ArtTactic

The Art World’s Tumultuous Relationship with Technology

Christies. “Beeple (b. 1981).” Christies.Com, onlineonly.christies.com/s/first-open-beeple/beeple-b-1981-1/112924. Accessed 18 July 2024

Why The Art World is Afraid of Technology

The art world seemingly loves to embrace new technologies; however, under a closer observation, nothing could feel further from the truth. The art world is a system rooted in tradition. It is an industry irreplaceable by artificial intelligence, as so much of its business relies on human interaction and conversation over a glass of bubbly or via WhatsApp. The art world has been slow and cautious when embracing digital art, even with the NFT explosion in 2021 and 2022 fueled by press from the sale of Beeple’s Everyday’s, fetching $69 million in March 2021.

On the heels of this sale, auction houses quickly created teams to serve as digital art liaisons and galleries made headlines about the way in which they were adopting more digital-focused processes and activations. Galleries such as Gagosian and Pace hurried to embrace the digital movement at the time, with Takashi Murakami’s Coin NFT release and the establishment of Pace Verso, respectively.

The Art World’s Tumultuous Relationship with Technology ArtTactic

https://gagosian.com/news/2023/05/24/takashi-murakami-flower-jet-coin-nft-giveaway/

Although the industry experienced a fleeting moment of adoption and excitement, it remains unclear how much of that carries on today. Why is the art world falling behind other industries when it comes to the adoption and acceptance of new technology processes?

It could be argued that COVID-19 helped to propel the art world into a more digitally savvy industry. The art ecosystem grasped the appetite for buyers to purchase online-only, which was not necessarily predicted. Hauser & Wirth launched ArtLab, a virtual reality exhibition modeling strategy and residency program for artists in Los Angeles, showcasing their commitment as a gallery to forward-thinking models of integrative technology.

The Art World’s Tumultuous Relationship with Technology ArtTactic

https://www.hauserwirth.com/news/28281-artlab-new-technology-research-division/

Lisson Gallery co-designed a platform with software company Augment, highlighting the way in which digital solutions could in fact bring greater accessibility to the market. The post-pandemic eagerness of technological experimentation, however, feels as though it hit its peak in that moment, while now experiencing a slow downturn.

2024 is the perfect moment for the art world to embrace new technologies. As the market slows down, it should use this time to implement new technologies, rather than being afraid of potential disruptions to the carefully-curated structures these players have engineered over the last decades. The industry could be opening up conversations with companies such as Artemundi to discuss the way in which fractional ownership could be greater championed. It could collaborate with Salon, a decentralized fund for collaborative art buying. Collectors could be utilizing technological solutions provided by companies such as Arius Technology to scan, digitize, and future-proof their works of art.

The Art World’s Tumultuous Relationship with Technology ArtTactic

Photo courtesy of Elise Huff

They could also be collaborating with ArtClear to authenticate their existing collections.

The Art World’s Tumultuous Relationship with Technology ArtTactic

https://www.artclear.com/fingerprint

The art world, and in particular large blue-chip galleries, appear to champion accessibility. However, in order to truly democratize the art world, these players must reach for deeper creative solutions. By working in unison with entrepreneurs, such as those listed above, who seek to remove some of the industry’s restrictive boundaries, they can create serious lasting change. It’s time for the art world to become as technological savvy as adjacent industries. By embracing new technology and allowing big players to collaborate with smaller startups, the industry will feel re-energized, ready to adapt to new models and methods, which are truly necessary in order to overcome and succeed in a slow market.

Are you a student or recent graduate eager to contribute your voice to ArtTactic’s Editorial vision? We’d love to hear from you!
Reach out to our Head of Editorial, Sandy Dewar (sandy@arttactic.com) for more information.

Book Review: ‘Art In Saudi Arabia’, ‘Hot Topics in the Art World’ Lund Humphries

Photo of Maraya Concert Hall. Courtesy Arab News

Catchy title, catchier representation; Art in Saudi Arabia by seasoned reporter Rebecca Anne Proctor, with Alia Al-Senussi, offers an opportune overview of the past, present and future of the Kingdom’s contemporary cultural scene and economy; in particular within the ubiquitous Vision 2030, the trillion-dollar mega project led by Crown Prince and Prime Minister Mohammed bin Salman (MBS). The words ‘contemporary’ and ‘economy’ are key here. What is being exchanged in the creative economy and whose work gets into the canon to tell the story of who? To demystify the infrastructural spectacles and provide readers the ability to make their own judgement, the authors interviewed various industry players, from artists to gallery owners to academics to curators and the like, to shed light on their hopes and worries in art-making and appreciation at home and abroad, amidst Saudi’s leapfrogging political, religious and social reformations since 2016.

In the face of self-censorship, morality of public and private institutions and the financialisation of art, all of which are especially pertinent in the cultural practices in the Global North nowadays, the authors try to make a balanced statement that seeing art in Saudi Arabia through the Western lens may not necessarily paint the full picture of what’s happening within the Kingdom. However, if we take a closer look at the discussion of this cultural opening, there exists a diplomatic undertone that the current art patronage is just the beginning of something that never existed before – a platform for artistic expressions – the development of which is yet to come to a conclusion (like what will happen after 2030?). As the authors note, they only “seek to demonstrate” how public investment in the arts brought visibility and profitability to a previously “unthinkable” industry in Saudi Arabia. There is no definitive answer here to whether creativity is merely a means to an end (diversifying fiscal revenue from oil and promoting the region at large on the global stage) or a recognition of individual talents and collective voice. They leave that up to time and readers’ own point of views to ascertain.

