or Polish? Perhaps the numbers will depend on our involvement in the Sixties international process. No, I understand, in the international market from this time forth, there are two obvious name (Kabakov and Bulatov), which raised international concern. Part of Rabin. To some extent, Bruskin (thanks sotrubnichestvu with Marlborough). And who else? Who else of our resonates in the world trading?
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You can track trends in national markets, but international reputation certainly created in the U.S., and very few exceptions to this rule only confirms it. This is logical, as the market arts in the United States differs from all other markets: voluntaristic created in the 50's, so to speak, has already entered the industrial era (there are primary and secondary markets with its own laws) and do not allow any artisanal activity . Should also take into account the extremely favorable tax conditions that exist in the U.S. for trade in art.
Kabakov and Komar and Melamid (which is whirled in the United States under the guise of Russian exotic), and - to a much lesser extent (simply because they have invested much less money, and besides, not the Americans - posloednyaya exhibition at the Municipal Museum of Modern Art in Paris was more than confidential, as if the organizers of the exhibition was embarrassed for her) - Bulatov aroused interest outside the Soviet Union, for example, before the fall of the Berlin Wall.
Currently, there is an interesting phenomenon: at the last auction of their work exhibited by western vendors and purchasers acquired Russian (see work KV and MV, sold in the autumn MacDougall, very interesting provenance), which is Russia's revival of modern art market has enabled the Western Museums and collectors to get rid of "obsolete" works for more than reasonable price.
Bruskin - this is not serious :-)
Neither Rabin nor Nemukhin nor Tselkov and his comrades did not raise in the Western museums absolutely no interest, and can not cause it - for aesthetic reasons. In my opinion, there is a very small number of artists (2-3), who can claim some significant place in the world of art, but this is my subjective opinion, and to develop it, I will not.
Of course, you can find historical examples of what the artist home market "breaks" in the world, do not have far to go - Schiele and Klimt, even somewhat more in the 70 years ieteresovali mostly Austrian collectors, Buffet was "created" by the Japanese. But in general, you are absolutely right in saying that only the involvement of Russian artists in the international process can change the situation.