5 TOPICS RARELY DISCUSSED
ECA invites its lecturers to write on the issues that they consider important discussion points in the world of art, architecture, creativity and innovation. It is our pleasure to share thought-provoking articles with you and continue to review the most interesting issues in our programs and lectures. Cultural entrepreneur Nina Comini boldly discusses most pressing industry issues with artist Rene Rietmeyer.
THE ART MARKET DECREASES ALL ARTISTIC EXPRESSIONS
The necessity of exhibiting what is "buyable" changes the process of creation inside the art market field. In order to sell art properly, the artists are willing to change the way they produce their artworks. The artwork wants to be militant, provocative, and to catch the eye of the buyers. The development of contemporary art is endless and created a huge competition which forces the artists to show a selection of alternative and "unique" works which please today's needs in contemporary art.
The art world witnessed serious changes when the artistic productions transformed into merchandise that can be sold at a very high price.
THE REAL MOTIVATION OF CONTEMPORARY ARTISTS NOWADAYS: CONTEMPORARY ARTISTS NEED TO PLEASE THE BUYERS
The art world witnessed serious changes when the artistic productions transformed into merchandise that can be sold at a very high price. The contemporary artists use more and more provocative artworks whose main goal is to catch the public's eye. It looks like there is a war against boredom, and speculation took over the real motivations of contemporary artists. Furthermore, the high speed in which the buyers acquire artworks today force the artists to adopt a new way to produce.
BIG CULTURAL SHOWS ARE ONLY MONEY - DRIVEN
Nowadays, art fairs became an unavoidable meeting point between artists and buyers. In 1970, there were only three art fairs – Cologne, Bâle and Brussels- but increased to 288 in 2013. Nowadays, art fairs are blooming all over the world: Miami, Hong Kong, Dubai... The art galleries use these big cultural events to present artists whose reputation accentuate the speculation around them. When organising a big cultural event, independent curators bring expertise, creativity and a voice all together in presenting an exhibition. Curators are financed, although within the commercial gallery sector, payments mostly depend on the resources available, the cultural context or the curator's experience. In the end, curators tend to look for money-driven shows in order to earn sufficient fees.
ARE THE BIENNALES A PLACE FOR THE ARTISTS TO EXPRESS THEMSELVES?
The biennales are very well-known across the art world since many years. It is a cross-road between artistic creation and visibility worldwide. The artists who are presented in these events are offered a place to think – and rethink - the creation of the moment. But many biennales tend to become a political and societal tool for the country which exhibits its artist. The artistic creation turns into a powerful discourse between governmental institutions.
WHY ARE MAJOR ARTISTIC SHOWS LIKE THE BIENNALE A SYNONYM OF SUCCESS FOR THE ARTISTS?
Major artistic shows are a synonym of success for the artists in terms of representation. The Biennale is certainly a proof of success because it involves not only the artists themselves, but also investors, art collectors and the public which can bring a great advertisement through social platforms. Exhibiting in major artistic events can bring a lot to artists and the Biennale, for instance: they bring a brand-name, help expanding the notoriety of both artistic productions and the space they exhibit in. It became a prominent tool of communication in public relations today that can benefit for both parties.