Zooming out to the rest of the world, it is hard to escape from seeing the name of AlUla (an ancient Arabian desert oasis turned luxurious travel and arts destination), or Wadi Al Fann (Valley of the Arts), or more broadly, new exhibitions and auction records set by Saudi artists in the West. Compared to regional neighbours such as the UAE and Qatar, who are all ramping up their stakes in the game of modern architectural wonders and cultural bodies, the portrayal of Saudi’s manifestation here seems both tangible and nebulous. Between geopolitical and cultural headline-fodders, the authors do acknowledge the clash of freedom and boundary behind the modernisation initiatives. However, it is unclear how Western art practitioners and audiences are expected to all of a sudden set aside their differences and learn from each other in this new creative exchange without educational programming. While “compassion” and “an open-mind” are pivotal to foster progress, a publication like this is helpful as a handbook for a new generation of art lovers to begin and continue their observations in the nascent field.

What Might the Funding Crisis Mean for Museums?

Pot, Harry, 1960, from the Anefo photo collection

Arts funding in the UK relies on three key sources; state subsidy, commercial revenue and philanthropic support. For the fourteen national museums in the UK, all of which are in England, public investment generally accounts for 30% to 40% of museum income, with the number often standing closer to 30% for the largest institutions. This balance of funding for museums in the UK has, however, come increasingly under threat in recent years, as indicated by a recent ArtFund report which found that two-thirds of museum directors are concerned about funding shortfalls, up from half in 2022.

These concerns are not exclusive to the fourteen national museums; they are shared by council-funded local-authority institutions and independently funded museums alike. So far in 2024, at least ten councils have already issued section 114 notices to declare council bankruptcy while, simultaneously, central government grants to local government have fallen by over 50%. This is particularly concerning given that funding shortfalls tend to have the greatest and most immediate impact on local-authority museums which, incidentally, also tend to have the most significant cultural impact on local communities.

The question remains, therefore, that if public investment continues to dwindle, how might public museums respond and what might this mean for the sector? An increased reliance on corporate sponsorship for publicly subsidised institutions can have major reputational and ethical challenges. This has been reflected by recent Big Pharma and Big Oil funding criticisms faced by many major arts institutions in the UK, not least the British Museum’s acceptance at the end of 2023 of a ten-year, £50m BP sponsorship deal. Although one trustee of the Museum resigned in response to the sponsorship deal, it is increasingly easy to see why the museum accepted the deal, which will be used to fund a major renovation project, in the face of dwindling state subsidies.

In a challenging parallel for the sector, the arts continue to fall in the list of priorities for charitable giving among younger generations of philanthropists. This trend can certainly be correlated with the lack of government support for arts education over recent decades, despite the economic power of the creative industries, which generated around £126bn for the UK economy in 2022. After all, it seems difficult to consider why a potential donor might give to an institution if they’ve never felt the aesthetic, spiritual or political impact of a museum themselves.

The reparative role of museums in society has never been as important as it is today and, as museums are forced to reconsider their operational models, it remains crucial that institutions continue to prioritise what might be termed a ‘triple bottom-line’ accounting approach to consider integrated social, environmental and financial performances. Institutions must continue to focus on the quality, as opposed to quantity, of public engagement to help build a future where museums aren’t forced to justify meaningful public subsidy, but are instead valued as vital spaces of education, inspiration and joy.

Want to know more? Check out our reviews of books looking at museums and philanthropy as well as our inaugural Museum Acquisitions report.

1st Half 2024: 5 Key Takeaways from the Global Auction Market

ArtTactic’s recently published RawFacts Auction Review for the First Half of 2024 and Art Market Confidence Report – July 2024 offer insights into the market’s current trajectory and the outlook for the remainder of the year.

Here are five notable market trends:

Trend #1: WEAKER TOP-END SALES WEIGHS HEAVILY ON RESULTS

Sluggish economic growth and geo-political uncertainty continue to weigh in on the global auction market. Global auction sales by Christie’s, Sotheby’s and Phillips in the first six months of the year came in 27.0% lower than the same period last year. The impact has been mostly felt in the Post-War and Contemporary art market, which has seen $1m+ sales weakening across major auction hubs in New York, London and Hong Kong.

Trend #2: VALUE DOWN, BUT VOLUME REMAINS HIGH

Despite the weakening of the top end of the market, overall auction volumes remain healthy in H1 2024, and shows that despite lower auction sales value, the number of lots sold remain relatively unchanged. Year-on-year, the number of lots sold in the first half only decreased by 2.3%.

Trend #3: ONLINE SALES DRIVES HALF OF AUCTION TRADING ACTIVITY

A key driver behind the robust volume in the first 6 months of the year has been the 14% increase in Online-Only auction sales in the first six months of the year, accounting for almost half of the total lots sold by the three auction houses and 10% of total value, up from 6% in H1 2023. The significant growth in Online-Only auction sales highlights a shift in buyer behaviour and the increasing importance of digital platforms in the auction industry.

Trend #4: PARIS DEFIES THE GLOBAL DECLINE

Auction sales in Paris, saw positive growth in H1 2024, with total sales coming in at $317.1 million, up 12.2% from H1 2023, and taking a 7.5% market share (up from 4.9% in H1 2023). The strong performance was primarily fuelled by the Barbier-Mueller collection of Oceanic and African works of art at Christie’s in March, which contributed $73.1 million to the sales total in H1 2024.

