How to create and develop the infrastructure of art?

[artcol]

Сообщение от Konstantin

This is the belching dominance of lawyers.

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

[L-ana64110]

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
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[Кирилл Сызранский]

In the world of contemporary art revolution : the two most heavily advertised brands - "Aidan Gallery» Gallery and Marat Gelman and Julia decided , they said , " transformed ." What does it mean - until the end no one understands , but artists and gallery owners have gossip , panic and regret . After reformat your area who are not anyhow , but lawmakers in the market of contemporary art. Two decades, they decide what is relevant , fresh and new , and suddenly you - almost go out of business .

there . [/FONT][/URL]

[Pavel]

Сообщение от Cyril
there. [/FONT

[/URL]

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

[манна]

Сообщение от Vladimir; 2051171"

By the way, we are about a month ago, had planned an article about the nature of the problems with the market of contemporary art and how the proposed solutions.

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.
 

 

[Pavel]

Сообщение от manna

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.
 

Читать дальше... 

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. Artists do not make them almost, crushed stereotypes and high value. In the meantime, it is psychologically important range, especially important for the vast majority of new buyers. And this is the case where the initiative must come from the artists and gallery owners, the proposal creates demand. By the way, affordable price range - is the foundation of the market. According to statistics, almost 70%of items sold at international auctions, costs less than 5000 dollars, and in a segment of contemporary art, this percentage probably is even higher.
 
7. Making large-scale collective exhibitions. Suppose, again, with the support of a public association. For the audience (read: potential customers) are important entertainment, variety and scale. How long have you seen a strong team of interesting exhibition of Russian contemporary art? Without compromise, and reservations. That's just ... But the "gorkomovskih" shows of the 1980s with characteristic fierce competition between the participants of ideas is still the legend go.
 
Eight. To enhance transparency, to publish prices. How many of us no promise, but the possibility is still there. From hide prices? From the tax? From the artists? From the buyers? There are different opinions about the effectiveness of this step. Of course, there is no guarantee that the new policy of openness will give instant results. But the old definitely does not work.
 
9. Promote contemporary art. Improve the practical marketing: expand the list of advertising sites, advertise in places and with the help of funds from the tested efficiency. In other words, to advertise to viewers and potential buyers, and not for themselves. For the joint large-scale projects can be, for example, use the general fund of a public association.
 
10. Develop a civilized, legally registered relationship the artist - gallery. Too painful moment. And there was also a problem not a good life. Galleries can not guarantee the sale of regular artists, and artists are forced to publish the direct phone numbers on their websites. Break this vicious circle can only be a success.
 
11. Revive the art lottery. Even if it is right to build all the infrastructure market, we need mechanisms to run it. To work went from hand to hand, so that artists got some money to eventually part of the work was intended for resale and has formed the notorious secondary market. In a conversation a month ago, Sergei Gridchin recalled that earlier this problem is solved by the USSR All-Union Art raffle, which took place since the early 1960s and died only in 1991. Then the ticket price of 50 cents were given a chance to win a solid thing, if not a masterpiece, this is not available without a Soviet worker. In our present situation, if you think this is also a chance. However, it may not be the commodity lottery, and money. The idea of ​​organizing a complex, but far from hopeless. They say that with the help of art lottery run, in particular, the UK art market. Now, Hirst exhibited in the Tate, and export culture has become one of the most important sectors of the economy.
 
Today, perhaps, all clear that we must do something. Forgetting about the personal insults and professional cynicism, a sense of hopelessness and seemingly utopian of all attempts to revive the market. Suppose that for some time the idea of ​​community will be money. After all, they need not only to enrich the "greedy investors", but also to innovative creative ideas do not die in the place of birth - in the studio or workshop, so that artists are not giving up the energy to go longer in the 'paper architecture' and design interiors, not to stop for years to dump elevators. In general, the nature of the problem quite accurately described in an interview with Cyril Fireflies AI: «The more we live in the past, the less we have today. Artists today know this and feel. It is no accident many thoughts have turned to the West. Must be aware of this situation and do something jointly. " Stop living in the past.
 
