中欧社会论坛 - China Europa Forum

launched

Workshop presentation

The concept of art market cannot be reduced to a speculative aspect. The current crisis involves a small minority of artists and speculators, it does not affect neither the desire nor the demand for art coming from people. A lot of artists sells their work outside galleries and auctions. But those who sell the most expensive are the most well-known, so they have a responsibility to the contemporary imagination and the collective consciousness. Indeed, the artist now has the conceptual and materials tools to create for his family as much as for all of humanity.

Topics for debates

A lire : le document de préparation :

• Art and the Market. Crisis in global-local / glocal horizon (pdf, 41,4 Ko)

Bao Lin (Chinese Prime Mover of T12e, Artist, China)

• After the cross-media expansion of art form, what’s the situation of art language in China and Europe?
• Whether the contemporaneity of art includes reconstruction of aesthetic value? Who is reconstructing it, and how?

Yuan Zuo ( Art Educator， China)

Reflections on Chinese art education method. Whether Chinese art education should be reformed to adapt to the revolution of Chinese society?

Wang Lei (Collector, China)

• Art investment, which aims to protect, carry forward and inherit culture, can achieve self-development through market methods and operation under economic laws.
• If art investment which aims to protect is combined with tourism and real estate, it will be a breakpoint for creation industry. I hope that every discussion about art market should call attention to the purpose of investment, so that subsequent investors will not lose direction.

Wang Duanting (Art Historian, China)

The analysis of supranationalism trend in art, which is also a new ideological trend in the development of Chinese contemporary art.

Luo Xiaohua (Art Director in Culture enterprise, China)

Try to compare the art market between China and Europe:

• Main causes of the disorder of art market. What’s the consequence in the future? How to straighten it out?
• What’re the features of European art market?
• The culture background determines the market direction. What’s our communication about? What can we get? What shall we construct together?

Li Mu (Artist, China)

• Question the critical standpoints of Chinese contemporary art.
• The conception of realism in painting should be clarified. Now, so-called realism has become the largest obstacle in the innovation and improvement in China.

Dimosthenis　AGRAFIOTIS（European Prime Mover of T12e、Artist、Greek）：

Under the background of globalization of market and present economic crisis, how do artists construct their professional profiles? How to manage supply and demand, and how to design their survival strategies in different sociocultural contexts. The classification is as follows:

• Market orientation
• Institutional orientation
• Social relevance and mobilization
• Sociocultural “catalysis”. Comparison of cases, experiences, lessons between Europe and China will indicate the possibility of the above classification. (The help from the participants is crucial)

James GOODWIN(Art Economist，U.K)：

• What’s the nature of art market crisis? Whether do these crises show any similarities or differences in time and space? How do the sociocultural conditions influence these crises?
• What are the rational links between art and art market? What misconceptions are created if we approach art through market?
• After the crisis, what will art and art market be like? Is it possible to imagine art beyond market?

Laurence AEGERTER（Artist，France）：

• The problem of concept in art creation
• The shift from modern art to contemporary art worldwide.
• Regarding the globalization of art, it is important to study how markets and systems, locally and worldwide, are related, and what are the decision-making forces behind global cultural matters?

Martina STECKHOLZER (Artist，Italy)：

• What are the main lines where Chinese art is accepted in Europe? Does Chinese art have an independent position? Does it affect contemporary art?
• Is there a perspective which looks on world art history through the influence between European and Chinese art history? Dose this perspective makes any achievement? What is the impact of the increase of Chinese art presence to the contemporary art in Europe and what will it be in future?
• Under present economic crisis, art selection processes become difficult. Who is responsible for the value of art, market, theorists, or art institutions? Is there any inherent value in artworks? Does artists’ gender have any effect on their success? If it does, what kind of effects is it?

About us

LI Xiao Shan (李小山), Art history professor, novelist, Director of the Nanjing Square Gallery of Contemporary Art, Chinese institutionnal partner of the artists’ workshop, http://new.artzinechina.com/display…
JIANG Nan (姜楠), Painter, http://www.kwaifunghin.com/artists/…
Demosthenes AGRAFIOTIS, Poet, intermedia artist performer
François BOSSIERE, painter, professeur in the College of Fine Arts of the Northeast Normal University à Changchun, http://blog.artintern.net/fangsuogo…,
Maria TSANTSANOGLOU, Curator of Salonica Museum of Contemporary Art
James GOODWIN, Lecturer about art market, author of The International Art Markets - The Essential Guide for Collectors and Investors www.artsresearch.org.uk
Ruben LIEN, Christies, Chinese art
Gabriela SALGADO, Chief Curator, TATE Modern
Frank GERLITZKI, artist actually living in Guangzhou, art projet manager www.frankgerlitzki.com
Iain Robertson: Head of Art Business Studies, Sotheby’s Institute of art, author of The art business (2008), http://www.sothebysinstitute.com/fa…

Workshop’s news

Our activities

The Round Table in Salonique, on March 13-14

A preparatory Round Table has been held by our institutional partner the Salonica Museum of Contemporary Art on March 13-14. The Museum’s heads met for the first time our Chinese partner Mr Li Xiaoshan (李小山), while 14 Chinese artists were exhibited in the neighbouring hall. This meeting allowed us to review a good amount of problematics. It has been especially warm and aroused everybody’s deep curisity, among others several journalists.

Please read the speech of Maria Tsantsanoglou at the round table :

• • Maria Tsantsanoglou round table introduction speech (pdf, 8,8 Ko)

Please read the articles in the press

• • in the journal Macedonia, the 22th March 2009 (in grec)
  • in Athensplus|en->/IMG/pdf/Forum_China-Europe_AthensPlus-5.pdf], the 20th March 2009

Photos of the round-table :

photo of the round-table

photo collective

from left to right : Angela Maria Arbalaez (journaliste), Démosthène Agrafiotis, Jiang Nan (姜楠), Maria Tsantsanoglou, Li Xiaoshan (李小山), Frank Gerlitzki

from left to right : Li Xiaoshan (李小山), Jiang Nan (姜楠), François Bossière, Katerina Koskina, Maria Tsantsanoglou

from left to right : James Goodwin, Demosthenes Agrafiotis, Anna Mykoniati, Iain Robertson, Jiang Nan (姜楠), Chrysa Zarkali, Li Xiaoshan (李小山)

Please read the preparation documents :

• Art and the Market. Crisis in global-local / glocal horizon (pdf, 41,4 Ko)
• From crisis to action? (pdf, 13,1 Ko)