Trend #5: MARKET GLOOM UNLIKELY TO LIFT IN THE AUTUMN

Six months ago, most experts surveyed by ArtTactic anticipated that the art market would stabilise or improve in the latter half of the year. However, that optimism has significantly diminished over the past six months. Now, only 6% of respondents predict an improvement in the market in the next six months, a drop from the 20% who held that belief in January 2024.

The challenges facing the global art market this autumn is likely to persist, and we anticipate the downward pressures on the market to continue. However, this presents new investment opportunities, as the needle moves from a sellers’ to a buyers’ market.

Learn more about ArtTactic’s research reports and initiatives HERE.

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Are you a student or recent graduate eager to contribute your voice to ArtTactic’s Editorial vision? We’d love to hear from you!

Reach out to Sandy Dewar (sandy@arttactic.com) for more information

Galleries of the Future

Steve McCurry, Moonrise over Mumbai, India (1994). Fujiflex Crystal Archive Supergloss digital C-print. 101.6 x 152.4 cm. Courtesy Sundaram Tagore Gallery.

Capturing The New Wave in Indian Contemporary Art

My visits to Mumbai in 2023 allowed me to delve into the Indian contemporary art scene for the first time, discovering an exciting programme of galleries and meeting some of the most ambitious gallerists and artists. I visited several galleries including Chemould Prescott Road, Chatterjee and Laal, Tarq, Galerie ISA, DAG and the newly opened Nita Mukesh Ambani Cultural Centre among others.

Mumbai’s contemporary art landscape has been steadily evolving since the onset of globalisation in the 1990s and India’s art market boom in the early 2000’s. Commercial art fairs have significantly facilitated this movement. The first edition of Indian-owned art fair Art Mumbai in 2023 with around 50 participating galleries and 5 overseas galleries asserts how Mumbai has been positioned as the central hub for India’s art market. The fair champions an impressive programme of artists displaying accessible works from India and its diaspora as a gateway for the younger collector base. I interviewed Mortimer Chatterjee, one half of directorial duo of leading Mumbai-based gallery Chatterjee on Laalon some of his insights and forecasts on the Indian contemporary art market.

Tanya: How successfully do you think major regional fairs such as India Art Fair and Art Mumbai capture the economic and social wave in the region?

Mortimer: The major India fairs have successfully reflected the current positive trends in the economy, and sales have been robust. As for capturing a social wave, I think again the Fairs have been attuned to the influence art can have at a societal level.

T: How far has the relationship between gallerists, art dealers and artists in the region contributed to the expansion of the art ecosystem?

M: The relationships within the art ecosystem have been professionalised over the last decade or so and this has helped in shoring up and expanding the scene as a whole. Professionalisation has brought with it predictability and agreed processes, which are the cornerstones of a mature market.

T: What were the main challenges faced by Indian galleries during the pandemic and how have these been overcome post-pandemic?

M: Footfall was the main problem. Post-pandemic, we have seen people flock back to galleries and this trend is set to continue as younger people look for shared experiences in the cultural sphere.

T: What role do you think social media has had in making art more accessible and how has this led to an arguably more sustainable market, if at all?

M: Social media has been critical in creating online communities of likeminded gallery goers who are able to share their enjoyment of contemporary art. For galleries, it is now our primary platform for dissemination of information. It has certainly aided a more sustainable market.

T: What are your predictions for the state of the India’s contemporary art market over the next 5 to 10 years?

M: I think there will be more engagement with global art trends with international galleries planting their flags on Indian soil.

The potential of the contemporary Indian art market remains hopeful where its historicised cultural heritage meets contemporary. While Mumbai remains the main focal point, cultural development is evident in Delhi and in regions such as Hyderabad. With the onset of global audiences, the emergence of a new, younger tech-savvy generation of collectors through local art fairs and new regional outposts for local galleries that were once concentrated together, the birth of a new market remains promising.

Gayatri Khanna, ‘Tanya with embroidery piece by artist Sayed Haider Raza. Exhibition: ‘Visions’, embroideries of works by Indian 20th century artists’, Grosvenor Gallery, (June 2024).

Future of the Art Fairs

Image of JustMad Madrid 2022 © Alexandra Zagrebelnaia

Perspective of the art fairs’ organisers in Spain and Italy

Art fairs have long been vibrant intersections of culture, commerce, and creativity. Initially centered on art sales and displays, they have evolved into dynamic cultural spectacles. Despite changes in the art market, art fairs remain vital for galleries to showcase works and expand networks.

The future of art fairs, though fraught with challenges, remains promising. As the art world adapts to economic, social, and environmental shifts, fairs must also evolve. Traditional models face scrutiny, with many advocating for more socially-oriented frameworks. Marc Spiegler, former global director of Art Basel, emphasised this need at the Art for Tomorrow conference in April 2023. He warned that viewing contemporary art fairs as elite-exclusive events risks budget cuts and diminished public interest, advocating for democratising the art market to ensure its sustainability.

Audience development is crucial; attracting diverse, engaged crowds enhances experiences for visitors and exhibitors alike. Insights from art fair organisers, particularly in Spain and Italy, are invaluable to investigating how art fairs can attract buyers, and generally enrich the cultural life of their host cities. Interviews with high-level staff from five mid-sized art fairs—two in Spain and three in Italy—highlight their strategies and challenges. These fairs, whether established in the 1990s or more recently, do not have dedicated Audience Development departments or teams. Instead, the interviews were conducted with artistic directors or visitor departments. Despite this, the fairs still managed to cover topics related to Audience Development comprehensively.

miart 2022 Milan © Alexandra Zagrebelnaia

This overview is based on five semi-structured interviews with the art fairs’ representatives, held between May 2022 till July 2023.

