The mechanisms of the art market are among the most powerful influences in the art world. They have a considerable impact on the positioning of art and the image of artists. Is this market perhaps the new medium that filters art? It must certainly be seen as a frame that determines the scope afforded people who create culture. Does the market perform a vital function as an authorised representative? Which chance do artistic considerations have in an area in which economic interests are so dominant? To put it differently: How do artists react to economic interests? Agents play an important role as intermediaries and in representing art: they get artists established within an economically regulated art business. Does this mean that agents should be regarded merely as the executors of the laws of an art market which, in turn, dictates the aesthetic rules?
Political aspects will also be taken into account here. The arts often help to shed light on post-colonial structures and make people conscious of them. But what effect do economic criteria have on artists? political interests?
SPEAKERS:
Charlotte Bydler is an art critic. At present, she is preparing her doctoral dissertation on the internationalisation of contemporary art at the Uppsala University Art History Department. Since autumn 2003, she has been teaching art history at the Department of Art and Communication at Södertörn University. Regina Römhild works at the University of Frankfurt a.M. She is currently doing research into the processes of transnationalisation, cultural globalisation and Europeanisation. She recently ran the research project "Transnational everyday cultures in Frankfurt". Ian Verwoert studied humanities and philosophy in Hildesheim and London. He lives in Hamburg, where he works as a freelance author for the art magazines frieze, springerin, afterall, metropolis m and Camera Austria. In 2001 he was awarded the Art Criticism Prize of the Arbeitsgemeinschaft deutscher Kunstvereine and is guest professor for contemporary art and theory at the Acadamy of Arts in Umea (Sweden). Marion von Osten studied art history, philosophy and painting. After completing her studies, she has worked as a freelance artist. Since 1990, she has been studying theories of gender construction, urbanism and economics. In 1994 she began writing contributions as an art critic for the magazines Texte zur Kunst, Springerin and A.N.Y.P. From 1996 to 1998, she was curator at the Shedhalle in Zurich. Since 1999 she has been teaching at the Schule für Gestaltung und Kunst in Zurich.
Language: English / German with simultaneous translation
|
