The art market or market of art?

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The art market or market of art?
Yevgeny Barabanov

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inexperienced observer in Moscow talk about the local art market can seem an integral part of the ritual calendar cycle. Indeed: from year to year, on the eve of Christmas of the Gregorian style, and it is close to universal novoletiya, and then during the winter, spring wires, local art, journalism, like a flock of birds begin to circle over the themes of art market. External stimulus, of course, are fair in Moscow: in December - "Art-Manege", in the spring - "Art-Moscow". However, internal motivation, of course, go back to something more distant than the "news" reaction to the attempts of winter and spring sales of local art. And if you look similar to this amazing unity of external and internal, the best resemblance to the Pre-New Year ritual viewing of the famous short film "Dinner for One" with Freddie Frintonom on European television is simply impossible to imagine. All the same fun game with figures of absence-presence, as in the case of the market, the same repeated words and gestures of around what not, but as it is.

And, in fact: in one part of the text (based on fat folder of the Moscow newspaper and magazine publications in recent years) it was unanimously complained: "the market of contemporary art there" ( "neither stable nor a system), and is" only a feeble attempt to single art dealers "and therefore" did not want to talk about the market, but its idea or its illusion, simulation (1) according to the other part - judging from the reports of the same age - it turns out that the market is still there, because there are more Two hundred Moscow galleries, and more art dealers, and winter "Art Manege" comes to the rescue of the Week Trading growing from year to year, hundreds of thousands of dollars, although this market some not so: "uncivilized," "meager," " unprotected, unlike the West.

The fact that "the market - the killer culture", and "before - it was better", it seems, in recent times have not spoken. And yet: even though the public course on "the transition to a market economy" has an almost fifteen-year history of various practices, no theoretical study on the problems of local or international art market in Russia is still not ripe. Employees of the State Institute of Art, published a few collections and pamphlets on the "Economics of Art (2), focused mainly on adapting the concept of" economic culture "as proposed in the mid-60's American W. Baumol and W. Bowen (3). In Russia's version of the concept is again reduced to apologetics: at this time - "the fundamental principle of the market value of cultural services, have traditionally combined with the development of" proposals for public financing of cultural activities "(4). The material and the model "of the market of cultural services" provided the practice of "theater of the market" (5). Reading corner. But - whether or not to agree? - Useless: the specifics of contemporary art-world model of the theater is most that of a distant relation (6).

I. AXIOMATICS

One of the fatal difficulties of any conversation about the art market - almost insurmountable confusion of values. The original error - the identification of the capitalist art market from pre-capitalist market: with the benefits of sale ", with" fierce competition "with" a desire for their business and make money "with a" thirst for the greatest financial benefit, "etc. Here we should recall Max Weber's warning: such aspirations peculiar to people of all types and classes, all ages and countries of the world, wherever there is just no possibility to succeed. To identify these aspirations with the essence of capitalism, Weber continues, - means to identify their naive conception of the nature of capitalism with those truths, from which the once and should be abandoned at the dawn of the study of cultural history. Unbridled greed in the affairs of profit in any way is not the same capitalism, and still less its "spirit." Capitalism may be identical to curb this irrational desire, in any case, his rational regulation "(7). Works of art are not, and

sklyucheniyami. They were sold in all pre-capitalist and early capitalist societies. However, the art market - something different. and purchased, were equivalent and liens, and their collection, of them were personal, corporate and national treasure. So first of all, this is the latest invention is based, like the rest of Western capitalism, the system of modern European rationality. It relies on it, and a modern, consistent postindustrial society, the rational regulation, which in its time so much says Max Weber. Art Market - is a common mechanism to control a wild market.

1. Initial explanations

The first axiomatic explanation relates to the need to constantly keep in the horizon of reflexive attention to what is today considered to be "taken for granted: namely, that the contemporary art market (=art market) has to deal with symbolic and symbolic exchange of products within a system of symbolic consumption benefits. This means: Any work of art belongs to (I use here the terminology of Pierre Bourdieu (8)) the limited field of production and - in contrast to the field of mass production (no matter how "exclusive" or "elitist" it may seem) - can not be reduced to the status of "simple product" . Art market deals with the absolute uniqueness of names and works. Accordingly, constituting the beginning of the competition stands the principle of organizing rules, confessions and evaluations, but not winning as much as possible the interests of the wider market.

Because of the uniqueness of origin and special position in the culture of art is necessary to have specific values for (artistic, aesthetic, cultural and historical), indicating the possibility of disinterested (non-proprietary) pleasure. One of the realizations of such a possibility "symbolic appropriation", ie the possibility of pleasure, not be reduced to the possession of material things or commodities, is visiting museums and exhibitions.

The second explanation follows from the first: from the symbolic consumer products require special disposition. First of all - the existence of the necessary competence to enable him to actualize their artistic and aesthetic experience in accordance with the principles of an aesthetic design. Then - in contrast to consumers undifferentiated arts representatives of traditional cultures - it is required to possession of specific knowledge in the field of theory and scientific approaches. And most important: it is required to belong to the system of art.

