Art (modern) state from doing anything

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Here's a primer for the first part, the second has not yet translated.

Le Monde Diplomatique
Philip Pato Celera

Who determines the price of the product?
Claude Monet, Francis Bacon: in the context of the recent financial stress bidding Christie's and Sotheby's identified the triumph of eternal values. Is this a sign that the wounds finally recovered from the gripping his madness, which they say many of the professionals? Indeed, it seems that in recent years, the dubious criteria - the artist's ability to "sell themselves" causing scenes works - won in contemporary art, replacing all the communication expressions of aesthetic nature.

Art (modern) state from doing anything

Damien Hirst - Britain. In July 2007, when one of his works, "Lullaby Spring", was sold at Sotheby's auction for 13 million euros, he was 42 years old. This work represents a metal chemist's cupboard, containing pills. In the summer of that year, Hearst set another record: he was a platinum cast skull of XVIII century, diamond studded 8601, according to the stakeholders, was sold for 50 million pounds (about 73 million euros) a group of investors, floor to remain anonymous. According evil tongues, you can be sure only one - the product can be sold on the value of diamonds, which is about about 19 million euros.

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With the emergence of Ready-Made Marcel Duchamp all know that any object can become a work of art, if that is the decision of the artist. "It is now impossible - like Natalie Muro, an economist at spetsiaoist culture - to evaluate the product based on its physical characteristics, especially the adequacy of the models of beauty, as done previously, during the academy; criteria such as skills, work, innovation, technology , possession of craft, originality, authenticity does not play virtually no role in pricing the works of contemporary art. Role of them so small that another pharmacy cabinet, in the winter it vresii - "Winter Lullaby" - a month ago was sold at Christie's auction in New York for 5 million euros. Consequently, only a few weeks, "Spring Lullaby" bypassed his winter sister mli at 8 euros.

