Seminars ARTinvestment.RU for investors and art dealers

[K-Maler]

Сообщение от Samvel

that has all the same principle, something would have to earn money to invest, and what matters is the artist or craftsman. So, without attachments, I mean money, there is no artist. Just one and the same principle, production, and the work of art, I think it should not be.

You could not help identify important problem - the mediator, who is also between the artist and audience. Previously it was "directly." Art - good piece, it requires awareness and understanding of the cases. Discussing, we do not mean "artisans" and believe that the mediator can assess "who is who." We're just trying to understand why "not working". The artist has already "invested". The modern situation is that the ability to act as a businessman he has not. So - through intermediaries. And then the question - how competent this intermediary ...

[Самвел]

Сообщение от K-Maler

and we believe that the mediator can assess "who is who." We're just trying to understand why "not working". The artist has already "invested". The modern situation is that the ability to act as a businessman he has not. So - through intermediaries. And then the question - how competent this intermediary ...

The point is that the mediator is competent, but not in the subject, but in the psychology of the audience, he catches, not that interesting, but what is interesting in the business plan, then that might like let's say the majority.

[K-Maler]

Сообщение от Samvel

but what is interesting in commercial terms, then that might like let's say the majority.

Then somehow dropped out of the discussion, that the artist has always worked, one way or another, in order for the money, it was a profession. All the paintings that fill museums today were made as a commodity, for money and has always been known for what. Then there was a kind of "somersault" and the artist began to understand the way ... And the resale of this particular product has become a profession, too, from this moment and started having problems with both parties ...

[Самвел]

Сообщение от K-Maler

that the artist has always worked, one way or another, to order, for the money, it was a profession.

Not always, the artists worked, because they enjoy their work, traveled around the Soviet Union, in Russia, by inserting early in the morning, something would have time during, or even spend the night at the place you like to get up, and capture all on different days, at different times, in the fog, rain, vobschem it was an exciting game, I think so. They are rarely what they sold, they have been exhibited in prestigious museums in the country, and the council took away their work, so they are not paid, because they are happy when their works fall into the Tretyakovskuyu gallery, or to the Russian Museum, but in any museum. Only these artists are the future, the artists who are sick of his profession.

[Jasmin]

Сообщение от Samvel

artists who are sick of his profession.

Извените, there are objections:
1. no profession is not worth that because it hurt
2. artist - not so much a profession as a vocation, as well as a state of mind

[Самвел]

Сообщение от Jasmin

Извените, there are objections:
1. no profession is not worth that because it hurt
2. artist - not so much a profession as a vocation, as well as a state of mind

No need to understand everything literally, I figuratively.

[dedulya37]

Сообщение от Samvel

Not always, the artists worked, because they enjoy their work, traveled around the Soviet Union, in Russia, by inserting early in the morning, something would have time during, or even spend the night at the place you like to stand and capture it all on different days, at different times, in the fog, rain, vobschem it was an exciting game, I think so.

  They are rarely what they sold, they have been exhibited in prestigious museums in the country, and the council took away their work, did not pay them, because they are happy when their works fall into the Tretyakovskuyu gallery, or to the Russian Museum, but in any museum. Only those artists are the future, the artists who are sick of his profession.

C first half agree, but with second to none.
Artists, for whom this is a profession, always selling the work. Council selected the works and distributed them to the proposals in the Federal Ministry or Republican, who in turn distribute the work to museums. Therefore, at each major exhibition was a lot of art from various museums, which made the application from its museums to certain artists. These critics, incidentally, were professionals, because from one year to trace the work of any artist put up. Artists were pleased to exhibit at any show, because solo exhibitions have been a problem - or a serious or a posthumous birthday (alas).
Aerobatics could get to the Tretyakov Gallery or the National Museum (for the RSFSR - RM).
Artists (Union members) always paid the money for his work trapped in a museum, who's going to work for free?

[Konstantin]

It has been a regular seminar № 3. "Promotion of the artist at art-market».
Most claimed, to repeat it in September is already full record - 24 people. About how.
Impressions from yesterday in one word - cool. Information was so much that my words: "in this place on a plan to take a break, those present unanimously protested, saying do not, sorry for the time. This despite the fact that our chefs have been in good form, cakes and buns were successful, and there was an idea whether you want to say something else. After a 22-00 start the fun, hour-plus were the questions, stories about themselves and their problems. The questions skhodu there were two topics for future seminars. We'll upload the photo essay and I will make the most interesting, there is something to discuss.

[Grigory]

1-2. Egor Molchanov performed the first
3-4. Constantine Babulin
5-6. Vladimir Bogdanov finishing seminar program
7-9. The most interesting - the answers to questions
10. And what about without them?

[Konstantin]

Yes, and reporting. A distinctive feature of this seminar is that the three men spoke, which naturally gave liveliness, questions and answers on the part of looked - cool. We lined up in front of seminarians and only had time to answer, know how to training in Western companies, which throws the ball to each other.
The questions were all about (literally).

Here is an interesting and complex:
- Should the museum to pay a portion of the money from the sale of tickets to the exhibition of paintings to the heirs involved in the exhibition?

Law

4 part GKRF

Chapter 70. Copyright

Article 1281. Validity of the exclusive right to work

    

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1. The exclusive right to a work force throughout the life of the author and seventy years, counting from 1 January following the year of death of the author. The exclusive right to a work of joint authorship shall have effect throughout the life of the author's surviving co, and seventy years from 1 January following the year of his death.
     2. At work, issued anonymously or under a pseudonym, the term of the exclusive rights expire over seventy years, counting from 1 January following the year of its lawful publication. If during this period, the author works promulgated anonymously or under pseudonym reveals his identity or his identity is no longer in doubt, the exclusive right to act within the period specified in paragraph 1 of this article.
     3. The exclusive right to work, made public after his death, shall be valid for seventy years after the publication of the work as from 1 January following the year of its publication, provided that the product was made public within seventy years after his death.
     4. If the author of the work was subjected to repression and rehabilitated posthumously, the validity of the exclusive right is extended and seventy years are calculated from 1 January following the year of rehabilitation works of the author.
     5. If the author worked during the Great Patriotic War, or participated in it, the term of the exclusive right given by this Article shall be increased by four years.

The law I am perplexed by paragraphs 3 and 4. For example, if brought to the point of the third point - on the seventieth year after the death of the author's work is made public and then another 70 years it (the law) is valid, ie the sum of 140 years?
Well, in paragraph 4 of rehabilitation - what here? And if not rehabilitated?