Here’s a brief introduction to the art fairs involved:

Hybrid Art Fair: A Spanish art fair established in 2017 in Madrid

JustMad: A Spanish art fair established in 2010 in Madrid

miart: An Italian art fair established in 1996 in Milan

Artissima: An Italian art fair established in 1994 in Turin

Art Verona: An Italian art fair established in 2005 in Verona

Key Highlights:

First of all, they highlighted the significant impact of global events, especially the COVID-19 pandemic, which has accelerated a shift towards digital platforms. While digital offerings expand access, the irreplaceable allure of in-person art viewing remains compelling. Enhancing digital quality, particularly to engage younger, tech-savvy audiences, is essential.
Art fairs are increasingly holistic experiences. Collaborations between galleries, fairs, and cities can transform these events into immersive, year-round spectacles. Such partnerships enhance visitor experiences and benefit local communities and economies. Integrating educational initiatives and citywide activities can cultivate new audiences and deepen connections with existing patrons.
Audience development extends beyond mere attendance increases. There is a growing focus on exclusivity and deepening relationships with current attendees, particularly VIP guests. However, special VIP events, while valuable, come with high costs and can distract potential buyers from gallery stands. Careful scheduling and programming is needed to balance the interests of galleries and attendees.
Attracting a broader, younger audience is essential. Engaging individuals already interested in the art market involves expanding educational programs beyond the fair’s duration and collaborating with museums, educational institutions, and city authorities. These initiatives not only educate but also enrich the art fair experience, extending it citywide.
Detailed audience data is invaluable for planning future events. Although organisers actively collect data, there is room for better utilisation once collected. Enhanced data analysis can tailor events to meet attendee preferences, benefiting both organisers and galleries.

The future of art fairs lies in balancing commerce and culture. Embracing digital transformation, fostering collaborations, and focusing on education and audience engagement are crucial steps. By integrating these strategies, art fairs can thrive, offering enriching experiences to diverse audiences while maintaining financial sustainability. The ultimate goal is a holistic approach that benefits all stakeholders—from galleries and organisers to the wider community and art enthusiasts.

Hybrid Art Fair Madrid 2022 – detail © Alexandra Zagrebelnaia

Revolutionising Worldviews and Experiences Through Art

Moments of Clarity, 2019, Stills from BA Presentation

© Fredrik Tjaærandsen, 2019

Perspectives Unveiled: 5 Emerging Artists

Overview of art in shaping perspectives

Art holds a unique power to transcend boundaries, provoke thought, and evoke emotions. From the earliest cave paintings to contemporary multimedia installations, art has reflected humanity’s diverse perspectives. In today’s rapidly changing world, where technology connects us more than ever before, art plays an increasingly important role in shaping perspectives.

This article invites the reader on a journey through contemporary art, where the work of five emerging artists who are revolutionizing worldviews and experiences through their art will be explored. These artists, each with their distinctive styles and narratives, offer fresh insights into the complexities of our society, challenging preconceived notions and expanding our understanding of the world around us.

Through their chosen mediums, these artists delve into themes ranging from identity and social justice to environmental concerns and the human condition. Their works serve as catalysts for dialogue, encouraging viewers to question, reflect, and interact with what they are aiming to portray.

Importance of emerging artists

Emerging artists play a vital role in shaping worldviews and influencing societal perspectives due to their fresh perspectives, innovative approaches, and willingness to challenge established norms. Unlike established artists who may already have defined styles and themes, emerging artists often experiment with various mediums and themes, pushing the boundaries of artistic expression. This experimentation allows them to tackle contemporary issues in novel ways, offering unique insights and alternative narratives that resonate with diverse audiences. Additionally, emerging artists frequently come from diverse backgrounds and experiences, bringing a multiplicity of voices and viewpoints to the forefront of artistic discourse. In a world characterised by rapid change and evolving social dynamics, the perspectives of emerging artists serve as crucial barometers of the zeitgeist, reflecting the concerns, aspirations, and struggles of their generation.

Furthermore, emerging artists have the potential to challenge the status quo and disrupt entrenched power structures through their art, advocating for social justice, environmental sustainability, and human rights. By amplifying marginalised voices and shedding light on overlooked issues, emerging artists have the power to spark meaningful dialogue, foster empathy, and inspire positive change on a global scale. In this way, the importance of emerging artists lies not only in their artistic talent but also in their potential to reshape worldviews, challenge assumptions, and contribute to the collective evolution of society.

This article will explore the works of 5 emerging artists from a variety of backgrounds and points in their careers, using a diverse range of media. These artists are Takashi Arai, Gus Monday, Otobong Nkanga, Fredrik Tjaærandsen and Maite Cascón.

May 13, 2012. Misako’s Hibaku Piano (Piano Bombed and Exposed to the Radiation in the Atomic Bombing of Hiroshima in 1954), Daigo Fukuryu Maru Exhibition Hall, Tokyo.
Daguerreotype, 25.2 x 19.3cm. The SFMOMA collection
© Takashi Arai Studio, 2024

Takashi Arai

Takashi Arai stands at the forefront of contemporary photography, seamlessly merging traditional techniques with themes based on memory, technology and historical catastrophes. Born in Kanagawa, Japan, in 1978, Arai’s fascination with the medium of photography began at an early age, inspired by his grandfather’s vintage camera collection and the timeless allure of black-and-white prints. This early exposure ignited a lifelong passion for visual storytelling and spurred Arai to pursue formal studies in photography at Tokyo Polytechnic University.

