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  • Art Fairs – who are they for and how to use them?

    Art Fairs – who are they for and how to use them?

    Art fairs are indeed the magnificent beasts of the art world. There is plenty to explore and use them for, there are always things to be excited about, and things to criticise. Here, I will try to cover what art fairs are about, how to use them, as well as share some of my personal experiences.

    The art fair, as an event and platform, undoubtedly, plays a key role in the global art scene, but, it can also be a strange event to manoeuvre. As a visitor, you might be overwhelmed by the volume of artworks, the high listing prices, and, the multitude of eclectic gallerist, collectors, and art people. As a gallerist, you might be stressed out about sales and engaging with potential buyers or persons of perceived importance. As an artist, you might feel either excited or a little awkward attending these events, depending on whether your works are exhibited; you are invited to join the gallery’s booth, or perhaps, feel that these highly commercial events sadly reduce the artworks to simple luxury commodities without regard to artistic intention, curation, or dignity of the individual artwork.

    Of course, I am exaggerating a little, and these roles are a bit caricatured. However, there is some valid criticism of art fairs and their influence on the art world. The role of art fairs has also changed a bit over the recent years, both, in terms being dominant selling venues and in their efforts to try to include and engage a wider public, beyond just catering to a narrow group of wealthy collectors.

    Top art fairs and when do they happen

    Let us start by unpacking what art fairs are by looking at some of the major players. I have highlighted a few of the major fairs based on how often they are referenced, the number of galleries attending, and their sales numbers.

    1. Art Basel (Basel) – next up is opening for the public on June 13, 2024. Art Basel also hosts major art fairs in Hong Kong, Miami, and their latest acquisition for presence in Paris, held at different times during the year. Somehow, Art Basel Basel (“Basel” mentioned twice to some people’s amusement) has long been considered the mothership of contemporary art fairs.
    2. Frieze Art Fair (London) – next up is on October 8, 2024. A major fair in a major European city, which acquired the US fairs The Armory Show (New York) and EXPO Chicago in 2023, and runs its Frieze fairs in Los Angeles, Seoul, and New York.
    3. Paris Photo (Paris) – next up on November 7, 2024. The largest fair dedicated to photo art and usually held in Paris’ iconic Grand Palais.
    4. India Art Fair (New Delhi) – next up on February 6, 2025. Cited as the largest art fair in South Asia, and mentioned among other large Asian fairs like Art Basel Hong Kong, Art Taipei, and others.
    5. Art Dubai (Dubai) – next up on April 18, 2025. It is often cited as one of the biggest fairs across the Middle East region.

    There are of course other major fairs on all continents, and for a more extensive calendar overview of art fairs around the world, you can check it here.

    How are art fairs structured?

    Often, art fairs stretch over three or four days (usually, from Friday to Sunday) so that the public can access the fair, and most major fairs will have a pre-viewing day for invited VIPs followed by a vernissage, to officially kick off the show. The typical venues for art fairs are large conference centres or event spaces, and on rare occasions, a parking building in a mall district, like Art Fair Philippines (which I enjoy highlighting).

    Art fairs, usually, have a reception and ticketing area, but, it is often cheaper to buy the tickets before-hand online, along areas for media and VIP reception. Ticket prices vary greatly from fair to fair depending on the country and region, and perhaps some would argue, based on the prestige of the fair.

    Moving on to my hobby-horse regarding art fairs, the catering. A properly organised art fair should have both cafes and casual dining areas with proper seating, at various points in the venue. Please, no more dry sad-looking sandwiches and bottled juices, nor exclusive Michelin-style restaurants. Just keep it basic and enjoyable, reasonably priced and accessible, that’s it (disclaimer: I do have a very strong opinion about art fair food and have been on the receiving end of mockery, but, I will save that for another article).

    The exhibition space is where the beautiful chaos begins. A monster event like Art Basel Basel, accommodated 284 galleries from 36 countries at its 2023 edition. In comparison, Art Dubai hosted 130 galleries from 40 countries in 2023, and India Art Fair, had 80 exhibitors from India and internationally. That’s a lot of art to process in a very short time. Entering the fair, you instantly feel the concentration of art around you. Since galleries rent booth spaces of various sizes, often square, with at least three usable walls, the restricted exhibition format makes some artworks more suitable for fairs than others. Shipment is also a factor, as many artworks are shipped in for the fair, they often consisting of small-medium sized paintings, sculptures, and photography, and less commonly, of video art or larger installations.

    Certainly, the major art fairs carry a level of perceived prestige, which often manifests a level of exclusivity. An art fair with high focus on attracting collectors, publicly known art practitioners, and celebrities, might offer exclusive VIP lounges and parties, art fair vernissages, as well as pre-viewing days, in some instances, even pre-pre-viewing events. This might lead to the most sought-after artworks being sold before the fair even opens to the public, or even before the pre-viewing for the VIPs.

