Chinese art market confidence

ArtTactic, Chinese Art Market Confidence Survey, Dec 2009

If anyone has a copy of this report, I would be very interested in taking a look (I might even cook you dinner). It would be fascinating to know what their criteria are for measuring “sentiment.” The report appears to look at a good range of artists1, so each one’s comparative results would be interesting to see. I’ve been hearing (mainly from auction results, so that’s pretty selective) that established names are recovering quickly, but the market for younger, less established artists is struggling (as one would expect). Most people I’ve talked to about this subject see these periodic downturns as, by and large, a “good” thing. I’m not denying the pain involved, but it’s a time in which everyone is forced to re-focus on their core strengths and if these aren’t sustainable then, perhaps, it’s time to move on.

The confidence in the Chinese Contemporary art market has strengthened significantly since February 2009, and is now back above the 50 level. The ArtTactic Confidence Indicator has increased from 16 in February 2009, to 57 in November 2009. The current level signals that there is more positive than negative sentiment in the art market. This is the first contemporary art market that ArtTactic has surveyed since the downturn, in which the Confidence Indicator has come in above the 50 level, which implies that the Chinese art market could be one of the quickest to recover.2

  1. Ai Weiwei, Cai Guoqiang, Cao Fei, Chen Wenbo, Fang Lijun, Feng Mengbo, Feng Zhengjie, Gu Dexin, Gu Wenda, He Duoling, He Yunchang, Hong Hao, Li Shan, Li Songsong, Liang Shaoji, Lin Tianmiao, Ling Jian, Liu Wei (B. 1972), Liu Xiaodong, Liu Ye, Lv Shenzhong, Mao Yan, Nie Mu, Qiu Zhijie, Shi Jinsong, Song Dong, Sui Jianguo, Tan Ping, Wang Gongxin, Wang Guangyi, Wang Jianwei, Wang Qingsong, Wang Wei, Wang Xingwei, Wu Shanzhuan, Xu Bing, Xu Zhen, Yang Fudong, Yang Shaobin, Yin Xiuzhen, Yu Hong, Yue Minjun, Zeng Fanzhi, Zhan Wang, Zhang Dali, Zhang Huan, Zhang Peili, Zhang Xiaogang, Zhong Biao, Zhou Tiehai, Zhou Xiaohu.
  2. ArtTactic (2009), Chinese Art Market Confidence Survey, Dec 2009. Retrieved from http://www.arttactic.com/view-report.php?type=reports&id=23 on 12 January 2010.

Adam Smith and World Trade

I’m currently reading David Harvey’s Spaces of Hope, which was inspired by the reading material for Vitamin Creative Space’s reading group.

Within a discussion of the realisation of “spaces of utopia” Harvey quotes eighteenth-century economist Adam Smith proposing the global effects of a free market:

[B]y uniting, in some measure, the most distant parts of the world, by enabling them to relieve one another’s wants, to increase one another’s enjoyments, and to encourage one another’s industry, their general tendency would seem to be beneficial. To the natives, however, both of the East and West Indies, all the commercial benefits which can have resulted from these events have been sunk and lost in the dreadful misfortunes which they have occasioned. These misfortunes, however, seem to have arisen rather from accident than from any thing in the nature of those events themselves. At the particular time when these discoveries were made, the superiority of force happened to be so great on the side of the Europeans, that they were enabled to commit with impunity every sort of injustice in those remote countries. Hereafter, perhaps, the natives of those countries may grow stronger, or those of Europe may grow weaker, and the inhabitants of all the different quarters of the world may arrive at that equality of courage and force which, by inspiring mutual fear, can alone overawe the injustice of independent nations into some sort of respect for the rights of one another. But nothing seems more likely to establish this equality of force than that mutual communication of knowledge and of all sorts of improvements which an extensive commerce from all countries to all countries naturally, or rather necessarily, carries along with it.1

The situation is now similar to that predicted by Adam Smith, but rather than the “East and West Indies” being in the ascendant relative to Europe, we have China taking their place against the perceived Euro-American block. But Smith’s utopian vision of “natural,” or “necessary” commerce, which will work towards an equality, when we look at the Chinese implementations seems to have hit on some uneven developments on the ground.