Arai developed a distinctive artistic style by mastering the origins of the first available photographic process, known as a daguerreotype. Arai extensively studied and taught himself everything there was about this process, and even read the original manuals that were written by Louise Daguerre. The experimentation of traditional techniques in an evolving technological world, brings his work back to the beginnings, reminding his audience of the past through photography. What distinguishes this process is that when standing in front of the pieces, the silver plates that are used to print, create a mirroring effect. Therefore the past can be brought into the present, becoming a catalyst for a discussion around his pieces.

The blue hues within the final photographs remind the viewer of the artists physical involvement to create the final piece and give them a personalised touch. We don’t just see a quick snapshot taken on a digital camera, but a meticulously planned and polished image. It also evokes the idea of radiation after nuclear disasters, a common subject seen throughout Arai’s work.

A Maquette for a Multiple Monument for the Hiroshima Peace Memorial (Genbaku Dome)
2014, Daguerrotype, 66 x 152cm. Private collection.
© Takashi Arai Studio, 2024

A notable body of work produced by Arai is Exposed In A Hundred Suns (2012). Arai approached monuments that represented a reminder of war, peace or a catastrophe, acknowledged their abstract meaning and created a dialogue within his photographs between the past and our memory of it. This can be seen in his piece A Maquette for a Multiple Monument for the Hiroshima Peace Memorial (Genbaku Dome)

The sophisticated media of the daguerreotype, and Aria’s impressive use of it, allows his viewers to experience the world through carefully chosen scenes while also bringing back memories of what his monuments represent. We don’t just see a quick snapshot of a building, but also the memories of what the monument is there to replace.

Institutional Performance, 140 x 216cm, Oil paint on linen on pine board, 2024
Copyright to Gus Monday, 2024

GUS MONDAY

Gus Monday’s work is largely centred around drawing, craftsmanship and a comprehensive approach to transforming a space and the way we experience it. When he enters a room, Monday observes the atmosphere, how interactions within the space operate, and draws conclusion around the social codes present, that he then generates into visual narratives.

After growing up in South Africa, Monday returned to London to pursue Fine Art at several institutions. Monday has always been socially and culturally sensitive, particularly when he made the transition from a developing country to an economically developed country, shaping the way he observes his surroundings. His artistic journey reflects his inner thoughts, tangible encounters, and keen observations within the spaces he frequently inhabits. Rooted in his inherent anxiety, his artwork often serves as a mirror to his anxious disposition, exploring themes grounded in this emotional landscape. His work remains firmly rooted in the context of his upbringing and experiences, bridging the gap between personal narrative and societal commentary.

Reflection after Bowling’s Mirror, 158 x 122cm, oil paint on linen on pine board, 2024
Copyright to Gus Monday, 2024

His final works offer a surrealist subversion to otherwise identifiable private and public spaces. This can be seen within Reflection after Bowling’s Mirror. Here, viewers are repeatedly drawn to elements they recognize within the constructed setting, yet find themselves unable to fully grasp its intricacies or navigate its dynamics. This marks the beginning of our journey of observation, as we gradually decipher the social cues embedded within this space. With the perspective of the artist in mind, we see the world that surrounds us as an expression of the space.

OTOBONG NKANGA

Otobong Nkanga is a Nigerian-born contemporary artist, working in a variety of mediums including drawing, painting, photography, installation, tapestry and performance. Nkanga’s art explores themes of globalisation, colonialism, and the extraction and distribution of natural resources, with a particular focus on their impact on African countries and communities.

Steel to Rust – Meltdown (2016), Woven Textile (yarns: linen, polyester, merino wool, viscose, rubber Verdi, reflective yarn) mounted on aluminum frames.
Copyright to JTH Studio Management, 2016

Her diverse cultural background and experiences inform her art, which often incorporates found objects, textiles, and organic materials. Nkanga’s work is characterised by its intricate detail and layered narratives, inviting viewers to contemplate issues of identity, memory, and the environment.

Throughout her career, Nkanga has addressed issues of sustainability and has been an advocate against climate change through her works, as they depict the reality of humanity’s effect on the environment. Her work, Steel To Rust – Meltdown (2016), which has been acquired by the Bonnefanten Museum in Maastricht, is a great representation of this. Her hopes for the future are depicted in this intricate tapestry which examines the lifecycle of steel, from its production to its eventual breakdown and return to nature. This once-industrial material has broken down and decayed, returning to the replicated nature and the erosion that life has on landscapes. The piece creates an optical illusion of being three-dimensional and only when stepping closer, the viewer can recognise the medium in which it has been made. Questions of manual labour arise through the industrial material that is being mimicked, and the delicate woven technique that is used to make this artwork.

FREDRIK TJÆRANDESEN

Fredrik Tjaærandsen is a cutting-edge contemporary artist known for his imaginative and thought-provoking explorations of fashion, sculpture, and performance art. Born and raised in Norway, Tjærandsen’s artistic trajectory has been marked by bold experimentation and a strong interest in the intersection of art and fashion. His work transcends boundaries of what one would consider art in the traditional sense, creating spaces that leave audiences in awe.

One of Tjaerandsen’s most significant works is his 2019 “Bubble” dress collection, which went viral on social media and earned him international attention. These transparent-coloured latex inflatable garments were designed to engulf one’s body in a bubble-like cocoon, blurring the lines between fashion, sculpture, and performance.

