Articoli taggati con ‘art market’

Tafterjournal n. 101 - LUGLIO - AGOSTO 2018

Art Market in Western Balkan

di Hristina Mikic

Western Balkan as the art market space presents an abstract construction in the cultural policy discourses of Serbia, Bosnia and Herzegovina, Albania, Montenegro, Macedonia and Croatia, approaching this concept in a relativistic way and changing the relationship between arts and economy depending on the socio-historical context. Thus, during the 1990s in the countries of the region prevailed cultural policies fostering the idea of national identity and based on the instruments mainly focused on local artists and their position on the national art scene. Beginning of the 21st century brought a shift: opening of national cultures to the world of art trends and building cultural policy between the need to support universal art projects and those shaping an environment of national cultural existence. Balance between the hidden nationalism and openness, primarily towards the European Union marked the first decade of this century. The Western Balkan’s art market has not experienced major transformations, remaining marginalized in the public policies’ discource. The period from the late 1980s and early 1990s was characterized by a significant share of state firms, co-financing the most important events in visual arts, and creating large state-owned collections of exceptional artistic and historical value too (JAT, Invest Bank, Jugobanka, Beobanka, Dunav Insurance Company, INA, etc.). Art market was encouraged with purchases made by the state, and significant demand was created by representatives of the higher middle class who have followed exhibition policies of major galleries in Yugoslavia and had a decent knowledge about the art tendencies.

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Tafterjournal n. 101 - LUGLIO - AGOSTO 2018

Is culture “the new black” or the “last ideology”?

di Alfonso Valentino Casalini

Europe is, nowadays a little weird concept, that assumes, day after day, everchanging Non-Euclidean shapes: Brexit, NGOs, boundaries and immigration are at the top of the Agendas of a Union that would have preferred pursuing objectives such as the “smart, sustainable and inclusive growth”. In this widespread confusion it seems that Culture should be the new philosopher’s stone or, adopting a more common language it seems that Culture should be the new black. There are no serious public interventions that do not underline, at least once, the role of culture for the development of a town, of a country or of the European Union in its whole. Indeed, according to our policymakers, culture is: a) The key for a new “multicultural” Europe; b) An important economic sector that could prompt the development of backbones territories;  c) The next new-thing of financial market and, finally,  d) The real answer to both the immigration challenge and the brain drain phenomenon.  There are no doubts that culture could play an important role in all these processes but a more realistic framework is needed.

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Art Market in Western Balkan

di Hristina Mikic

Western Balkan as the art market space presents an abstract construction in the cultural policy discourses of Serbia, Bosnia and Herzegovina, Albania, Montenegro, Macedonia and Croatia, approaching this concept in a relativistic way and changing the relationship between arts and economy depending on the socio-historical context. Thus, during the 1990s in the countries of the region prevailed cultural policies fostering the idea of national identity and based on the instruments mainly focused on local artists and their position on the national art scene. Beginning of the 21st century brought a shift: opening of national cultures to the world of art trends and building cultural policy between the need to support universal art projects and those shaping an environment of national cultural existence. Balance between the hidden nationalism and openness, primarily towards the European Union marked the first decade of this century. The Western Balkan’s art market has not experienced major transformations, remaining marginalized in the public policies’ discource. The period from the late 1980s and early 1990s was characterized by a significant share of state firms, co-financing the most important events in visual arts, and creating large state-owned collections of exceptional artistic and historical value too (JAT, Invest Bank, Jugobanka, Beobanka, Dunav Insurance Company, INA, etc.). Art market was encouraged with purchases made by the state, and significant demand was created by representatives of the higher middle class who have followed exhibition policies of major galleries in Yugoslavia and had a decent knowledge about the art tendencies.

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The Market. Documents of Contemporary Art

di Francesca Quadrelli

Edited by Natasha Degen, “The Market. Documents of Contemporary Art” is an interesting anthology, which offers an interdisciplinary introduction to the evolution of the contemporary art market, its relation to value and its effect on artistic practice, taking into account different perspectives.

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Fine Art and High Finance. Expert Advice on the Economics of Ownership

di Francesca Quadrelli

Written primarily but not exclusively for art investors, collectors and legal advisers, this book offers an interesting overview of the economic aspect of art ownership and at the same time could be considered a guide for those who want to invest in art.

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Art of the Deal. Contemporary art in a global financial market

di Francesca Quadrelli

The book offers a complete picture of the art market and the growing connection between art and money, becoming an indispensable reading for all students, academics, professional players and passionate who want to know how the art market works.

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Tafterjournal n. 74 - agosto 2014

Contemporary art fairs as new forms of cultural consumption and urban experience

di Enrichetta Cardinale Ciccotti

Contemporary art fairs are commercial exhibitions where art dealers meet up over the course of several days at a specific event. Nowadays they are held around the world, offering attendees the opportunity to experience in just a few days what otherwise would only be possible by travelling all over the world. This study has selected some key aspects of the contemporary art fairs expansion, focusing on their historical background and on contemporary globalization aspects of the art system. While exploring the art fairs territory, the contemporary art system often finds common grounds with attitudes observed in more-encompassing cultural and creative industries. Art fairs, as many other cultural industry events, such as music and cinema festivals or fashion weeks, share the “show – spectacle” notion in the public culture. Within this context, some analogies can be made as regards the common networking necessities of these industries, but it is also worth highlighting the emergence of art fairs effectiveness in enhancing the contemporary arts and the consumption of creative products.

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Art as an investment?

di Vittoria Azzarita

Pointing out similarities and differences that exist between art and other kinds of assets, Melanie Gerlis – the Art Market editor of The Art Newspaper – try to figure out an answer to the question whether art is a good investment or not.

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An overview of the art sector

di Edwige de la Tour du Pin

The art sector has a network structure, where actors operate in relationship with each other. But one must points out the fact that one individual can act in different roles or perform the tasks of various actor types.

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Describe the role of collectors in the XXI century, in terms of effects on the art market, influence on artistic creation, diffusion and knowledge of artists and artworks

di Claire Michelizza

Collectors are different than donors who support the cultural production by giving money. Collectors are totally involved in the art market.

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Collecting Art: the not-for-profit sector and the art market

di Francesca Pollicini

Give an overview of the art sector through actors involved, missions, roles, ways of operating and relationships among them.

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