This means: within the boundaries of symbolic exchange market of art excludes any claim for adjustment of any "value in themselves" or "osobotsennyh" (for any group or subculture) of artifacts from the works of art. Symbolic products of the art market is only what gets in the field of symbolic exchange. At the same time and artistic value, and commodity cost (price) works of art are directly dependent on the organization of "circular causation" - ie, the system of production and consumption of symbolic goods.

2. Art system

Thus, the market of art - not only for producers - the seller - the consumer. In the market economy is still set mandatory mediating links outside of direct commercial arrangements. And each of these links refers to the necessary presence of certain basic assumptions, without which the art market of contemporary art can not exist.

It is to these basic prerequisites of the art market and is the third explanation. The point is that the production, circulation and consumption of symbolic products are only possible with the system of art, through which we establish the claim to universal validity of distinguishing and ordering of what is commonly referred to as the "artistic process", "directions" or "tendencies" and symbolized " stars. The system of art - is a structured set of social bodies, institutions and mechanisms with well-defined functions and associated mandatory set of conventions, including conventions on the rules revision of conventions.

For one of the major conventions is an agreement on the limits of the field of art. From the consistency of the responses to the question of what is art (for example, "modern", "avant-garde", "current"), but they is not, depends on the professionalism and legitimation, and recognition of artistic production as artistic, and its treatment ( distribution), and its selective preservation of the museum, and, of course - the price on the art market. It said about a certain phenomenon "is not art" - means to deny him the legitimacy of the existence, to withdraw from the game, to separate.

Of course, art samoreferentnaya system selects interpretiznruet, gives a special aesthetic acheniem and value, re-presents and preserves the symbolic products are not without guidance on supporting the recognition of their bodies and actions on the part of society. This recognition is reflected not only the socially relevant consolidating high social status, awards, honorary positions and titles, but also the stability of cash transfers (eg, foundations) and the various forms of financial equivalents (primarily cash value of the evidence, the special subsidies, insurance, loans, tax benefits, etc.).

3. Art Market: system interactivity

In this context, the art market in favor of one of the key forms of social actualization and self-actualization of art. The connecting word "and" in this case refers to an interactive box that connects the autonomous system of art with the broader economy: collaboration, helping to maintain the market as a plural form of publicity, based on a relationship of critical attention to the field of action in the arts with other social systems.

Through interactive financial investment - value, growth and falling prices, interest deductions from sales, profit and its distribution among the entities of art - the act equivalent value of the artwork. Values, of course, predetermined system of art. After all, no matter how high-value commercial products or possessed of an artist outside the art (for example, in terms of "amateur", the customs official, ideologue or the owner family heirlooms), this does not mean its a high value on the art market. Here, such products may not have the status of "artistic work", and thus - and places.

Taken by itself "commercial value" of any artifacts on the public market - say, antique shops, at flea markets, junk in the shop or on the black market - the system of art has no relevance.


4. Necessary distinction

It follows from this: the market of art based on the willingness of society to clearly differentiate between: on the one hand, various modes of symbolic consumption in the system of art, embodied aesthetic structures and financial confirmation, on the other - parallel to the forms of commercial manipulation of the art, okolohudozhestvennoy or souvenir products to the public market goods.

As an interactive self-actualization of the Art Market is not only production (the creation of artistic values ") and sales (consumption values of art"), but also the language of Horkheimer and Adorno, "The economic mechanism of selection" ( "okonomischen Selektionsmechanismus" (9 )), the call to the regular reconsideration of artistic values.

Essentially: this revaluation (and, accordingly, its results - pricing, monetary value, commercial availability, etc.) based on their own regulatory mechanisms of the proceeds of selection and canonization of new values, rather than the tastes of consumers, as is happening in the markets of mass or handicraft products. The system of art itself establishes and imposes "values to the consumer, constantly changing horizon of his need of updating needs. Because the field of art - is always a field of struggle between different forces, positions, strategies, aimed at both the renewal, transformation, and to preserve the established order of things.

And finally, another important caveat. Postwar art market - it's about the market in Western Europe and America - acts as the international market, in which one way or another included regional markets. Their inclusion in an international system based on the convertibility of regional values. Thus, the local perspective of art adopted an international art market only to the extent that it stands the system size, as related to issues of world art.

For regional arts such correlation implies a sequence of clearly recognized and well-articulated transitions from the local "exotic" (originally destined for the market "artistic" souvenirs) to contemporary issues. Should I explain: the inclusion of regional art in an international context without the presence of an institutionalized level mediators "translators" (experts, curators, art historians, critics, propagandists, etc.) is simply impossible.

II. HISTORICAL CONTEXT

How all this relates to the situation of Russia's art market?

