Russian art market for contemporary art in terms of marketing

[Сергей Дородный]

Originally Posted by iosif

Sergey burly, I thank you for your opinion , but I really believe that to discuss the question of whether art item is pointless , if we sell them . Certainly is . Of course, with the specific differences from a plurality of other products . But - while remaining marketable commodity .

iosif, Your will .

You seem to be touched upon an interesting topic , but you are obviously not interested in digging deep. I do not even understand the problems of your article. "Artists , learn marketing "? Well for the forum in its current poor form of a ride .

After a second of your refusal to accept my smart pass feel entitled to twist this problem.

[iosif]

Wladzislaw, now I understand what you mean.

Added after 5 minutes
Cyril Syzransky, the harness did not try to trade <! - ~ 1 ~ -> pictures - tried.
I write only what personally watched.

A market exists as long as the produce-sell-buy.
May, of course, and all dead men, but owning the latest technology marketing die <! - ~ 1 ~ ->

[Кирилл Сызранский]

Originally Posted by iosif; 2915211"

A market exists as long as the produce - sell - buy .

In your formula, the latter only on paper - modern art (ie not an antique , but any modern , mean not only conceptually relevant , but simply a modern /today figurative ) almost do not buy as works of art , not as a mandatory element of modern urban interior - " picture over the sofa ."

[Peter]

iosif, as people have had acquaintance with the work of Kotler et al, " Consumer Behavior " for example, I want to see about your definitely interesting popular science articles . Task of promoting contemporary artist from scratch due to a number of slozhnostey.Osnovnoy which seems unusually high degree of risk , because the goods is unique and has essentially the evaluation criteria to promote analogichnym.Dlya need expensive measures to create demand , as the demand for this " new product" on essentially absent in principle because of its specificity. Further, in today's society a role in the acquisition of works of art at bargain prices is not playing the role of an investment component , which the young 'product' also sell net.Tak which artist will gallery ? Correctly , that whose future ( or existing ) potential associated with the lowest risk . And it is quite well-known artist , and let the margin is small , but a guarantee of return of money spent ( and time) is available.
About the relationship of the artist and galerei.Horosho when all sold well and everyone is happy .. When the " not go " artist or " gone" but saturated the consumer of this gallery , then ... what? Gallery in his cage with sufficient " bench " reorients them their clientele , and the artist returns to his studio, to overflowing clogged as properly noticed , piles of unclaimed works ... " Plastic " consciousness of modern man , sliding on the surface of the cultural life and lack of time to look inside , it's " insensitivity of the soul" - the same factors do not facilitate the acquisition of works of art, and in fact so is every canvas imprinted on it with internal combustion " man the creator " , the food does not allow you to turn mankind into a kind of robot.

[Михалыч]

Modern buy. And I'm including . And others know who is buying . And not one .
Just buy modern ones who understand that this is the segment where neraskruchenny can ( and eventually will love and will ) shoot the most .
Purchased by those who can not invest a year or two or five , and 10-15-20 . Although more often bounces vystrelivaya )))
A market is not visible , it is because they are buying more modern not in galleries and at auctions and from the authors. Therefore, the market is not visible )))

[Кирилл Сызранский]

Originally Posted by Mikhalych

Modern buying.
And I'm including.
And others know who is buying.
And not one.

Do ten?
<! - ~ 1 ~ ->

[iosif]

Cyril Syzransky, I agree with you, but, in my opinion, it's nothing to what I have said does not change.

Added after 12 minutes
Peter, yes, I agree , there are two options . One - reliable , but not particularly lucrative . The second high - risky , but a lot of promises . It all depends on choosing psycho . I always choose the second option. Of course , given that this is still not a roulette . Very much depends on my ( promoter ) qualification. And because the chances are not so small. Especially if advance professionally assess the risks ( I wrote an article about their assessment , ie, G -promoted artist criteria ) .
The second paragraph completely disagree. In this article I write about the necessary sensuality one artist and promoter. If they are, then the long joint cooperation is very likely

Added after 16 minutes
Mikhalych, absolutely subscribe . I practice is similar. And in general I'm not very interested in the established collectors . Their soul is already occupied . As wall <! - 1 ~ ~ -> . I very interesting form of consumption environment . In this case, a modest scale need not thousands, but only tens involved . But their <! - ~ 1 ~ ->

[Fed]

Seem repetitive, but the debate again found itself in the evaluation criteria.
Clearly, this is a commodity that requires assessment system for parties involved.
Talk about " safe - insecure " makes no sense. It's subjective and changeable .

We must look for highly underrated . That's what the evaluation criteria.
Criterion proposed in the topic, How much is the artist .
If there is an option to buy 10 times cheaper than this criterion , then this is an ideal purchase .
I am pleased once again to make sure.

Seller , respectively , need to try to hang on to the upper limit of the price criterion. In this space, and is the market margin , with all the accompanying talk and sentiments about the " Creator."

In general , the main interest is in the evaluation criteria . And their need to offer to be more versatile tools to assess the product and possible income .

[iosif]

Fed, undervalued - one of the main criteria -promoted . Because if priced or even more overvalued , it means that already worked here before you <! - ~ 1 ~ -> .
But even if the meager input prices " project " , need serious investment for promotion . And understanding how it's done . Which is unlikely to be present in untrained people . We teach students five years . And then they have to study for a lifetime <! - ~ 1 ~ ->

[iside]

Read the article . Thank you.

Read the comments . Very interesting.

As a person who is familiar with marketing firsthand , and was educated abroad and who are also responsible for promoting the artist /Cove , I must say that the article makes an impression on me , which is hard to describe, but I'll try .

First, there is the impression that the article was written a few years ago ( at least 5-6 years) , it may be due to the fact that either the author no matter what kept commitment to classical marketing , or do not know or do not attach much importance to that now " advanced marketing "is called" promotion sots.setyah " , and specialized internet sites and believe me , I know whereof I speak.

secondly , there are mistakes, some were commenting are , I agree with them in different degrees ( for example , a number of well-known brands , which the author mentioned , " Porsche Cayenne ", " Versace " and so , in my opinion , logically lead to discourse on conspicuous consumption, astronomical prices for some artists in the secondary market , collecting as a way of familiarizing with the new elite , etc., but then there would have to lead as an example not I. Sapunkova and .... ( You can put different names )

Third, the opportunity to become completely valid in relation to ros.rynku more precisely certain of its segments , and then everything becomes clear , but again, with regards to the whole ros.rynka - marketing is not a panacea , but rather an illusion that there are market and there is a promotion , a way of spending time and zarabatyvaniyadeneg .

Death of the Gallery Show