    For a gallery to participate in a fair, some financial risk is involved, as it is not cheap to participate. Apart from the fair fees, materials, and transport, galleries commonly budget for collectors lunches or dinners during the art fair, which could cost a small gallery around $50,000, a medium-sized gallery $150,000, and large galleries could easily spend $400,000 in total costs (2018 numbers from Artsy for Art Basel participants).

    Are art fairs all about selling?

    Posing the above question, it already sounds like a point of criticism. This is an interesting topic that both seems quite obvious, especially considering the breakeven costs, but at the same the questions hits a sensitive nerve.

    At its core, art fairs are major events for commercial galleries to showcase and sell art. Reportedly, art fairs made up 29% of all art sales in 2023, with other sales channels being, galleries, auction houses, online markets, direct sales, and others. There might also be important secondary participants, such as, critics, art institutions/schools, art magazines and media, and other entities or bodies participating from the art world, however, these events are, mainly, for selling art.

    Due to the busy fair schedule, the time constraint adds a lot of pressure on gallerists to sell, and ideally, sell quick. This might force gallerists to have to chose more strategically with whom to engage. People relevant for galleries are of course buyers, representatives for art acquisition, or other individuals considered to have strong influence or network in the art world. This might make some gallerists seem a bit uptight, arrogant, or disengaged from the general public, which, I would not take too personally. That said, there are many gallerists who enjoy a chat, or have a team with them to engage with inquiring individuals who have no intention of buying. I believe that art fair gallerists would have, eventually, developed a sense for quickly screening such viewers, to determine how much time they would be willing to set a side for them.

    It is true, the art fair is a selling event, but, it should, also manifest an increased willingness for public engagement, non-selling curated shows, and the inclusion of the host city to organise the fair along a local art week. Many art fairs, nowadays, have an art program with talks, screenings, performances, or other art-related events to complement the fairs. After all, since everyone interested in art is there, why not, also take the opportunity to, actually, discuss art?

    In terms of art fair terminology, you might come across words like “blue-chip art” or “blue-chip galleries”, which refers to artworks by well-known established artists often with a track record of high sales prices, and the galleries selling them. Art fairs have different ways of assigning spaces to galleries, and they sometimes bundle all blue-chip galleries in one section, putting small or emerging galleries in another section, in order to thematise the space, and perhaps, also to justify different booth space prices.

    Art fairs can also serve as great networking events, especially if one already has a foot in the door, and the art fair-goers is often a curious and open crowd. When you look around and think about it, you most likely have something in common with everyone there, you like art or you are curious enough to show up.

    Some criticism and reactions

    Art fairs can, serve as important platforms for showcasing artists, give a good snapshot of current trends, and, they can be used to opening up discussions in- and outside the art world.

    However, the commercial nature of art fairs comes with some criticism. Like many other aspects of the art world, art fairs are, sometimes criticised for a lack of fair representation, concentration of powerful big players, commercialisation of art at the expense of artistic integrity, exclusivity and lack of inclusion, and environmental concerns regarding shipment and traveling for an event that will only last a few days, to name a few.

    Some other criticism points includes art fair ownership groups acquiring new art fairs in strategic locations to boost sales while squeezing out existing well-liked fairs, along with issues of increased booth space pricing hitting small galleries disproportionately hard.

    In terms of representation, however, some art fairs have faced the criticism of over-focusing on, either, Western galleries and artists, while also, overlooking a certain group of artists historically underrepresented, such as, female artists, accommodating too few galleries from non-Western countries, or, giving too high an emphasis on certain media, that they might be easier to sell.

    It is important to point out, that not all art fairs operate with the same focus. So-called “satellite fairs” are, often, smaller art fairs happening at the same time as established art fairs, aiming to offer an alternative agenda, often with stronger focus on young and emerging artists and galleries, as well as more multi-disciplinary programming, such as.

    1. Art Central (Hong Kong) – which usually happening at the same time as Art Basel Hong Kong and Hong Kong Art Week.
    2. Liste Art Fair Basel (Basel) – which happens at the same time as Art Basel Basel, and focuses on “new discoveries in contemporary art”.
    3. SCOPE Art Show (Miami) – which happens at the same time as Art Basel Miami, and focuses on international emerging contemporary art as well as creative programming.
    4. VOLTA (New York) – which happens at the same time as The Armory Show in New York, and also focuses on young emerging artists.

    Some personal experiences with art fairs

    Over the past 10 years, my occasional involvements in art fairs have played a key role in my different engagements in art, as, gallery manager, art writer, art installer and gallery assistant, VIP area assistant, as well as a gallery-represented artist, and, of course, as a regular art flâneur.