The question has no direct, unequivocal answer. And above all, because any coherent conversation about the local situation requires exceptional attention to unburied past. Do not be deceived: the current art market is burdened by the Soviet heredity no less than the recent enthusiastic belief in his saving opportunities. Hence - its generic features, easily distinguishable from any make-up. It also features double-minded, due on the one hand, the successive transformations, on the other - jump mutations of past Soviet zones of the art market: semi-official is different segments of the model of production, "copyright enforcement" and the interior, and then? in its shadow - an informal, driven underground in the ghetto and fartsovki. In a sense, each of these segments can be regarded as relatively independent market.

5. Official: Instance of the Soviet system of art

Soviet art - a product of complex organized functionally differentiate the system of art. Outside - is a strong multi-layered ensemble of instances in which there are four closely interrelated complex:

1). Education (special schools, institutions) and research work in the field of art (USSR Academy of Arts, Institute of Art).

2). USSR Union of Artists to the hierarchy of union painters union and autonomous republics, territories, regions and cities - the organization of professional artists, distributed by sections (painting, sculpture, graphic arts, crafts). In the Artists' Union were also art critics and criticism.

3). Art Fund at the Union of Artists - an organization designed to promote the systematic work of its members on "artistic order, and also contributed to sales of artistic production. Union of Artists and Hudfond had their showrooms, shops, art houses, cottages and creative collection purchased from the works themselves.

4) Publishers ( "Soviet Artist", "Visual Arts", "Art", "Artist of the RSFSR"), planning is publishing journals ( "Art", "Creativity", "Decorative Arts of the USSR," "Artist", "Young artist "), as well as books, albums, catalogs, booklets, posters, postcards.

Basic function of these four sets of interrelated instances, forming a single ensemble - canonized by the Soviet art of maintaining the level of professionalism in the production, circulation, consumption and the recognition of symbolic production.

6. Ideological universe

The authorities of the Soviet system of art could belong to different systems of administrative subordination. However, they all - without exception - were based on a unified system of Soviet ideology, to be one of the main instruments of party-state leadership and control.

The ideology of work carried out not only the aesthetic conceptualization, coding and decoding, selection, testing and multi-level filtering. Within the system of art ideology duplicate (in this case: the repeated and verified) the basic function of which belonged to the socialization of professional activity. For example, if in a professional environment, ascertaining the validity of "real art" was based on notions of craft skills, availability to distinguish "genuine" artistic production of amateur, amateurism, or direct "hack-work", the ideological legitimation demanded the availability of additional - actually ideological -- values and authority. Their mandatory presence is crucial for an authentic representation of Soviet art, opposed to pseudo-ideology, that is the art of the disabled, non-genuine, "unprincipled": "formalist," "commercial", "Salon", "petty-bourgeois".

Socializing function of reproduction and professional advancement in the professional environment to fill the ideological overlap: an art school or institution been impossible without the Komsomol, the Union of artists - without the participation of the Party Committee. Without these ideological instances of symbolic capital is not conceived and the relationship between career, price and value. The same applies to the selection, admission, museum conservation and the subsequent distribution of works of Soviet art at home and abroad (either through exhibitions, or through the publication of books, journals and reproductions).

Ideology was not only held together by cement the Soviet system of art. It relied on "circular causality" production-consumption: the ideology was the basis of Soviet art market - the interactive field, where the system of art has consistently cooperated with the system of state of the economy.

Of course, it was the ideological market for the goods within the ideological ideologically system state of the economy. The basis is "market relations" serves as a state financing system of art - a special mechanism for public procurement, price lists wages, prices and size of awards. Field limited production remained totally monopolized: the state ordered, judged, purchasing, advertising, establish norms subsequent storage and treatment of acquired artifacts, encourage producers and intermediaries, distribute profits.

Ideology defined and general cultural framework of symbolic exchange. And not only that to make additional content and meaning by placing one or another to intensify the production contexts (eg, in the context of the anniversary or thematic exhibitions). Ideology rented dichotomy "elitist" and "mass". Like the dictates of the medieval canon, Soviet art was to be understandable to most, and at the same time express the ideological and artistic complexity of modernity. Strictly dose and stylistic diversity: it never went beyond the ideologically meaningful rules and regulations, who were removing the usual contemporary art world of the opposition "innovators" and "conservatives", "old" and "young".

Clearly, the question of the autonomy of art, about the possibility of self-organizing system of art and the market outside the ideological state control are simply excluded. Rejected and the thought of the possibility of converting Soviet artistic production in the global art market. The Soviet system itself is completely isolated itself from the world of art and, accordingly, from the historical process of innovation and revaluations.

7. Market official art

Paradoxically, the totality of the ideological universe, not only does not mean uniformity of the market ideology of the goods, but on the contrary, stimulated the particular form of differentiation of its segments.

The first and main line of separation took place between sectors of the model of production and "copyright enforcement.

Sector model of production had lived through two percent of the budget allocated by the State all possible chain of command for mandatory decoration of socio-productive "areas of work and rest." Preventing local initiative in such an important matter, art, traveling salesmen from Hudfonda from year to year traveled the cities and villages with the albums of exemplary projects, and to "the avenue of heroes, and to enhance the health center, and monuments to the heroes of war and labor, without which there could do any military unit or factory or the farm house of culture. The buyer had only to poke his finger in one of the chief figures of the samples, mosaic for the sports complex or pictures for the hotel lounge to sign a letter of guarantee of payment and then wait for the ordered execution of one of the teams in one of the plants (plants) Hudfonda.

