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10.24.2014

Web review - 24/10/14

Paris FIAC edition : Contemporary art in good shape(s)

By crossing the $2 billion threshold for the period July 2013 to 2014, the contemporary art market achieved the best performance of its history, pulled by China which hosted more than 40% of the exchanges, before the United-States. Alone, both countries achieve 78% of the global revenue (according to Artprice). Until October 26 th, the FIAC opens under the Grand Palais vault and the Seine Docks- Cité de la mode et du design.  Between bubbles and confirmed values.


The come-back of opulence in the contemporary art market 2013/2014, according to the Artprice report.

In four years, the global revenue in auction houses – over all periods- almost doubled since the 2009-2010 turndown, when a 48% drop in prices was recorded. 

Read on actunews.com

 

Five Theories On Why the Art Market Can't Crash (And why it will anyway)

What you hear most these days, of course, are art-world sages saying that it will last, postulating that this time, it’s about a long boom and not a massive bubble. Generally, such pronouncements are underpinned by a litany of logical-sounding reasons.

Read on nymag.com

 

China is the fastest growing contemporary art market in the world.

China’s vivacity as an art market could be attributed to its unique bi-focus: the more Western-focused Hong Kong market (controlled predominantly by regional HQs of Christie’s and Sotheby’s) and the Mainland market, defined by China’s own Poly Auction and China Guardian, both based in Beijing.

More : Five myths about Chinese Contemporary Art (Forbes)

Read on arttactic.com

 

Modern Painters Presents 25 Artists to Watch in 2014

In that spirit, we present our annual list of the brightest emerging artists. These international rising stars represent a broad cross-section of thematic concerns and material approaches.

Read on blouinartinfo.com

 

What will remain from contemporary art? Reflections around Nathalie Heinich’s book

As a sociologist, Nathalie Heinich examines the new « paradigm » of contemporary art, its audience and its customers, its commentators and its institutional players. She admits that her analysis, however objective, can be read in two ways: “an account of the protagonists’ intelligence, seriousness and expertise” or “a satirical charge against what some denounce as a sham”.

Another perspective, by the sociologist Olivier Gras

Read on contrepoints.org

Photo credit : FIAC.