Vladimir Bogdanov, AI

I have said many times, and on the secondary market <! - ~ 1 ~ -> and the participation of the government (through taxes). To be a market for it to be. We must learn from the experiences of foreign auctions and prevnosit ... It should be ... You can not build on the sale of one-sided benefit sellers get-dictatorship and lack of sales. Do not impose konterporar-tastes, the more that they do not konterporarnye, and stolen from a distance and were so 20 years ago. You can not brush aside in favor of the foolish art of generations. Be in charge of the art is not to praise friends and all for money, and know and be able to competently analyze and explain a simple and a lot more then, to know the price ....

[Кирилл Сызранский]

Сообщение от Pavel

To be a market for it to be.

Wow, almost as Chairman Mao: To be able to swim - it is necessary to swim .

[Pavel]

Сообщение от Cyril Syzran

Wow, just like Chairman Mao: To be able to swim - it is necessary to swim .

It's boring <! - ~ 1 ~ ->

[artcol]

Сообщение от Cyril Syzran

Wow, just like Chairman Mao : To be able to swim - it is necessary to swim .

I would have thrown too much and left so : " To be able to - should be able to ". Very clearly , concisely and horseradish argue. It is necessary, Fyodor , it is necessary . To be able to . And then the government prevents them thrive <! - ~ 7 ~ ->

In general , we should go into communicating in a style of speech. He has among other things, the definition is called - "meta- model" (a term from NLP) . Here is a sample : Why Russia shock shock ? ( c) VSCH <! - ~ 7 ~ ->

[манна]

Сообщение от Vladimir

should put aside the culture and return to the discussion of contemporary Russian art market.

In my opinion, you can not leave aside the culture (and art as part of the culture) and only discuss the market. Developing a culture formiruesh buyers (roughly speaking). On that anyone spends money (after the satisfaction of basic needs)? In fact, from what gets the pleasure. As long as people will get more pleasure from a new TV (because it is the last generation, etc.). they will buy more and more new TVs or sofas.
So, by and large, have to teach (teach) to enjoy the arts since childhood. And this is the problem of school (when it comes to shir.nar. Masses). Delve into the issues Wed Education does not even want to. There's no time for culture.

An example. The child learns to friends (1st class) in a private school. Wednesday - Day of Museums (various). So, before the holidays, he muchiet parents in what the museum to go! We have a very different picture, we will try to catch up on their own.
 
If you take the short-term prospects, according to (largely) with the

Сообщение от child

tell, enlighten, enthrall, to infect the examples in the general form mode)) And in the formation of well-known fashion and there are proven technologies. No?)

Since the possession of a fashionable thing for someone fun, too.
 
Whose money? It turns out that gosudarstvennye.T.k. private - local. Or should this particular lot, then it will (not local) result. But there is one thing, the absence of this notorious market sovriska. That is, lack of buyers. No mat. impact - not a lot of private.

An excerpt from an interview with Natalia Nesterova (about five years ago)

- Maybe it just needs a habit?

- Communicate with any art - is a habit. Why do we not love and do not know the sculpture? Because we do not teach it. Not taught to look at and understand. And the art - it is as a foreign language: fifty times repeated, at the fifty-first - understand. Although we still do not present the Museum of Modern Art, Pompidou Center, or as the MoMA (Museum of Modern Art), where we could watch and learn. There is only an exhibition. Although they are not where they ought to. Exhibition "Moscow - Berlin", in my opinion, still has no place in the Historical Museum. Contemporary art exhibitions to take place in the modern walls.

- but we do not have "modern walls." Well, do not open the show?

- Exhibitions, of course, can be placed anywhere. But the museum will still need new walls.

- Maybe the CHA fit?

- It's nemuzeynoe building. Need to build more and more adapted for modern expositions, but also cozy. When there is a museum of Russian artists in the world finally know, because that's what museums are engaged in promotional activities, advertising. Now in Boston, the exhibition "Gauguin Tahiti," it advertised all over the country, there is a Monday morning - crowds of people, and we have about the same "Moscow - Berlin:" No one on every corner does not cry.

Ideally, do not just museums, and places for leisure activities parents and children. Following the example of the Munich Polytechnic. The child just could not take away. There is ground floor given over to a super children's room. Where children can play, explore many of the phenomena. Plus, the place where you can feed a child. Several. photos, this basement. The museum itself is also great. Not quite on topic, but still.