If a segment of the market model of artistic production closer to the market of mass production (collective and almost anonymous way of working, payment of which depends not on the aesthetic qualities of products, but from the price list on the sympathies of artistic artistic council or the editor of seniority, status and titles), the segment market "copyright enforcement" was based on a hierarchy of symbolic authority, on an exceptional skill, who embodied "the greatness of Soviet art. This market has had to deal with the "bosses": artists, burdened by high honors, awards and prizes. It is to him and treated with state orders the officials of the Ministry of Culture, or, say, the Ministry of Defense to create a magnificent creation, secured unprecedented sum for those times of production operations and fees. In this eminent author has himself, in addition to any intermediaries, had the right to recruit a team of journeymen and paying their labor at its sole discretion, to do something "immortal".


Competition for the right to art historians and critics acknowledge the immortality, relevance, progressive and other advantages of the extraordinary masterpiece served as the ideological censorship of the market controlled by the extension services, again, included in a single ensemble of instances.

The third segment of the Soviet art market were saloons offices of the Union of Artists. Here, private consumers are offered a wide range of local art at affordable prices and for all tastes: from the thematic paintings to gift craft. Here you can find works of more or less known artists and almost anonymous authors, gather a collection of quiet graphics "and buy everything you need for beauty and comfort the family nest.

8. Underground

Art underground artists - part of the ideological universe of the Soviet system. However, part of the special: be marginalized for decades existed in the minds of contemporaries on the Rights of the paradox, curiosity, foolishness, topos mundus inversus. And indeed, this "inverted", "inverted on the wrong side" of the Soviet world are the Soviet biography: post-Stalinist "thaw", Khrushchev and the stigma - together with all - post-communist rehabilitation. And yet, apart from this biography, the artists underground, there is another, referring to the European eighteenth century. It was then that the formation of the art market has spurred artists to fight against the attention of their products to the status of "simple commodity. Defending the individuality of its practice, artists radically transformed the symbolic field of art. Hence - the idealistic theory of "pure (" Profit ") art" and the romantic belief in the absolute uniqueness of the artist and his creations, the opposing demands of an anonymous majority.

In the post-Stalin struggle for aesthetic differentiation and the related autonomy of art is similar. Since the late 50's Moscow art consistently exempts itself from the obligation to reproduce the ideology imposed by the model. Romantic subjectivity construed claims to uniqueness. New generation of artists to challenge the system of official art and canonized the selection criteria. His critical reassessment of Soviet art, and they deny the subordination of the artistic product of the ideological monopoly of the market. They focus on their own audience: not only local but also foreign.

By the mid-70's underground subculture has formed an alternative system samozakonnogo art. This system had its own set of institutional and non-formalized, but the courts functioned effectively. Here was all necessary: their methods of art education (through information exchange and joint discussion), an independent trade fair (club, housing, foreign), their forms of dissemination and preservation of information (Samizdat, the Parisian journal of contemporary art "AZ"), its managers, dealers, art historians and critics, his archive-museum in Moscow (Mani) and his museum abroad (Museum of Modern Art in Montgeron), finally, its market, open to local and foreign collectors.

Isolationism Soviet culture was opposed by targeting international context of contemporary art, and thus - and the world market. Orientation image of another, shaped by local perceptions of modern art, opens the doom of samolegitimatsiyu marginal "society of mutual admiration." Abroad another thought legitimate, plenipotentiary and final authority recognition.

While the Western Russian unofficial art exhibition to "perestroika" had no commercial success, some of Moscow's expatriate artists yet achieved full integration into the global system of art, and thus the art market. This primarily concerns the founders of Sots Art V. Komar and Alexander Melamid. Their success was of exceptional importance for the subsequent determination of the Moscow artists. However, for the most part he was misunderstood: A simplified model of "direct entry" of local art in the international market remained one of the obsessive fantasies and in times of "perestroika" and much later.

For those to whom the lands other was only a business partner, remained the market fartsovki: trade (or barter) "deep-art, dissident souvenirs, antiques. In the minds of many it still coincides with the culture underground.

III. Art market: between the Project and long lasting

9. "Perestroika"

"Perestroika" by abolishing the most dogmatic formulas of the former ideology, have successfully imposed the Soviet system of art new state doctrine: the ideology of "sustainability" - which, let us recall the interpretation of its promoters - lured "free art without state orders", "turning to the market and market relations" (10).

The course was taken on the international market. At the same time - in accordance with an unexpected "demand" model of the underground - the final authority assessment and recognition has become a figure of the Other, refers to gold reserves orphan dreams of "universal values", "common European home" and "monetary equivalents". In 1988, the mission of the ideal of the Other - both the referent, and of representative and distributor - staged an auction Sotheby's. Bidding in Moscow, equated to a fateful "moment of truth": the auction was supposed to demonstrate "what kind of art is owned by the world, and hence universal criteria" (11).

