The mood in the market, such as if a venture project with a planned loss ratio laid down ahead of stupid investors switched to a rigid self-financing. And people began to crawl

As part of its economic model of a modern contemporary art, even stylistically must radiate success. The collector should be involved in an intellectual feast, with its celebrities, glamorous exciting glossy media, prizes, awards, auction records, debates adventuresome ... In the eyes of the layman look for certain well-known artists "stars" from imposing fees, and gallery owners, and leaders of the art market - people almost all-powerful. Reasons to doubt this should not be, and the problems in a segment of contemporary Russian art to speak out loud is not accepted. But, unfortunately, is infinitely sharp economic camouflage since it is impossible.

This year, the market for contemporary art in Russia shows symptoms of a serious crisis. Cracking at the seams (with the threat of closure), known gallery, including the sign, whose names are symbols of the market. It has long been empty so-called "commercial" of the 38th Hall of special projects at the Tretyakov Gallery, which in theory should be part of those wishing to exhibit. On the domestic auctions of contemporary artists are rare and mostly remain unsold. And the concrete conversations about the investment prospects of the person sellers are increasingly apologetic look. The mood in the market, such as if a venture project with a planned loss ratio laid down ahead of stupid investors switched to a rigid self-financing. And people began to crawl.

happening, we are doubly frustrating given that the segment of the contemporary art world is now experiencing a real boom. 2011 was a record for him in history, providing an impressive 12%of the world's auction turnover with sales of 1.2 billion dollars. For comparison: in 2001 the auction market for contemporary art was in the money 13 times less. Audacity, the relative affordability and impressive investment potential attracted to the world market for contemporary art collectors of the army. Why exactly the same arguments do not work on the Russian market?

Not being an active participant in the internal processes of the market of contemporary art, ARTinvestment.RU may well be judged on how this whole situation looks from the outside. Especially having before our eyes an example of Russian antiques market - not the standard, but functioning far more effectively. Our explanation of what is happening with the market based not only on his own observations, but also on the opinions of collectors and experts who were interviewed at different times ARTinvestment.RU. Thus ...

Who's to blame?

protracted unfavorable economic situation has led to the aggravation of old, formerly well-known diseases Russian the market of contemporary art, among which are the following:

1. Imbalance prices . The sharp rise in prices for contemporary art market before the crisis in 2008 then left them feeling "dutosti" and cut off a significant number of potential buyers. On the nature of missed opportunities well said in an interview with gallery owner Sergei Popov AI : « On Kulik , AES , Vinogradov and Dubossary prices rose ten-fold. And it was too harsh and very early jump. As a result, a number of names (I'm not talking about those three) "hung" with prices in the tens of thousands of dollars. And the reason is that in Russia six years ago appeared a pool of top customers and top ten collectors has played a huge role in the promotion of the market, there are a few people have moved the prices several times and cut off a lot of other customers. The gap turned out a huge ». In fact, the market for contemporary art "tuned" to the few wealthy buyers, and it cost them to leave the market as a failure occurred. The balance has not recovered to this day. Galleries, for understandable reasons can not sell for 20,000 that six years ago sold for 40,000. To order "retreat!" We have not learned. A secondary market, which could help regulate prices, not created.

2. The absence of a secondary market (the mechanism re-sales) . For a long time it was convenient to pretend that he is not needed. The question of whether to bring you to resell previously purchased item (a common practice antique galleries) evoked gallerists genuine amazement. Say, why resell? Our customers and so all is well. The situation, I must say, it is very convenient for gallery owners: the only measure of prices in this case is a figure which he calls the buyers selling gallery. And as without resale value you can check it out? With contemporary art auctions, too, not friends, and eventually the collector if necessary sales are often forced to remain alone with their problems. And stories about such a bad experience passed from mouth to mouth, which clearly does not increase the number of new customers.