Moments of Clarity, 2019, Stills from his BA Presentation
Copyright to Fredrik Tjaærandsen, 2019

Beyond their aesthetic appeal, Tjærandsen’s creations also invite viewers to reflect on themes of protection, vulnerability, and the fragility of the human form. By subverting expectations and pushing the limits of what clothing can be, he prompts audiences to reconsider their relationship to their bodies and the garments they wear.

GYDA, 2022, 1000cm x 1000cm x 400cm, Latex
Copyright to Fredrik Tjaærandsen, 2022

Beyond clothing, these ideas of vulnerability are also punctuated within installation pieces. The body once again becomes the subject central to the performative nature of his work, as one can enter the immersive experience of The Core. The Core was a performance piece made in collaboration with a choreographer, Guro Nagelhus Schia and Vebjørn Sunby and the music made by Brent Isak Wærstad. This installation spans over several rooms with music and dance performances creating a symbiosis between the two. The audience is confronted with strangers also travelling along these spaces and are forced to interact with one another through this intense journey.

Not only do his works give off the aesthetic appeal of innovative fashion, they also bring together the dialogue created when these pieces are experienced by the performance of the model on a runway or photo shoot, and the immersive exploration of the body that has never been seen in such a way before.

MAITE CASCÓN

Maite Cascón is a Madrid born artist who has established a growing following and recognition within the world of printmaking and drawing. Through her artistic process, she reconstructs reality by manipulating sketches, crafting scenes that defy the limits of possibility. Drawing inspiration from psychoanalysis and folklore, she explores themes deeply ingrained in her upbringing in a Catholic, male-dominated society.

Exploring these subjects allows her to confront conflicts within her immediate surroundings and analyse inherited behavioural patterns. Her artistic themes primarily revolve around the human body, mortality, and various social issues including gender, sexuality, violence, the detachment from nature, and the rise of individualism in society. Her whimsical and playful approach to her artistic process, coupled with the incorporation of metaphors in her creations, enables her to unveil the untamed aspects of human nature and tackle these subjects in a ground breaking manner.

The Trickster’s Tree, 2021, Etching, aquatint and drypoint,
combined paper size: 1800 x 1500mm
Copyright to Maite Cascón, 2021

One of her most recent artworks, Trickster’s Tree (2021), is composed of 12 individual printed panels that come together to form an installation that is based on the subject matter of the Trickster Jungian Archetype. This is a figure that embodies mischief, unpredictability and the breaking of social norms. Maite uses this archetype to elevate her works and represent the disrupting of order and introduces chaos into the established system of society.

All twelve elements work individually, but when showcased together, the flow of narrative and details make it hard to comprehend at one quick glance. Her work is representative of the complex world views of our society, but brings back the foundations of stories through her folk inspirations.

Final Thoughts

Emerging artists will always hold unique perspectives to the world around us; the way that they decide to depict it can be extraordinary. The exploration of the works by these five emerging artists illuminates the profound impact that art continues to have on shaping perspectives in our contemporary world. From Takashi Arai’s evocative daguerreotypes that bridge the past and present to Gus Monday’s introspective narratives on space and social dynamics, each artist offers a unique lens through which to view and understand the complexities of our society.

Otobong Nkanga’s intricate tapestries and installations prompt reflection on global issues such as environmental sustainability and the impact of colonialism, while Fredrik Tjærandsen’s boundary-pushing creations challenge conventional notions of fashion and vulnerability. Finally, Maite Cascón’s whimsical yet thought-provoking artworks delve into the depths of human nature and societal norms, inviting viewers to reconsider established paradigms.

Collectively, these artists demonstrate the power of art to spark dialogue, foster empathy, and inspire positive change. As emerging voices in the artistic landscape, their fresh perspectives and innovative approaches serve as vital catalysts for shaping worldviews and influencing societal perspectives. In a world characterised by rapid change and evolving social dynamics, the contributions of emerging artists like Takashi Arai, Gus Monday, Otobong Nkanga, Fredrik Tjærandsen, and Maite Cascón are indispensable in guiding us towards a more nuanced and inclusive understanding of the world around us.

Are you a student or recent graduate eager to contribute your voice to ArtTactic’s Editorial vision? We’d love to hear from you!
Reach out to Sandy Dewar (sandy@arttactic.com) for more information.

Efie Gallery on Fostering a Transnational Art Ecosystem

Image of Efie Gallery at Art Dubai 2024

Featuring artworks by El Anatsui, Maggie Otieno, Aida Muluneh and Maggie Otieno

Before February 2024, Marrakesh hadn’t experienced a downpour of rain in years. But heavy clouds would soon blanket the North-African city, and with the rain would come a flood of passports, dialects, and currencies from Brussels, Dehli, Lagos, London, Malabo… all belonging to the eclectic audience at the fifth edition of 1-54 Marrakesh. Having just made its debut on the Asian continent during Art Basel Hong Kong, the fair is just one example of how a shift in recent years has seen a refreshing expansion of art world activity.

It’s perhaps less unlikely to witness international bodies of work passing through the Global North – home to the historic centres of art trade – however, it seems as though growing ‘South-South’ relations are re-envisioning both curatorial practices and visitor experiences across regions. Take the recent ‘Translations: Afro-Asian Poetics,’ for example. Curated by Dr. Zoé Whitley, the exhibition, held at the Institutum, Singapore, is said to be the region’s first major institutional exploration of Afro-Asian artistic connections. Or, the most recent edition of the Sharjah Architectural Triennial, where Lagos-based architect and curator, Tosin Oshinowo, wove together space-making narratives from Accra to Ho Chi Minh City. Dubai, Sharjah’s better-known neighbour, is also a key player in the discourse.