The success of the sale stunned everyone: for some of Moscow's non-conformist artists starting prices soared tenfold. Painting "The fundamental vocabulary of" little known at that time, Grisha Bruskin was sold for 240 thousand pounds sterling. The total amount of sales of close to three and a half million dollars.

For a short moment of Russia's contemporary art - all at once, together, conciliar - appear at the arena triumphalist reassessment of its place and role in the global art context (12). Moreover, the Third Rome, the art began to represent an inexhaustible gold mine: "We have not only a glorious past, but also rich in this" (13). Under the cathedral, "we", of course, without saying the state: in fact it continues to maintain a monopoly on all the artistic production, including underground. According to the preliminary agreement, sixty per cent were to be artists, thirty-two - Ministry of Culture, eight - Sotheby's. Artists of his "sixty percent" never saw. Public authorities do not hurry: neither with the revision of legislation in the field of art, nor with the change of Soviet customs regulations extremely difficult removal operations abroad (14). As a result, many of the bidders have entered into direct relations with foreign galleries and - fled the country.

Attempts enthusiasts start of gallery work in Russia legally success in those days did not bring. "If you follow the existing laws in our country, then the correct work of gallery unprofitable in principle" - admitted in late 1990, CEO of the mediation agency art dealers "Dominus" (15). Things went better than those who had personal contacts with officials of the Ministry of Culture or other government organizations, with the right to give permission for the export of artistic production abroad. The main consumers of Russia's new art remained Western collectors.

10. Construction without architecture

The post-Soviet system of art, with its experience resettlement Russia's art market - one of the most exotic forms of existence of modern art. What kind of exhibition Sots Art at the Museum of Lenin.

Transformation processes started by the restructuring of the Soviet system, spared neither harmonious ensemble of former instances, or some of its complexes. Some of them such as the mighty Hudfond, simply disappeared, while others - mutated, the third - live in their own world, where there is no place topical issues of art, design or "architecture" of modern art in the world. The relationship of traditional institutions with the requirements of today has lost all meaning. On the one hand, all art schools are taught so that their graduates are still waiting for a joyful community service work on fields of socialist realism on the other - in the showrooms of some of the galleries you can see quite meaningful attempt to separate the reception today's perspective postavangarda. Besides, it is no surprise that the art is virtually no buyers at home, although the price for it - is extremely low in comparison with Western. Capital Museums indifferent to his exposure and do not rush to acquire it in their collections. The majority of artists - both graduates of art schools, and self-proclaimed "avant garde" - earning a living is not modern art.

From the "perestroika" prozhekterskih phantasms not left a trace. "The Moment of Truth", which once linked the Sotheby's, the insidious blandishments already appeared in the early nineties. Complete failure of the subsequent auctions of contemporary art of Russia in the West finally buried the triumphalist illusions. Convertibility of regional Russian values in the global art market has been selective: of the many artists left Russia to fully respond to the demands of the Western system of art managed units.

However, the transition from authoritarian and ideological universe of the world of the liberal-bureaucratic and the criminal economy of post-Soviet capitalism has destroyed not only the old system of art with its balance of forces, conventions, methods of selection, evidence and confessions. Same transition significantly transformed the old market segments, zones of influence. Configuration of the art field has changed.

First of all, to the center of public attention came up yesterday Peripherals: non-conformist, alternative, traditional and extremist tendencies posed underground. And although the symbolic capital accumulated in this segment is large enough, there is still dominated by the image of the Other. Local and overseas exhibition of nonconformist art, the acquisition of its famous Western collectors and museums, of course, helped the top ten "advanced" Moscow galleries create market conditions for working with different generations of contemporary artists. Here the vanguard of renewed challenge to the vanguard recognized.

Soviet shops were transformed into galleries of different levels, but, just as in former times, focused on the beauty and comfort of the family nest. Because the display of home comfort generated income, the range of salon products is extremely wide: from the almost antique specimens of nonconformist art to various modifications maneristskogo stylization, perpetrated by various imitators of modernism, the avant-garde and postmodernism. At the extremes of the market segment of the art salon in contact with the other two: yesterday fartsovochnym, semi-underground, now legalized, and a thriving market for antique goods and - as "wild" market souvenir craft designed for undemanding tastes and prices.


Uninformed person to distinguish between areas of art salons and "advanced" at times extremely difficult: the aesthetic and price criteria are so vague that, outside the local conventions, local rumors around the names of certain artists and galleries, the status of important differences between a charlatan, "advanced" plagiarist imitator and barely noticeable, even for intense gaze. Also, with galleries: many of those engaged in topical issues of contemporary art, destined to feed or selling antiques, or cabin.