Readability of the artist, unreadable works

Spring contributes to the flourishing of all life, it is well known, but it is doubtful that she was the instigator of such a rise. Accepted doubt also that the fierce bargaining buyers were sensitive to the aesthetic qualities of the cabinet with six thousand one hundred thirty-six pills each of which is painted by hand, "as a tehnichestkoe description. So what explains such a passion for the wound to such works? Advertising campaign, ably conducted by Sotheby's auction revised its June 21, 2007? Dynamism of the London market, podderzhivabschego British artists? Person of Hurst and the power of the network supporting its galleries, dealers, collectors, who met in this strategic day full mobilization?
In the late 90's. Hurst met with Mr. Charles Saatchi, the British business man, owner of one of the most important advertising agencies and the world, Saatchi & Saatchi. They perfectly complement each other. Provocative antics of one another can raschzvernutsya the arena of communication. And here is the proof that Mr. Saatchi highly gifted sense of Commerce: 1995-meters, the Hurst was awarded the prestigious Turner Prize, which since 1984, the Tate Britain museum every year awards to some outstanding British artist .
But if you look carefully, you may find that the Turner Prize award was established by a group of London metsenov, Patrons of New Art, created by - whom? ... father, but all the same, Mr. Charles Saatchi, together with the Tate. So malneyshego no doubt that the prestige of Mr. Saatchi has prompted members of the jury feel the admiration and the product of "Mother and Child» (Mother and Child) - a cow and calf cut in half and immersed in a solution of formaldehyde. This choice entailed a lot of advantages: in addition to being selected was the work of an incredibly mediatizirovannaya - to the delight of a new sponsor, a television channel Channel Four - premiums received Hurst, ofitsializirovala infallible intuition of Mr. Saatchi, and at the same time, she increased funding valuable work that Mr. Saatchi had already purchased. For its part, the largest collector of British contemporary art continued to buy Hearst works tirelessly supporting quotation Hirst and thus legitimizing intelligent choice of the jury from a financial point of view. Speculators perfectly understood the hint: social institutions and the market (initially embodied solely in the person of Mr. Saatchi) sang in unison. What they have to do but do not inject his own voice, to form a harmonious chorus? Three years later, turnover has increased by Hirst 1039%.
As we see, the role of Mr. Saatchi can not be overemphasized. "From now on, the buyer gives the artist" quality certificate ", as it did in the XVIII vekt Academy", - noted sociologist Alain Kemen. Opinion famous collector even more effective than the recognition of any official institution, as it accumulates with the financial power of social capital. "By this we have to understand - specifies Natalie Muro - set of resources are being dependent on how big and influential network that this collector has managed to create around himself, as well as the ability of each of the members of this network to make sure that everyone saw his ability to dictate the law in the field of contemporary art and recognized her. Familiarization with the list of two hundred of the largest collectors shows, for example, that most of them part of the Board of Management of Museums.
Director Venetian Palizzi Grassi, acquired by Mr. François Pinault, owner of ogromnoogo conglomerate companies in the field of luxury, to put it in his collection, was a former Minister of Culture of France, Mr. Jean-Jacques Ayagon. One of the major buyers of Chinese art, Baron Guy Ullens, created the first Kiteae private museum collection in Beijing (Ullens Center for Contemporary Art) with the most skilled professionals working in public museums. Mr. Saatchi, who helped the Swiss auctioneer Simon de Pury, also opens its museum of modern art - in the heart of London. Entrance to the museum will be free - as in the Tate, with whom he sobitaetsya soprenichat. Expected 1 million visitors. The complex is expected availability of classrooms to teachers and students to familiarize themselves with the exhibited work, listening to lectures of experts.
Aude de Kerros, essayist and painter who believes that nowadays well-known collectors dictate his taste in contemporary art, as well as the traditional criteria that established the value of the product on the market of old art, impressionism, pre-war art are not applicable to the market of contemporary art. Henceforth, the guarantee for the buyer is not the value of the artist and his works, and the power of the trader and the strength of its network of collectors. "
Mr. Georges Armaos, art historian, responsible for relations with the part of the clientele Gallery Gagosian Gallery in New York, one of the most influential galleries of the United States, states: "A significant number of kollekuionerov buys products in famous galleries, because they know that the gallery owner or trader will ensure that their purchase does not drop in price. However, there are many kollektsuionerov, in my opinion, they are the majority, especially among Europeans, who bought the work to which they want to live beyond a shopkeeper considerations.
Maybe so, but the market for contemporary art, like any other, for the normal functioning of the need to develop and the hierarchy of quality criteria. However, if these criteria are based on the effectiveness of the network effect, it is not surprising that art buyers are interested in less than people who are manipulated. This situation is confirmed by the British Art Review, published annually «Power 100" - a list of the most influential characters in the world of contemporary art.
This list is the relatively few artists (19%), among which Hearst is the 6 th, and Jeff Koons - the 13th, but the number of collectors from 19%in 2002, the year has reached 31%in 2007; For followed by gallery owners and brokers - 22%. Because these collectors appear where a lot of money, no one is surprised to learn chtgo 74%of those influential figures of American and British origin.

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end. Yesterday I forgot to point out that the article was written before the historic auction in Sotheby's, in August.


  "For comparison, the annual turnover of Gagosian Gallery (which has offices in Beverly Hills and New York, London and Rome) for at least 15 times greater than our equal to 15 million euros, - explains Mr. Jean Fremon, director of the Gallery Lelong , ndnoy of the most famous modern art galleries in Paris - "Often, the buyer selects the product of his countrymen, so Anglo-Saxon artists listed above all.