3. The failure of the domestic auctions . In fact, auctions now reigns antiques and second half of the twentieth century. The Art of the XXI century exhibited extremely rare. And when put up for auction, often remains unsold. In addition to the vicious passions of collectors buy directly from the artist , so cheap, that there are dozens of reasons. Up to the most absurd. In particular, the "party" buyers of antique and contemporary art are highly fragmented. Therefore, many simply never occurs to catch his contemporary artists to "antique" auction. There is no such tradition. Well, do something in our auctions is difficult to blame. They tried to sell art, did not get a descent, and this trend was postponed until better times: the trade should not that like, but that is for sale. As a result, contemporary artists, the auction does not accumulate statistics, the channel does not develop a civilized regular sales in the auction game is not drawn new customers.

By the way, the foreign trading with the Russian contemporary art, too, not all thank God. I remember how, in his AI interview with Svetlana Maric of Phillips de Pury said that in Unlike the Chinese, Brazilians and Ukrainians, Russian collectors and galleries are reluctant to support their artists on the international market. Rarely insure them against failure. « And explain to them that buying at international auctions, they give a higher status of your collection, it is impossible. The fact that care work for the greater money is automatically raises the price of their entire collection - very few people understand they have no time for it ». In short, like all successful auction. But no one wants to pave the way for others, paying at auction.

4. Inefficient work of local art galleries on the cultivation and promotion of artists . From the looks, the rate for many years was made on the tested material - of "names", shot in the late 1990s. A lot of us can recall the "stars" that have sparked our galleries in recent years? Units. By unfortunate coincidence, the generation of 25-35-year-old Russian artists included in the economic crisis does not dialed no fat, no inertia. Many did, and left without the support of gallery. As a consequence, did not form a mass middle segment, which normally is the backbone of any market.

5. Lack of government support . Exhibitions of contemporary Russian artists of the state represented by a set at big corporations stubbornly sponsors. The reasons for this are well described in an interview AI Alekseev and Cyril Cyril Svetlyakova from the Department of Contemporary Art at the Tretyakov Gallery. In a situation where there are five conditional sponsors and 20 exhibitions, there will be more money in the antique win-win projects. It is clear that a Labasa and Korovin write all the specialized publications, and the general press (frankly, free of charge and without any suspicion of commercial interests), and a living - a question. Firefly does not hide: « Sponsors watching ratings which attendance at the and how everyone else. So, naturally, the money identify Levitan, and not an unknown name ». For contemporary art, no matter how innovative it was, a vicious circle: there is no exit at the viewer, do not have access to prestigious sites, so why should a large-scale public interest? The state also maintains all of its resources primarily of interest to the classics, ignoring his contemporaries. In the West all wrong. Remember where exhibited the same Hirst, Jeff Koons, Ai Weiwei? Tate, the Louvre, the best museums in the world ... And if you think large-scale exhibition of contemporary Russian artists in our major museums? Where do we get "spark" from which the flames flare up consumer interest.

6. The lack of large-scale commercial activities in the modern art . Yes, there is good for the current fair "Art Moscow" (once a year holiday), and some attempts to start competing commercial projects on a regular basis. And what else? For comparison, the annual antique segment are two antique shops, almost every weekend, "banging hammers" a few auctions and carried far more gallery exhibitions with obvious commercial intent. Buyer to choose from. In addition, to think about buying it pushes massive exhibition projects conducted with the entire scale (again, remember the show Levitan, Labasa, Korovin and others). Let the formal exhibition of these non-profit, but the gallery, then such events are great to react and adjust range.

7. Dissociation and confrontation of market participants . It's not just that, every man for himself - it is almost always the case. But, for example, the same "antikvarschiki" on important issues can present a united front in its structure - the Confederation of antique and art dealers (MKAAD). When there is a structure that is to say to whom - and with the state, and with each other. There is someone to provide legal support, to assist in organizational matters. The "aktualschikov" so there is no overall structure. The subjects of the market of contemporary art in this sense is much more fragmented, atomized. It is clear that trade in contemporary art - is a sport that requires high individual skill. But in fact the lone missing opportunities only small projects. A big draw is not. There is another delicate moment. On the part of striking that the agents of the market of contemporary art are inferior "antikvarschikam" in kindness toward customers-neophytes. Although it would seem, everything should be vice versa. Snobs are everywhere, but the feelings, in a segment of modern art developed stronger relationships, "get-together," lining up the hierarchy and barriers: do not go there, these are not good friends, those are not calling, etc. Safety is a reaction or something like that, but for the beginner and any untrained viewers that the world is enough "jerkiness." The internal confrontation of market participants is also evident: they were trying to unite several times, but a descent began to blame each other in a tug on the blanket itself. The result is a blanket over the years to a state of disbelief worn out Trishkin coat.