Missing segment Hudfonda with Jubilee Exhibition of the Union of artists of all ranks in the Manege and CHA substituted fairs. Their main task? provide possible strategies for market aktualizitsii symbolic capital of modern art. The understanding that only the symbolic capital and financial capacity is formed art market shows even a tremendous business, as the annual Moscow Contemporary Art Fair (originally from 1990, "Art-Myth", then, since 1996, "Art -Manege "), collecting more than fifty galleries. It is the need to bridge the gap between price and value, and its organizers are forced every year to adjust their positions under the influence of competitors: the loss-making, but "Europeans advanced" fair "Art Moscow" and focused on the undemanding tastes of the middle class "Art-Salon". Curious: the initial fair market strategy reproduced the Soviet model of production. That has been the attempts of the organizers of "Art-Myth? A-91" to stage the art market through major wholesale banks works by contemporary artists on the list of the organizers themselves fair. The event turned into a scandalous failure: bank "collection", based on the recommendations of the "special expert committee of Art" formed again, fair organizers, some time later proved to be transferable. (17)

Considerably less transformed a relic of the Soviet past, as the market "copyright enforcement". World "Honored Master" tool and the brush is still differs impenetrable closeness, protectionism, expensive contracts, benefits and generous fees. However, now this market segment is no longer supported by the central government and local, business. In the care of the same power and is the market expert and advocacy services for lobbying and advocacy "most important" - and still the untouchable - the rulers of artists.

The very same art journalism is little changed, changed style and system of signs: the place of ideological pathos pathos reigned Ironically, yesterday's "progressive" was replaced by "advanced", "ideology" - the "relevance", "nation" - to "elitism" and etc., in full accordance with the new social order.

11. Long-term construction?

It is natural to ask: can this sluggish combinatorics of innovation and tradition to claim the right not only known but also to become the market of art?

The answer, of course, not the number of purchases, not the total costs and profits, not as a percentage of collectors per capita. And, of course, not in links to the competition. Competition - not the Art Market. As well as collecting art treasures. All of this exists and where on the art market and had never even heard of. Art market begins on the other side of the gap between unsubstantiated notions of "high cultural value" of certain works of modern art and equally arbitrary notions of their commercial value. Art Market starts with the structural self-organization of complex social bodies and mechanisms, not only endowed with well-defined functions to update the symbolic capital, but also a set of binding conventions. Moreover, as already mentioned, the revaluation of property, price, value and recognition of contemporary art based on their own regulatory mechanisms of selection and canonization, and not on consumer tastes, as it is customary to market mass-produced goods.

From this position, the picture of post-Soviet balance of goods restricted field of production and commercialization of naturally polarized. At one end - a huge range offered for sale and has successfully sold products: from antiques (icons, itinerants, modern, avant-garde, socialist realism), and various modern salon mannerism (it represents the vast majority of galleries in Moscow and Russian) to the handicraft industry of souvenirs, urban myth wild market place the streets or parks. This pole - the art market.

At the other extreme - some commercial, quasi-and non-profit galleries, employment promotion of experimental art. And because the price is linked to the value formed by non-commercial instances of art, it is they who represent the embryonic market of art. And this despite the fact that the authorities themselves look extremely fragile, not entrenched, dependent on support from foreign funds. Remember: until quite recently, Soros has been almost the only generous sponsor for the Center for Contemporary Art, and a number of projects for the National Center for Contemporary Art, with offices in St. Petersburg, Nizhny Novgorod and Kaliningrad, and for programs of the Institute of Contemporary Art, and Projects Gallery exhibit of contemporary Russian art AV Erofeev, and for the Art Journal.

Of course, the frequency of references to "Soros Fund" does not inspire optimism, is clear: the construction of modern art to the stage of functionally differentiated self still looms. The autonomy of it remains a fetal entirely dependent. Even the artists are aware of themselves as "agents of Western influence." Own the same - the alternative - instances reside very undeveloped space for non-commercial zones - Collapse: innovative projects by contemporary artists are not aware of large domestic investment, together with Russian funds and independent programs available and extensive exhibition shows, festivals, local Biennale; scientific and critical work in the field Contemporary art is dissolved in the art journalism, experts indulgent to the dominance of intellectual prejudices, the curators - the quality of reprezentiruemogo of art commentators - to the dependence on the dictates of mass-media strategies.

The main actor appears gallerist. He, like the cultural hero myths, set aside a number of roles: he and father, who exercises together with the new "stars" a new history, and the discoverer, and the lucky Marchand, make money from imperceptible litter, and curator, building a cultural situation, and the artist, shaping new trends in art and ideology, and kulturtreger, and educator of good taste, and the collector, and keeper of the traditions of artistic environment ... Of course, that the fantasy - in fact it is about the shop (gallery) and its owner and the seller (gallery owner)? only a symptom of growing up. It spawned shaky clan Wednesday - "tusovka" slave psychology subcultural collectivism, interdependence and painful concern for the place in the virtual hierarchy. And although art critics still continue to claim "the discourse of power," this discourse is completely dependent on you like this rumor and taste preferences of gallerists.