An oasis of cross-cultural exchange, the emirate hosts over 200 nationalities; a figure that has no doubt influenced its burgeoning art scene. Kwame Mintah, co-director of Dubai-based contemporary African art gallery, Efie Gallery, joins me to explore the topic.

According to Mintah, “Efie Gallery’s typical audience is characterized by the broad diversity of Dubai” – equally comprised of returning locals and international visitors. The same is true of their globally distributed collector base, but with a commitment to fostering transnational engagement and many of their collectors based locally in the Middle East, an interdisciplinary approach has been central to cultivating a regional appetite for African art and culture.

‘Music, Fluidity and Reinvention, El Anatsui’s Record Collection’. Rekord Gallery installation image. Courtesy of Efie Gallery

‘Efie’ being the Twi word for home – the gallery has underscored its identity by taking full advantage of a permanent exhibiting space (based in Al Quoz), at a time when many young galleries, often in defiance of unsustainable operational costs, are choosing to emerge ‘without walls’. The former warehouse unit is divided: with revolving exhibitions displayed on the ground floor and “a permanent collection of originally pressed rare and important vinyl/shellac records” housed above. Most recently, it showcased the personal record collection or renowned Ghanaian artist El Anatsui, with Elastic Visions, curated by Faridah Folawiyo, displayed concurrently.

Questioned on this, Mintah recalls the varying ways in which visitors physically interact within the space. “When downstairs, navigation of the space is often conducted in silence, as absorption appears to be qualitative of visual art. In contrast, when visitors move upstairs toward the Rekord Gallery, the space produces conversation; visitors seem to feel more comfortable sharing their thoughts on a particular sound and how it relates to them”.

Folawiyo’s curation aimed to demonstrate the various ways in which contemporary African artists are pushing boundaries through both medium and concept – her collaboration echoing Efie’s devotion to plurality.

Hugh Findletar featured in Elastic Visions curated by Faridah Folawiyo, 2024

Managing dispersed audiences can also present a unique set of challenges. Logistical expenses and high booth fees are making international art fair participation increasingly inaccessible for many smaller-scale galleries. In response, Mintah champions the curation of online experiences, stating that, “our social media strategy is treated with the same curatorial care as our exhibitions”.

Today, galleries hold a unique position to innovate by continually exploring the relationships between context and content. Centring cross-cultural exchange can create myriad opportunities to meaningfully connect with collectors, collaborate with a wide range of industry professionals and ultimately encourage trade. With this, there is of course a great need for cultural sensitivity, but perhaps the overwhelming positive, as art historian Sidney Littlefield Kasfir phrases, is that “there are many more players and much more money at stake in a lot more places”.

References:

Kasfir Littlefield, Sidney, ‘Contemporary African Art’ (p. 251, 2020), Thames & Hudson

Elastic Visions curated by Faridah Folawiyo is on view at Efie Gallery until 27th May 2024

The Art Institution of Tomorrow; Reinventing the Model

Fatoş Üstek’S Book Under Review

The Art Institution of Tomorrow; Revinventing the Model is the most recent of Lund Humphries’ Hot Topics in the Art World series, and is a rallying cry to art institutions of all shapes and sizes across the globe to break free from their current ‘stagnation’. Üstek proposes an artist centric model, with equal attention given to the people who work in institutions: this model will reinvigorate the entire sector, producing learning organisations that are sites of cultural and art production, without resorting to crassly populistic programming.

Üstek’s proposes a two pronged strategy. The first is to truly centre artists in all institutions do, from commissioning all the way through to structuring budgets that properly understand and nourish the artistic process. She also proposes a widening of artists being approached, not only for the sake of the art, but to naturally diversify the networks involved in the institutions themselves. Centring a more diverse roster of artists necessarily requires embedding better digital know how and technology use within institutions to reflect the movement of making in the virtual space – in turn this will attract engagement from across the globe, further widening participation in the work of the institution.

The second prong is radical decentralisation and structural overhaul of institutional operations. Institutions can centre artists and intellectually rigorous and exciting programming by removing existing institutional hierarchies, and instead focusing on the skills of cross disciplinary teams. This decentralised approach gives staff members a sense of commitment and engagement, simultaneously providing a workplace where they feel safe and valued – and so able to produce creatively superior work.

The Art Institution of Tomorrow; Reinventing the Model ArtTactic — Courtesy of Lund Humphries 2024

Üstek’s new model is a compelling ideal, rather than necessarily practical at this stage (which she acknowledges for certain institutions). Insufficient attention is given to why institutions do not, or cannot currently adhere to such a model, and instead must adhere to external social and financial demands. Üstek offers her own experience curating fig-2 at the ICA as proof her model works: her accomplishments there are undeniable, but tellingly there was no requirement to produce those same results the next year, or the year after, which is the demand placed on permanent institutional staff. Most of Üstek’s suggestions are not in place already due to (often external) conditional financial and operational constraints, rather than lack of willingness to centre artists, or a desire to treat budgets as minimal suggested starting points.