    I have mainly been involved art fairs in Europe and Southeast Asia, and in anything from the small to the mid-sized, to the largest of art fairs. They all more or less follow the typical format described above, each with their own style and energy, differing in their contribution depending on their host cities’ overall art scene buzz.

    In larger European art cities such as London and Paris, the art fairs are important for the market, but, arguably there are so many other art events happening throughout the year, including, several fairs, that these are just one among many other events in the over-all art calendar.

    In places like Hong Kong, the two key fairs during the Hong Kong Art Week all happen at the same time, attracting large international attention and visitors. In places like Jakarta, Manila, and Singapore, the art fairs are, perhaps, the most important events of the year. You feel this. There is an excitement and pressure to join, especially in regions where, the art market is still developing and trying to find its own identity, where, based on my experience, the crowd is often younger than European fairs.

    What I find interesting about the contemporary art scene in non-Western countries, is, on the one hand the formatting and adoption of global art market practices, while simultaneously, the figuring out of how to inject it with a local touch and uniqueness, as well as, how these practices borrow from and influence the urban identity, which, in my opinion, gives it an exciting and different energy. Art fairs are very suitable for place marketing and strengthening a host city’s identity, offering it a great opportunity. However, the more generic and cookie-cutter-formatted the art fairs, the less interesting to visit, thereby, the intention of creating a buzz around their artworks, would fall short.

    If you want to read more about art scenes and their mechanism, check out the previous article on the topic here.

    Wrap up

    The art fairs can be sort of a double-edged sword. It probably has a lot to do with how people personally expect how art to be shared and experienced. The scene for blue-chip art or highly-priced art, fits very well into a world of luxury goods and prestige. On the other hand, some critics might argue that this enables fine art to stay exclusive, and that art should, ideally, benefit a wider public rather than, ending up in closed private collections, only accessible to a few. Some art fairs, however, do offer opportunities for the public to engage, meet galleries, experience art, and shed light on emerging artists who, might otherwise, have limited opportunities otherwise to share their art.

    Art fairs work as market places as well as a platforms for discovery, so there should be a way for all of us to find good use of it.

    Further Reading

  • The Swiss Art Scene

    The Swiss Art Scene

    Interview about the Swiss art scene, Art-Beats, and my art practices now available via Rigby AG’s youtube channel.

    From Greenland to Switzerland

    The interview by Kathrin Spinnler from Rigby AG touches on topics like my artistic journey from growing up in Greenland, my years in the Philippines, and ultimately ending up in Zurich, Switzerland. The interview also includes first impressions of life in Switzerland, and a mapping of the Swiss art scene.

    The Swiss Art Scene

    The Swiss art scene, with its high number of museums and funding opportunities, provides ample opportunities for artistic engagement. The country’s excellent infrastructure allows easy access to various art venues across all the biggest cities. Zurich’s Kunsthaus and other major museums offered a wealth of exhibitions and events, while initiatives like free museum admissions on certain days make art accessible to all.

    Among the highlighted venues in Zurich include Haus Konstruktiv, known for its focus on constructivist art and engaging exhibitions, and the more underground venue Rote Fabrik, which offers an alternative cultural experience. Beyond Zurich, venues are highlighted in cities like Basel, renowned for annual art fair Art Basel and institutions like the Fondation Beyeler and Kunstmuseum Basel.

    Creating art in Switzerland and some advice

    Depending on your level and intention of your artistic practice, there are several options for emerging professional professional artist and for people wanting to get started. There are availability of atelier spaces throughout major cities like Zurich, often listed on specialized websites or the canton’s website, which provides artists with affordable and conducive environments for creation.

    For beginners, I share some recommendations such as engaging in workshops offered by art supply stores like Bösner, which provide a social and educational introduction to various art forms. For those aiming to pursue art professionally, attending vernissages, subscribing to gallery newsletters, and applying for residencies are essential steps. Cities like Zurich and Basel, with their rich art scenes and robust infrastructure, offer numerous opportunities for networking and growth.

    Have a listen to the full interview and browse through the various topics covered tagged in the timestamp.

  • Insight: From connection to impact – Strategic networking in the arts

    Insight: From connection to impact – Strategic networking in the arts

    Art and culture programme consultant, Malaya del Rosario, shares her thoughts and advice on how arts organisations can optimise network-building initiatives.

    Networks play a pivotal role in the sustainability of art organisations, yet the question of how they can be optimised remains largely underexplored. Many art leaders and managers perceive network-building as a ‘nice to have’ rather than an integral part of their strategic plans, overlooking its untapped potential for fundraising, advocacy, and teambuilding.

    Strategic network-building can offer an invaluable system of support, which is crucial for an organisation’s growth and impact. It involves nurturing internal and external relationships and understanding how to manage diverse stakeholders who may have different perspectives and conflicting motivations. If done successfully, these links can contribute to both the short and long-term mission of your team.

