The international art industry conference titled INSIDE ART including presentations and panel discussions during and at the location of Art Market Budapest 2018 gives an insight to current trends and events of the global art market with the participation of outstanding international art professionals.
October 11, 15:00
ART FAIRS: PRESENT AND FUTURE
Alexis HUBSHMAN – Founding Director, SCOPE, New York
Frank LASRY – Managing Director, MCH Messe Basel (Art Basel)
Attila LEDÉNYI – Founding Director, Art Market Budapest
Kamiar MALEKI – Director, Contemporary Istanbul
Sophie NEUENDORF – Vice President, Strategic Partnerships, Artnet, New York
Dr. Katalin GEREBEN – art historian, CEO, Equilor Fine Art
Art fairs – as a format – has for long been a key platform in the international art community, not only for the selling and buying of art but for its efficiency in attracting and involving new audiences, and moreover, for generating critical discourse and inspiring debate. An increasing number of actors are getting involved, one way or another, in the ‘using’ and shaping of art fairs. However, with a steadily growing market of hundreds of fairs, will there be an oversupply that may suffocate us all? A recent phenomenon is the increasing significance of regional art fairs with even some heated debate around it. What further development can we expect, is this tendency going to dominate the shaping of the market? Shall regional fairs be globalized, or such globalization will have counterproductive effects?
October 11, 16:30
ART DYNASTIES: THE TIROCHE FAMILY
Micky TIROCHE – Co-Founder, Tiroche Auction House, Tel Aviv – London
Omer TIROCHE – Founder & Owner, Omer Tiroche Gallery, Jaffa – London
Serge TIROCHE – Co-Founder, Art Vantage investment found and Director, Tiroche DeLeon Collection, Tel Aviv
Júlia MECHTLER – Associate Director, David Zwirner Gallery, New York
October 11, 17:30
QUANTIFYING REPUTATION AND SUCCESS IN ART
Albert-László BARABÁSI – Professor of Network Science, Northeastern University, Boston
In most areas of human activity, from science to business, we expect performance to uniquely determine access to resources and reward. Yet, in areas where individual performance is difficult to quantify, reputation and invisible networks of influence also play an important role. Such effects are particularly important in arts, where quality and value cannot be divorced from contextual parameters, like the artist’s reputation or its relationship to art history. To understand the role of these invisible factors, researchers collected information on 497,796 exhibitions in 16,002 galleries, 289,677 exhibitions in 7,568 museums, 127,208 auctions in 1,239 auction houses, spanning 143 countries and 36 years, allowing to reconstruct the artistic career of 496,354 artists. The conclusions of the recently completed research program will be presented for the first time in front of an art professional audience at Art Market Budapest 2018.
October 12, 17:00
WILL SOMEDAY WE ALL GO ONLINE FOR ART?
Marina ALVITR – Founding Director, Alvitr Gallery, Yekaterinburg
Francesco BELLANCA – CEO, Feral Horses, London
Carlos URROZ – Director, International Contemporary Art Fair ARCOmadrid
Sureyya WILLE – Global Strategic Partnerships Director, Artsy, London
Szilvia KOLLMANN – economist, art historian; General Director, műtárgy.com, Director of the ‘Műtárgyak Éjszakája’ program series
Similarly to other areas of business and consumption, internet seems to slowly but firmly change the way we buy and sell art. This has a very visible impact on the art market, online sales have shown an amazing growth over the past few years, and predictions confirm this to be a continuing tendency: research companies like ArtTactic forecast worldwide online art sales to double by 2021. Significant investments have been made to develop online sales platforms such as Artspace, Artsy, Paddle8 and others while traditional auction houses increasingly focus on online auctions. The time has come for the Y-generation to enter the market with a much more confident approach to the online world. Is technology entirely going to change the way we buy art? Will online art transactions expand to consumer groups that didn’t exist before the 21st century? How will the appearance of new collectors influence the market, how do they select from the supply and complete their transactions? Is it really going to be over for traditional platforms like gallery spaces and art fairs, or can they respond to new market challenges and changing customers‘ habits – maybe by establishing their online platforms, branches or partnerships?