I think this unevenness is part and parcel of David Harvey’s “uneven geographical developments,” and is one of the reasons why, I think, capitalism will never stabilise – local conditions will always adjust the expected ideals into their realities, in this case realities “with Chinese characteristics.” For one thing you can’t say China practices a “free” market, but it partakes in the WTO who expect certain definitions of freedom (of trade) which, as I understand it, are very unevenly applied between China and the rest of the world.

I’m no apologist for the way things are, just commenting on the way things develop, and as such it’s unfair of me to single out China, as the trade relations between countries are never “free” but are practical realisations of idealised structures: “…the purity of any utopianism of process inevitably gets upset by its manner of spatialization. In exactly the same way that materializations of spatial utopias run afoul of the particularities of the temporal process mobilized to produce them, so the utopianism of process runs afoul of the spatial framings and the particularities of place construction necessary to its materialization.”2

  1. Adam Smith, quoted in Harvey, David (2000), Spaces of Hope, Edinburgh: Edinburgh University Press, p.179 (originally cited in Arrighi, G. (1994) The Long Twentieth Century, London, p.19)
  2. Harvey, David (2000), ibid.

Lists, which reminded me of something

I can now make lists of things I have to do. I think that is progress. For what is life but the effort to convert the multitude of responsibilities into ever smaller quanta of tasks, thus making each one manageable in itself, while masking the impossibility of the whole. As my tutor said, when I expressed the seemingly hopeless task ahead of me to complete my degree, “Just do one thing at a time, and eventually you’ll finish the job.” Of course his kind words were merely defering the inevitable. We already knew I was due to fail.

Open studios at Gasworks, Allard van Hoorn (part 2)

(Continued from the previous post)

These thoughts were kicked off by Allard van Hoorn’s work at Gasworks, which had the idea of the urge to involve other groups of people outside the artworld, through the sending out of meaningful objects.

A lot of my concerns about art revolve around the problem (as I see it) with adding more and more things to the world. In some way I see this as unnecessary and wasteful of resources. So I get very sensitive if an artist is making objects, and I am more likely to be sympathetic to an artist that works in intangible ways (music/sound being a good example).

But my biggest problem is with artists who want to get beyond “the art system” by sending out objects into a mythical space outside of that system, where they think some alternative audience exists, some audience that somehow will take the work to another level which the art system is unable to do. I see this as questionable (I originally said “dishonest,” but maybe that’s too harsh), in the sense that these domains, these audiences ultimately are impossible to pin down to any real set of people, and indeed may well simply be the artists very own constructions. You expect/want the two worlds (you have created) to come together at some point. But the artwork constructed these worlds as part of of it’s reality, it forces them onto the world.

Can I better define what my problem is with putting objects into the world? I mean we’ve been doing it forever, it could almost be the norm for a certain type of artist? – they leave remains of their work for posterity, there is some justification to be got if they can prove they exist by the objects they leave behind.

And when the audience for this art becomes insufficient, they search for new audiences, deliberately or by random interactions. In some cases they will do this by creating an object that can be sent out into the rest of the world, can go beyond the world they think is somehow lacking. Are they hoping to bring more people into art, or to bring themselves out of art into some glorious stage divorced from the art world, because the art world is lacking somehow? The former would simply reinforce the problems the artist perceives, if there is a problem with the art world, does bringing more people into it make any difference? The latter would just deny the very structures which created the art in the first place, which seems a perverse action (but not necessarily a meaningless action).

Maybe I’m misunderstanding the attempt. Maybe it’s just a matter of injecting an element of unpredictability into a work rather than a pursuit of a new audience. After all, the person who picks up the object could just as easily be an artist as anyone else, there is no telling.

But there seems to be an urge to go beyond the structures we have already, they are lacking in some way. Is it that art has something to give to the world, but somehow lacks suitable means to engage with that world? Is art a structure good for production but not good for reception? Maybe this is what art is all about, pushing the boundaries, real or imagined?