Üstek’s uncompromising insistence that radical change requires proper thought and due care to the people who actually work in institutions is admirable. Operational and structural centrality is the most progressive and welcome aspect of Üstek’s new model; she posits that by focusing on artists and art professionals, and supporting their work, new life can be breathed into institutions, so they can avoid simply pandering to populist trends. While there are questions to be asked about how the decentralised, committed teams can be brought into being, as a goal and method of reinvention Üstek’s model is an indisputable ideal to aim for.

The Art Institution of Tomorrow: Reinventing the Model by Fatoş Üstek is available for sale starting Friday, April 26th as part of their Hot Topics in the Art World Series on the Lund Humphries’ website.

Stay tuned for our upcoming episode announcement of the ArtTactic Podcast where Adam Green will be joined by Fatoş Üstek, author of the new book The Art Institution of Tomorrow: Reinventing the Model.

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Observations on the pre-modern Islamic Art auction market

Spanning over 14 centuries, 3 continents and a multitude of mediums, pre-modern Islamic art as an overarching term for “art made by and for people who lived or live in lands where the majority were Muslims” (Bloom & Blair, 1997) constitutes one of the most geographically, temporally and material diverse markets in today’s art world. Despite headline-maker lots such as the US$14.9 million (hammer price) Tipu Sultan’s sword, the US$8 million Shahnama folio, and the US$7.8 million brass candlestick, the market has in fact witnessed a volatile year-on-year movement, both in terms of sales value and volume. As the Islamic art week approaches, this article will look back at the market trajectory of the past 10 years, and ahead at the trends of collecting and investing in this broadly defined category, amidst the ongoing geopolitical tensions and budding cultural happenings in the Gulf regions.

Tipu Sultan’s Sword, Bonhams, 2023

In 2023, Sotheby’s, Christie’s and Bonhams pre-modern Islamic art offerings in London fetched a total of US$57 million (hammer price), among which Bonhams stood out with a skyrocketing 936.8% gain from the year before. The dominating force is evidently the 18th century Bedchamber Sword of Tipu Sultan, almost doubling the previous record of the most expensive Islamic object sold a year ago and making 7 times its US$1.86 million low estimate. Sotheby’s and Christie’s, on the other hand, nudged a 0.1%* increase and a 54.8%* drop respectively. Beside last year’s pressure from global economic crunch and wars, there seems to be a persistent push-and-pull market dynamics between Christie’s and Sotheby’s – when one heads upward, the other downward (except for the year of Covid). In 2022 and 2021, Christie’s scored consecutive growth of 58.7% and 24.9% after a year of contraction. Alternatively, an inverted pattern speaks for Sotheby’s, where a 24.7% fall in 2022 was followed by a year of headway and 2 years of decline. Such an inconclusive performance signals a mercurial buyer inclination towards the sellers, especially those who collect higher-value work. As for sales volumes, both auction houses experienced decline in total lots sold in 2023, with Christie’s shrinking to only a fifth of its peak in 2016 and that of Sotheby’s to 60%. Sell-through rate remains at the 55% level for Sotheby’s and a 4-year low for Christie’s, at 67.7%.

The Khamsa of Nizami and Amir Khusraw Dihlav, Christie’s, 2024

Between the blockbuster outperformers and regular curations, Persian carpets, Mughal and Safavid book arts and Iznik pottery continue to attract most bids, bringing in lofty above-estimate trade figures to the auction market. Following this trend, lots of particular interest in the upcoming sales include: a folio from the Late Shah Jahan Album in the Mughal period at Sotheby’s, the large Safavid figural velvet panel, and the Khamsa of Nizami and Amir Khusraw Dihlav at Christie’s, reaching a combined estimate range of US$1.3 million to US$1.8 million. Outside of London, Tajan’s Oriental and Islamic Sale in Paris and Oriental Art Auctions’ Fine Islamic Art Sale in the Netherlands both achieved optimistic estimate-beating results, raising half a million to over a million annually. In addition to the continental counterparts, regional presence such as Christie’s Dubai and Qatar’s AlBahie Auction House are materialising exciting opportunities, along with mega museums and buzzing educational programmes. If London wishes to continue its success in this evolving landscape, perhaps it’s time to lean less towards the legacy, but more towards finding relevance in a diverse market that will be driven by fresh perspectives and value-based motivations among the next generation of collectors and art enthusiasts.

*Net of Orientalist paintings, Indian paintings and private collections with mixed categories.

Are you a student or recent graduate eager to contribute your voice to ArtTactic’s Editorial vision? We’d love to hear from you!

Reach out to Brooke Reese (brooke@arttactic.com) for more information.

Why The Art World is Afraid of Technology

Trend #1: WEAKER TOP-END SALES WEIGHS HEAVILY ON RESULTS

Trend #2: VALUE DOWN, BUT VOLUME REMAINS HIGH

Trend #3: ONLINE SALES DRIVES HALF OF AUCTION TRADING ACTIVITY

Trend #4: PARIS DEFIES THE GLOBAL DECLINE

Trend #5: MARKET GLOOM UNLIKELY TO LIFT IN THE AUTUMN

Capturing The New Wave in Indian Contemporary Art

Perspective of the art fairs’ organisers in Spain and Italy

Perspectives Unveiled: 5 Emerging Artists

Overview of art in shaping perspectives

Importance of emerging artists

Takashi Arai

References:

Kasfir Littlefield, Sidney, ‘Contemporary African Art’ (p. 251, 2020), Thames & Hudson

Elastic Visions curated by Faridah Folawiyo is on view at Efie Gallery until 27th May 2024

Fatoş Üstek’S Book Under Review

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