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«Anyone can try to become an artist-plastic, anyone can try, but success is not everything. Need minimum public. Nothing new in this, of course, no. New - what is lost is a logical link between the quests, experience - and the conquest of the public. In order to succeed, you need only know how to sell "- emphasized the philosopher Christian Delakampan. Thus, the less visible work from the perspective of the traditional artistic canon, the more the artist himself must be noticeable in terms of provocation. It should be noted that modern artists have at their disposal numerous trump cards in comparison with its predecessors: they can meet with collectors and persuade them to take care of themselves - and there is nothing wrong with that, but they can also simply responding to demand, which is much less respectable, if we take as an axiom the statement that the artist is determined primarily by the degree of risk to which he is, the creation of works that are unexpected for the audience.
In this regard, the painting of Van Gogh can compete with Hearst installations - and one, and others calling and called hostile reatsiyu. However, the first died in poverty, while the second state in forty years, was rated the newspaper Sunday Times in 270 million euros. With the help of the magic he has reached this
To attract the very wealthy clientele, some artists have resorted to provocation with an industrial scale. Decaying cow's head (Hurst), Virgin, covered with excrement (Chris Ofili) can answer the expectations of one of the market segments: the segment, which lacked the hostility of the public, and its attendant scandal, hype around the product, as this segment is looking for primarily commercial. However, you can ask ourselves the question, whether this revolutionary art, funded and supported by state institutions and the financial giants of our time.

A giant pink heart and porcelain panther

Other artists take as their model of the modern stars in the hope that they will be the first buyers of their works, will attract the attention of the media and introduce them into fashion, to the greater benefit of both works and their authors. Briton Marc Quinn depicts a naked model Kate Moss. American Koons - Michael Jackson in company with his chimpanzee Fruitloose (purchased by the Norwegian Armator at auction Sotheby's for 5.6 million dollars). Koons perfectly understood that I need to respond to the wishes of svoy clientele, encouraging her fantasies. Thus, a giant pink heart, blue or green diamond, pink porcelain panther are confusing the public, but the charm of those who recognize in them the world of their daily emotions. It is no accident the medicine cabinet Hirst was raised in a trendy restaurant Pharmacy in Notting Hill district, where the waitresses were dressed in surgical gowns, created by Design Prada, whose owner was himself Hurst recently sold it!
Caroline Bourgeois, lirektor Regional Center for Contemporary Art of the Paris region, says only that wealthy people "living in a culture of expediency. The form should be instantly recognizable. View works by Jeff Koons requires less effort than the work of other artists.
But the popularity Koons explained by the fact that he managed to please the stars (his marriage to Ilona Staller, a former porn star, no doubt helped him in this). His podium - Press «people». Thus he managed to create around their work mediaticheskuyu aura as necessary to satisfy the ego of its clientele. The paradox is that the clientele itself is attached to the work Koons status icons. What is the cost? The most expensive!
Who would have mentioned it a giant pink heart, tied with a gold-plated ribbon, if it had not reached the insane prices at auction? To entice buyers, Sotheby's constantly referred to the thousands of hours that Koons (or rather, working from his studio) devoted to making this work. It is strange that the auction house turned to this argument, because contemporary art negates the value of traditional criteria, does this not mean that other arguments, they simply did not exist? But no matter. From 14 November 2007, the first, the day when pink heart was sold for 23.6 million dollars (about 16 million euros, ie more than the record for Hirst) Sotheby's could adopt the naosporimy argument: "If a This piece of worthless, no collector would not have bought it at that price! ".

The higher the price, the less opportunity to expose the product to criticism. From the seller to the auctioneer, every inflate the price, to justify their work and their income. "In fact - ironically remarked one observer of the market - the buyer had bought did not work, but the price - the price, which was the value of the work. The only point is that sometimes the product of such a helpless thing that comes to the conclusion that the money in this environment have lost all value ».