12. Cultural value and market value

And yet: what to defend himself before the skillful manipulation of the inventive antiques, salons and gift merchandise for one reason or another vested with the high cost, has all the features of the present art market. First of all because, of course, that this embryonic market relies on the system of art: on the value, not price. Even if the old and new instance art system and its individual elements and mechanisms have not yet acquired the structural coherence suited to the present. Even if the segmented field of artistic medium has not yet developed the universally accepted convention on contemporary art. Even if the relationship between the individual segments are still built on the tacitly accepted a pact of mutual non-aggression, not mutual - especially craft - Commitment.

Where more complex with the figure of the Other. Fantasmatic images nineties seems to have receded into the background. However, much still remains outstanding. West - that would be beneath him or implied - attracts not only for its high prices on the art market, but above all - their symbolic capital. And then neither Westernization nor Eastern European sensibility, nor Russia's orphanage to the capital we will not bring. In addition, today's global art market - neotemnaya part of the information, post-industrial society. In order to participate in this market catch-up modernization is not enough. Should - according to the basic formula of the system-theoretical analysis of society, development Niklas Luhmann, - endogenous continued functional differentiation, which leads to the formation of a stable and socially significant sistemy17. In this case - the system of art.

If such a system is not set - the art is deprived of its basic identity. While it is not rooted in their own country, in their own culture, it can not claim the interest and understanding of the rest of the world. And this is not a question of ethnography; first? is a question the authenticity of topical issues of contemporary art. Of course, this rootedness is impossible without the experience of freedom, without the experience of radical autonomy. However, the system of art it has acquired, together with the corresponding ability to self-organization - and thus could act as a socially meaningful art market - lack of effort within several segments of the art world. It is necessary to achieve bolshego: cultural legitimation - confirming the acceptance by the society and its institutions. In this case it is not only about social status, but also the legally prescribed system of cash equivalents (whether financial investment in the system of art, loans, tax breaks, museum and exhibition insurance, etc.).

Of course, this can occur only if society's willingness to constancy of clear distinction between: on the one hand, the original unity of the various aspects of symbolic consumption on the art market, but on the other - the commercial manipulation of the art, okolohudozhestvennym or souvenir merchandise on the public market.

In Russia today, awareness of social and cultural importance of this distinction yet. Accordingly, there is no trace of him in the economic and cultural policies. The function of legitimation of modern Russia's art still belongs to others. Of course, the western art market creates its own criteria for its cultural significance, its historical and artistic value and, of course, the commercial value. Mechanically moving these criteria and price lists in Russia on Wednesday, have not yet realized the real value of the symbolic resources and the field of contemporary art, it is impossible.


It is impossible for the simple reason that in the post-Soviet society, the art market is still confused with the art market: either legalized fartsovkoy or clan with a monopoly on expensive orders metropolitan government, or with the salon decorations of handicraft goods market. Thus - the appearance of such paradoxical phenomena of post-Soviet culture, such as mock modern art returns to the situation underground, as well as accompanying this situation, "a commercial avant-garde": the simulation industry products, is fully focused on the quota of participation in international programs.

Today our society is not yet able to ask, or answer: why do you need - and therefore whether you need it - modern art? However, it is the answer to this question depends the future of the arts and inseparable from her market. That future is not closed: day after day, every act in the symbolic field of contemporary art change the consciousness of its participants. But not only. However, it creates new cognitive prerequisites for action in other social fields - even if these prerequisites are not always noticed and appreciated.

NOTES

(1) In St. Petersburg the same motifs: "Art Market in Russia - a strange phenomenon. Today, it exists more as the market rules, regulations, recommendations, ultimately - the ideas, but not as a real relationship, the artist - gallery - Buyer ". (M. Karasik. Artist's Book: between tradition and the market. -" New World of Art ", 1998, N3, pp. 38).

(2) Art and the market. Problems of theory and practice. M., 1996; cultural policy and artistic life of society. M., 1996, A. J. Rubinstein. Business culture: the application of the general theory of social economy. , 1997; A. J. Rubinstein. Financing of culture in Russia: analysis and mechanisms of public support. M., 1997.

(3) W. J. Baumol, W. G. Bowen. Performing Arts. The Economic Dilemma. Cambridge, Mass. The Twentieth Centry Fund, 1966.

(4) AI Komech, GG Dadamyan, A. J. Rubinstein, YI Vogt-Grandmother. The main directions of state cultural policy in 1996-1999. , 1995; art life of modern society. T. 3. Art in the context of the social economy. SPb., 1998.

(5) EP Kostin. The market of creative labor. - In Sat: Market and Art. M., 1996, p.29-43; Theater market in Russia. N1-4. M., 1994-1997; art life of modern society. T. 3. Art in the context of the social economy, pp. 226-286.

