CONTEMPORARY ART AND ITS COMMERCIAL MARKETS

CONTEMPORARY ART AND ITS COMMERCIAL MARKETS

ETT SYMPOSIUM OM DAGSLÄGET OCH FRAMTIDEN

Lördag 28.1 kl 14-17
Tensta Träff
Hagstråket 13, Tensta

Hur kommer konsten att se ut år 2022 och hur kommer konstnärerna att verka? Contemporary Art and its Commercial Markets är ett symposium med anledning av utgivningen av en rapport med samma titel som ges ut av Sternberg Press i Berlin och Tensta konsthall. Konstmarknadernas institutionella förändringar under de senaste årtiondena har har haft en tydlig inverkan på hur konst marknadsförs och betraktas. Bilden av samtidskonsten som investering och framgångsaccessoar, konstmässornas utbredning, auktionshusens ökade konkurrens med gallerierna och konstvärldens tilltagande globalisering och kommersialisering är några av de fenomen som debatteras. Kritiken, särskilt från konstnärshåll, mot den här utvecklingen kommer också att diskuteras. Bland deltagarna finns akademikerna Olav Velthuis som forskat om prissättning av konst och Stefano Baia Curioni som särskilt studerat konstmässornas snabba utbredning. Thea Westreich är en av dagens mest omtalade konstkonsulter med erfarenhet av både modern och samtida konst.

Deltagare:

- Stefano Baia Curioni, ekonomihistoriker och chef för arts, cultures, media and entertainment master of science program på Bocconi University Graduate School, Milano

- Noah Horowitz, konstvetare och chef för The Armory Show, New York

- Andrea Phillips, föreläsare och chef för research programmes, art department, Goldsmiths, London

- Mika Tajima, konstnär, New York

- Olav Velthuis, professor på department of sociology and anthropology, University of Amsterdam

-Thea Westreich, konstkonsult, Thea Westreich Art Advisory Services, New York

Moderator Tone Hansen, chef Henie Onstad Kunstsenter, Oslo

Contemporary Art and its Commercial Markets: A Report on Current Conditions and Future Scenarios är redigerad av Olav Velthuis och Maria Lind och med bidrag av Stefano Baia-Curioni, Karen van den Berg/Ursula Pasero, Isabelle Graw, Goldin+Senneby, Noah Horowitz, Suhail Malik/Andrea Philips, Alain Quemin och Olav Velthuis. Utgiven av Sternberg Press och Tensta konsthall. Design Metahaven.

Rapporten och symposiet är del av Abstract Possible: The Stockholm Synergies, Tensta konsthall 12.1-22.4 2012

Stefano Baia Curioni is an economic historian, director of the Arts, Cultures, Media and Entertainment Master of Science program at Bocconi University Graduate School, and visiting professor of Arts markets and Heritage Management at IMT Lucca at the PhD Cultural Heritage Management. He has been engaged in the study of the relationships between arts and economies and between cultural policies and cultural institutions for more than ten years. His recent research activities include an assessment of the public Italian heritage Institutions (for the general direction of Italian Ministry of Culture); planning activities for museums and cultural institutions in Milan  (the Milan contemporary art museum) and the development of a research on the status creation processes in the contemporary world art markets. He is also a board member of Piccolo Teatro o Milan, Fondazione Ratti in Como, and scientific board member of Palazzo Tè in Mantova and Fondazione Civita in Rome. 

Tone Hansen is newly appointed Director of the Henie Onstad Art Centre, Oslo. Previously, she worked as curator for the art centre for three years. Hansen is the editor of the reader(Re)Staging the Art Museum and responsible editor of  Thousand Eyes: Media technology, law and aesthetics. Recent exhibition projects include: In Translation with Saskia Holmkvist, World Rehearsal Court with Judy Radul, the reader and symposium A Thousand Eyes: Media technology, the law and the aesthetics, Creative Act, Hito Steyerl and To be Heard is to be Seen. Hansen held a research position at the Oslo National Academy of Art in Oslo from 2003-2008. Other projects include the 2007 exhibition and publication Megamonstermuseum; How to Imagine a Museum of Today? As well as the anthologies The New Administration of Aesthetics and What Does Public Mean? Art as a Participant in the Public Arena in 2007.