October 13, 16:00
THE RELEVANCE AND SIGNIFICANCE OF ART AND CULTURAL EXCHANGE IN REGIONAL COOPERATION
Andor F. DÁVID – Director, Visegrad Fund
A presentation by the recently appointed Director General of the Visegrad Fund focuses on the significance of art and culture in regional cooperation, and gives an insight into the art and cultural exchange programs facilitated by the Fund – with particular attention to its objectives, instruments, key funding principles and results. Successful project examples as well as details of the open and upcoming calls for art residencies are also on the agenda, as the Visegrad Fund is among the key tools to foster regional cultural cooperation with impact within and beyond the borders of the Visegrad region.
October 13, 17.00
IN A VISEGRAD STATE OF MIND
Andrea DÉNES – art collector, Budapest
Barbara FIALA – Managing Director, Art Please, New York
Petr HÁJEK – Director, The Chemistry Gallery, Prague
Václav MACEK – Director, Central European House of Photography, Bratislava
Jacek SOSNOWSKI – Director, Propaganda Gallery, Warsaw
Lucia Gregorová STACH – Chief Curator of the Collection of Modern and Contemporary Art, Slovak National Gallery, Bratislava
Bálint FERENCZY – art historian, art consultant
The attention of the international art world has been significantly increasing towards ex-Communist countries of Central and Eastern Europe, in the very core of which is an alliance one hears about more frequently these days than ever before: the Visegrad Group. The Czech Republic, Hungary, Poland and Slovakia have a lot in common apart from just history or politics, the unique cultural milieu of the Visegrad region shaped by its special cultural climate and its shared historical past has forged a kind of intellectual and psychological community among these countries from which certain artists have shown prominence by accomplishing significant achievements on the broader international scene in the decades that have passed since the political and social changes of the late 80s, early 90s. What are the underlying cultural values of the ‘Visegrad spirit’? Is there an artistic ‘Visegrad state of mind’? How do artists of the new generation connect to the common political and cultural heritage? Why is it worth fostering artistic collaborations in the Visegrad Group?
October 14, 15.00
COLLECTING PHOTOGRAPHY AT THE MET
Mia FINEMAN – Associate Curator, Metropolitan Museum of Art, New York
October 14, 16.00
COLLECTING PHOTOGRAPHY: A TREND TO LAST, AN INVESTMENT WORTH CONSIDERING
Howard GREENBERG – Owner and Director, Howard Greenberg Gallery, New York
Judit NEMES – art collector, Budapest
Alex NYERGES – Director, Virginia Museum of Fine Arts, Richmond
Cécile SCHALL – Director, Fotofever, Paris
Katerina VASILIEVA – Founder, Kate Vass Gallery, Zürich
Attila HORÁNYI – art historian, Director of the BA program in Art and Design Theory at the Moholy-Nagy University of Art and Design, Budapest
Until recently, collecting photography was far from considered as an obvious choice for those willing to buy, but it slowly emerged on the art market as a reliable investment option and now appears to be among the hottest trends in collecting art. Year by year, an increasing number of exhibitions, international fairs, auctions revolve around the medium of photography, leading galleries include photo artists in their rosters, the activity of such global actors as Magnum Photos, top museums like the Museum of Modern Art or the Metropolitan Museum, institutions like the World Press Photo Awards and others continue to contribute to its popularity. As photography is more accessible, affordable and understandable, purchasing photo works may actually serve as a perfect starting point for the young buyer and future collector. But what do one has to keep in mind and pay attention to before buying a photographic work? How can they judge its value? What shall artists and their representatives do to further build trust among buyers and collectors? Which artists, what genres sell well on the market and why? Is classical vintage or contemporary a more secure investment? What are the prospects of photography on the market, is the popularity of photography a trend that will actually last?