(6) More information about the models of the art market in contemporary sociological theories, see: R. Wick, A. Wick-Knoch (Hrsg). Kunstsoziologie - Bildende Kunst und Geseltschaft. Koln, 1979; S. Schmidt-Wulffen (Hrsg). Kunstwerte - Markt und Methoden. Eine Dokumentation. - "Kunstforum", 1989, Bd. 104; H. J. Klein. Der glaserne Besucher. Publikumsstrukturen ener Museumslandschaft. Berlin, 1990; W. W. Pommerehne, S. F. Bruno. Musen und Markte. Ansatze einer Okonomik der Kunst. Munchen, 1993; H. P. Thurn. Kunsthandler. Wandlungen eines Berufes. Munchen, 1994; H. V. .. Alemann. Galerien als Gatekeeper des Kunstmarkts. Institutionelle Aspekte der Kunstvermittlung. - In the book.: J. Gerhards (Hrsg). Soziologie der Kunst. Produzenten, Vermittler und Rezipienten. Opladen, 1997. S.211-239 and other articles in the same collection.

(7) M. Weber. Selected works. M., 1990, pp. 48. Immediately explained: "Capitalism is clearly identified with the desire to make money in the continuously active management of capitalist enterprises to continuously resurgent profits, the cost-effectiveness. And as such it should be. For in a capitalist economic system the company is not focused on profitability, inevitably doomed to perish .

(8) P. Bourdieu. Les r (gles de l'art: Gen (se et structure du champ litt (raire. Paris, Seuil, 1992; Wed early approach to the same topic: P. Bourdieu. Elemente zu einer soziologischen Theorie der Kunstwahrnehmung. - In the book .: P. Bourdieu. Zur Soziologie der symbolischen Formen. Frankfurt a. M., Suhrkamp, 1974. S.159-201.

(9) M. Horkheimer, T. W. Adorno. Dialektik der Aufklarung. Philosophische Fragmente. Frankfurt a. M., 1990. S.130.

(10) For more information see: E. Barabanov, K. Eimermacher. Die sowjetische bildende Kunst vor und wahrend der Perestrojka. - In:.: K. Eimermacher u.a. (Hrsg). Russland, wohin eilst du? Perestroijka und Kultur. Teil 2. Dortmund, 1996. S 495-554.

(11) V. Misiano. Underground yesterday. And what now? - "Decorative Arts", 1990, N10, pp. 21.

(12) "The fact that recently in a state of" underground ", is now conquering the world art market" (G. Elshevskaya. About the exhibition "Drawings of Moscow artists." - "Art", 1989, N11, pp. 9).

(13) V. War. Nashi at Sotheby's. - "New Era", 1988, N29, pp. 34, Wed Ibid: "For one evening, almost three million dollars in our coffers? bad, besides - without spending a penny!".

(14) A. Krylov. Take out abroad can be, BUT ... - "Vernissage", 1991, N0, September 20, pp. 3.

(15) L. Nevler. Dominus. - "Decorative Arts", 1991, N2, pp. 17.

(16) simplicity, which the organizers of "Art-Myth-91, talked about their business affair, decorated with concerns about the construction of the domestic art market deserves a lengthy options:" We always say, there will emerge as a market, but if it is not fold, it will not take shape in any way. And that we have a well represented. Therefore, having begun to prepare the second fair, we made a producer, rather than as a commercial link. Simply to say, began to seek potential buyers. So that half of the purchases that were made at the fair - it is not the result of a sudden upsurge of interest from the banks of the visual arts, as a result of long and laborious work with them. Of course, they heard from their foreign partners, that banks in the West somehow collect art, publishes directories, put the collection . But in general, they knew little about this form of investment. A special advisory council, which included not unknown to most art historians (E. Tar, V. Turchin, I. Tsentsiper), which commissioned the work and selected banks to explain to future owners that there is good art and what the prices are normal. The Expert Council has guaranteed the continued (sic!) valuation nature (sic!) of these works. That is, appreciating the work, let's say, a hundred thousand, the expert commission ensured that if the bank a year or two want to sell this work, it will cost at least as much. What in the long run it does not go down "(" Art Myth "at Hamburg score. Workshop art. Speech by E. Yureneva. -" Decorative Art ", 1992, N1-6, pp. 3). Wed comment of the critic: "It is remarkable that the banks have decided to make such a massive infusion of art, but not very clear why it was absolutely necessary to spend this, yet millions, it is the" Art Mif'e "because art - this is not a forest, which You can buy on the stock exchange over the sample. There is reason to believe that there happily coincided any bank speculation and a desire to make an investor in Art "(A. Kovalev. Danae. preliminaries for the new mythology of the art market. -" Creativity ", 1992, N2, pp. 33).

(17) In the very brief Luhmann's views on art are presented in the book.: N. Luhmann. Die Ausdifferenzierung des Kunstsystems. Bern, Benteli Verlag, 1994.

Yevgeny Barabanov
Born in Leningrad in 1943. He studied in Leningrad and Moscow art schools at the Academy of Arts. Art historian, philosopher, theologian. From 1991 to 2001 was engaged in research and teaching activities in Germany.
Lives in Moscow.

[nikola]

Art Magazine N ° 46 in 2002.

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       .... art market relies on the willingness of society to clearly differentiate between: on the one hand, various modes of symbolic consumption in the system of art, embodied aesthetic structures and financial confirmation, on the other - parallel to the forms of commercial manipulation of the art, okolohudozhestvennoy or souvenir products to the public market goods.