But one way or another, and contemporary art is in great demand. It gives plausibility quickly fortunes. "This is an entrance fee to enter the circles, where the main criterion is the ability to pay - the entrance fee is very significant and therefore are mediatichesky interest, it is very important for new entrepreneurs growing countries" - comments Aude de Kerros. Affordable, not elitist - not tired of repeating Koons - contemporary art allows some institutions, zakostenvshim under the weight of the past, "modernize" in mediaticheskom, commercial and democratic terms. In 2008, the work exhibited Koons in Versailles, much to the satisfaction of Mr. Pinault, one of his major collectors. It is interesting to note that the new president of the National Museum of Versailles - none other than Mr. Ayagon, who moved to Versailles from the Palazzo Grassi, owned by Mr. Pinault. The coincidence of interests? Since 1998, the first of Mr., Mr. Pineau is also the owner of Christie's ...
Of course, rapidly developing countries could not remain aloof from this phenomenon. For China followed by India, Russia, Brazil ... "Customers know - says Herve Perdriol, an expert on Indian art - that the prices of contemporary art will follow indiyskou Razvilie country. The positive side of this sudden interest - that the real artists, to which more recently in the international market is treated with contempt, finally receive financial recognition.
At opposite ends of the earth is organized more fairs, auction houses are trying to attract more attention with ever more effective marketing. "Previously, we were able to interest the product of a hundred customers, now they are ten, twenty, thirty times more", - confirms Mr. Gregoire Billault, director of modern art Sotheby's. And everyone knows that the more prestigious auction, the more fly prices. Auction houses are doing everything to raise them, suggesting that some accuse them of "pandering to the market.
This is the guaranteed prices: to persuade the owner to sell one of his works, the auctioneer guarantees him a considerable sum, regardless of whether it is sold or not, that puts the auction house in the need to pay extra out of their money if the work is sold more cheaply. Naturally, in this case, everything is done to inflate the price, and the reasoning is not so much the technical aspects (material, technique, courage plot ...), many factors that PADCA wealthy, but not too sophisticated clientele, such as prestige of the name of one of the previous owners.
Art Market dematerializiruetsya and increasingly globalized. Galleries, auction houses, specialized databases offer information on the Internet. Speculative funds, which invest in the market of art, extremely hungry for documentation, analysis and study of the speculative building works.
Thus, Artprice.com, a leading company in the field of data banks for quotes and indices in the arts (25 million indexes and the results of bidding for the 405 thousand artists) provides commercial information - analysis, statistics, economic data. Most new tools allows real time to assess the credibility of the art market actors to explore their reactions to various topics, the relevance (the variation of the exchange, geopolitical events, the results strongly mediatizirovannyh trading ...).
Some artists, such as Emmanuel Barsilon, whom I met at the opening of the fair of contemporary art, refusing to participate in this maelstrom: "The more going on demonstrations, the more you must produce. But, the more you produce, the less you are able to update their creativity. To participate in this system - for me it means to deny me as an artist. " He wants to create no more than 15 and work in the year, even if demand is great. "Such behavior is problematic - acknowledges his gallerist, Mr. Mark Urdeken.

They would rather listen than watch

The fact that the market, even if it can not be reduced to a phenomenal quotes some artists, influences and art lovers is their speculative reflexes. "They would rather listen than watch" - complaining about a gallery owner - but how to judge them, when the quotation is created for 2 weeks, when the promoting does not work, but its result! .. A little more, and we begin to hope that will break the financial crisis that it improved the situation, lowered his indecent quotes. So he helped us for the financial values to see art. Do not forget that the art market lives by the law of economic cycles, and that the tide is not only takes great stones.
While the actors in this market are glad that several "engines" still captivate the market up: it is reassuring to investors. Everyone remembers the crisis of risky loans to real estate. But the most far-sighted and opyatnye market participants are not deceived: the growth of works illusory - just remember that Hirst himself part of a group of investors who bought the pot.
It is known that in 2003, the, to better control its quotation, he bought his work with his former patron and collector, Mr. Saatchi. Most recently, he presented to the museum Tate 4 installation is likely to receive a prestigious showcase and to end uncertainty among its network of gallery owners and collectors and at auction houses, as well as those few, like Sotheby's, publicly traded and must satisfy their shareholders. Officially, the gift was made in gratitude for awarding him the prize, as the Tate can not buy his expensive works that turn the museum into a train of ghosts.

And actually, why, in the end, rotting cow's head can not be a work of art, "purified from traditional claims to aesthetic autonomy and is now understood as merely one of many systems of understanding and symbolic reproduction of the world?
But do not decompose it art?