8. Imperfection of Business Ethics . In addition to the practice of civilized relations artist - gallery owner , based on legally binding documents (at the expense of its illusions no no), there are additional ethical complications. On the Russian market of contemporary art had long been respected the "rules of war." I feel that the time needs to be explained. The fact that not all collectors are buying regularly sponsors clean. You have to own something and resell the sake of strengthening the collection, and for some friends to do the deal. Happen here and nuances: the collector sold the work for a thousand dollars, but after some time the buyer learned that the artist is someone gave a similar thing for five or put up for auction at a price much lower than the market. Information about such things spread very quickly. And how then to explain the situation to the buyer, who feels betrayed? But in an embarrassing situation can get any collector. Good mood, they did not add: burchat that a lot of trouble with the living - and, too, can understand.

current state of the market - a source of frustration for several generations of artists. And especially hurts the 25-40th. Indeed, contemporary artists speak another language, their thoughts no longer enough canvases and paints. Today, the creation of works of art are increasingly requires a serious financial, industrial and infrastructural support. But where to take it, if all does not sell?

happening inside of Contemporary Art in and around does not benefit anyone. Neither the artists nor collectors or gallery owners, no figures of the market. Among them are many of those who are concerned about all of this seriously. And then it's time to move to the second eternal question of the Russian intelligentsia ...

What to do?

What does it take to make the art market?

1. Demand - the desire to buy and military collectors.
2. Proposal - quality products that are available in different price segments.
3. Infrastructure Sales - galleries, fairs, auctions, etc.
4. Cash flow as the "blood" of the market.
5. "Magic» - pulses, "spark" ideas, a set of rational and irrational factors that cause this whole car move.

Here, too, with more questions than answers, for which nowhere. But potentially all be solved.

I must say that most of the ideas contained here has long been discussed the expert community, collectors, dealers and artists. Many of these provisions seem utopian, but it is up to the pores. I'll try to list just a few steps, it is theoretically able to "reset" the market for contemporary art.

1. Learn to work effectively with the State . It just so happened that the money for culture today is largely concentrated in the hands of the government - federal and municipal authorities. And not only money but also the administrative levers - the possibility to allocate spaces for art objects and the development programs of urban sculptures, etc. The possibilities are. Another thing is that the state does not need to go with abstract ideas, and with ready-made, carefully decorated projects for which it is clear that worked on them, not only creators, but also lawyers. Need a team lobby. In single-handedly make it unlikely to succeed, and therefore should be ...

2. Together and organized . We need a formal structure for representing the interests of the community - an analog of the International Confederation of antique and art dealers - on behalf of which you can engage in dialogue. Overcome personal conflicts to help a collective governing body. The name and form of organization - it's technical issues. Already there are, for example, Interregional Public Organization Art Community "New Culture". Its registered Sergei Gridchin owner Gridchinhall, but immediately warned that made it all and he does not claim to leadership. While this is only legally admissible structure, which has yet to be filled with content. As well as membership fees. Even something.

3. Establish a creative dialogue of contemporary art with a recognized, modern classics . For example, negotiate and implement joint exhibition of contemporary art with the representatives of the sixties - to arrange duets, to build bridges. It is important for the public, increases the overall prestige of contemporary art and expanding base of potential collectors and the general range of stakeholders.

4. Learning to work with existing auction houses . Out of work on the secondary market - a rather painful process of stripping the price of many illusions. But flounder about in the unjustified expectation is it better? Sales results will fall into the open statistics, benchmarks, and will cause the trust of future customers. And so there was no failure, use the "recipe Phillips'a" - just hedging their artists and to control the first sale, as it is a long time and mass do Ukrainians.