Noah Horowitz is Managing Director of The Armory Show. He received his PhD from The Courtauld Institute of Art, London, and formerly served as Director of the inaugural VIP Art Fair in 2011. He has written widely on contemporary art and economics for publications including The New York Times, The Observer and ARTINFO as well as for institutions such as the Serpentine Gallery, London, the Astrup Fearnley Museum of Modern Art, Oslo, and the United Kingdom's Intellectual Property Office. Horowitz teaches on the faculty of the Sotheby's Institute of Art, New York, and is author of Art of the Deal: Contemporary Art in a Global Financial Market, published by Princeton University Press.

Andrea Phillips is Reader in Fine Art and Director of Research Programmes, Art Department, Goldsmiths, London. Recent publications include: “Too Careful: Contemporary Art's Public Making,” in Caring Culture: Art, Architecture and the Politics of Public Health (SKOR/Sternberg 2011); “Education Aesthetics,” in On Education (MIT/Whitechapel, 2011); “English Pastoral,” in LOG 23 ( Fall, 2011), “Making it up: aesthetic arrangements in the Barents region,” in Hotel Polar Capital (August, 2011); “The Politics of Practice-based PhDs,” in Investigacao em Arte e Design (Universidade de Lisboa, 2011); “List Aesthetics,” in Inventive Methods (Routledge and Taylor & Francis, 2011), “The wrong of contemporary art: aesthetics and political indeterminacy,” (with Suhail Malik) in Reading Rancière (Continuum, 2011).

Mika Tajima was born in 1975 in Los Angeles, California, and currently is a New York based artist. Connecting geometric abstraction to the shape of our built environment, Tajima's work explores possible forms and activities defined by divisive spaces in which objects outline performer action and viewer positions. Abstraction operates at the edges of rationalism, décor, and representation, reframing the modernist project in a post-Fordist context – the world of immaterial circulation and information. Tajima received an MFA from Columbia University School of the Arts in 2003.Select solo exhibitions include Seattle Art Museum; Visual Arts Center at University of Texas; Bass Museum, Miami; X Initiative, New York; The Kitchen, New York; RISD Museum, Rhode Island; Circuit, Switzerland. Group exhibitions include 2008 Whitney Biennial; Museum of Contemporary Art Chicago; Contemporary Art Center Cincinnati, OH; PS 1 Contemporary Art Center, NY; Swiss Institute Contemporary Art, NY; among others.  Tajima is founding member of New Humans, a moniker for collaborative music, art, and actions. Collaborations include Charles Atlas, Vito Acconci, C. Spencer Yeh, Philippe Decrauzat, Slow and Steady Wins the Race, among others. Group and Solo performances include South London Gallery, UK; San Francisco Museum of Modern Art, CA; ICA Philadelphia; Artissima, Italy; Ballroom Marfa; Swiss Institute, NY; Walker Art Center, MN; Whitney Museum, NY.

Olav Velthuis is Associate Professor at the Department of Sociology and Anthropology of the University of Amsterdam. He is the author of Imaginary Economics (NAi Publishers, 2005) and Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art (Princeton University Press, 2005), which received the Viviana Zelizer Distinguished Book Award from the American Sociological Association for the best book in economic sociology (2006). Velthuis has worked as a staff reporter on globalization for the Dutch daily de Volkskrant, as a visiting post-doc researcher at Columbia University, and as Assistant Professor at the University of Konstanz. Currently, he is studying the emergence and development of art markets in the BRIC-countries (Brazil, Russia, India, and China). His journalistic writings on art markets have appeared in, among others, Artforum, The Art Newspaper and the Financial Times. Velthuis is board member of the Netherlands Foundation for Visual Arts, Design and Architecture (Fonds BKVB), which is the main government-sponsored foundation for visual artists in the Netherlands.

Thea Westreich. After numerous years working as a volunteer in the visual and performing arts, and following board associations with The Friends of Kennedy Center for the Performing Arts, the National Ballet, the American Ballet Theatre, and the Museum of African Art, Thea Westreich founded Thea Westreich Art Advisory Services—a private consultancy serving individuals build­ing fine art collections. Since 1982, she has advised private collectors throughout the United States and Europe. She has worked with clients to build collections focused variously on Impressionism, American, Modern, and Contemporary Art. She has curated collections in specific media, such as video and film, photography, and works on paper, in addition to the more traditional genres of painting and sculpture.