    As an art manager who has worked for both small organisations and global cultural institutions across different geographic contexts, I have encountered all kinds of challenges in network-building. How much time do I invest in it? How can my organisation benefit from it? Can I really link it to tangible results? In this article, I aim to summarise these barriers and propose practical solutions to organisations looking to refine and streamline their activities.

    Why bother?

    Strategic network-building can significantly enhance an organisation’s operation by diversifying funding sources and reducing financial risks. It can also help increase impact through resource-sharing and alliances. International partnerships can expand audience reach, while leveraging technology optimises communication and reduces costs. For bigger institutions, having a strong, internal network can foster strong connections among team members, creating a more inclusive, equitable and collaborative work culture.

    Photo credit: Revital Salomon, 2016.

    Overcoming challenges

    Lack of a purpose. Without a clear purpose or vision, it will be difficult to engage stakeholders. Networks should be able to articulate their goals, values and how members can benefit from them. This allows stakeholders to assess their relevance and level of participation. While I was Head of Arts at the British Council in the Philippines, we identified the newsletter as an effective way to communicate and expand our network of artists. However, engagement rates were frustratingly low. We realised that one big motivation for artists when they subscribe is to discover professional development opportunities for themselves. We then highlighted this benefit in our content and made it easy for readers to respond, e.g. through clear call-to-action text. This instantly improved success rates and increased our subscription numbers.

    Limited resources. Limited financial and human resources makes network-building more challenging for smaller organisations. However, cost-effective and time-efficient alternatives exist. Virtual networking, such as participating in online conferences and talks, provides an alternative solution. They can also optimise resources through stakeholder mapping and a donor database. This enables a prioritised approach, focusing on key relationships aligned with fundraising goals and achieving outputs without overextending resources. There are many free, practical tools that already exist online, such as donor templates for Microsoft Excel. Implementing Customer Relationship Management (CRM) systems like HubSpot or Zoho CRM allows for centralised donor databases and streamlined communication at no cost. Project management platforms such as Trello can also assist in efficiency at no additional expense. Incorporating a researcher’s mindset will also help you identify and better target relevant contacts. A quick web search and conversations with trusted colleagues is a good place to start to generate new leads.

    Unequal opportunities. This is something I witness everyday in my work, especially coming from a developing country context: disparities in access and opportunities for networking. Unequal resource distribution and lack of digital networking skills may limit smaller and less-established organisations to connect with relevant and influential contacts. Bigger, global cultural institutions and funders have a big role to play in addressing this particular challenge. One solution is by offering mentorship programs or purpose-driven networking events that provide a level playing field for smaller organisations. Additionally, training sessions on digital networking skills can ensure that organisations, regardless of their size or location, can effectively navigate online platforms and connect with stakeholders. This approach can foster inclusivity and promote a more equitable landscape within the art industry.

    Difficulty measuring impact. Measuring the impact of a network is challenging as the results are not always one-to-one. Organisations will therefore need to adopt a short-term and long-term evaluation strategy in order to quantify its impact. The number of collaborations created, new business leads and the number of audiences engaged are just some of the indicators that we can track. For instance, the successful execution and reach of a virtual exhibition involving partners across different countries, as facilitated by your arts network, can be quantified through online engagement metrics. Employing digital tools, such as through online surveys or web analytics can further help automate evaluation and optimise limited resources.

    From nurturing connections to amplifying impact, strategic network-building is transformative for the arts, and ultimately, to our society’s cultural diversity. It goes beyond being a ‘nice to have’ and therefore calls for more strategic thinking from arts leaders. By fostering internal and external relationships, navigating diverse perspectives, and leveraging technology, network-building catalyses innovative collaborations and growth.

    It is equally essential to stress that effective network-building should be based on trust and mutual understanding. Emphasising shared values ensures these connections contribute to a straightforward, fair, and resilient future for the arts community.

    Embrace the journey, for in each connection lies the potential to shape a resilient and bright future for your organisation.

  • 5 artworks to discover now from Art Basel in Switzerland

    5 artworks to discover now from Art Basel in Switzerland

    A version of this article was also published in print by Art+ Magazine, Issue 86, 2023, Philippines.

    Many art goers in Asia may be more familiar with Art Basel Hong Kong, but the art fair’s origins are in the charming city of Basel in Switzerland, which started 53 years ago. Opening its first year with only 90 galleries, the Art Basel brand has grown significantly over the years, creating a global reach and influence. 

    The art fair in Switzerland and Hong Kong have very similar concepts, but being in Basel during this time is a 360-degree experience, with hundreds of events, exhibitions and site-specific works being launched across the city. The 2023 edition took place from 15-18 June 2023 with 284 galleries and a wide array of programmes for different audiences. 

    A must-see section is Unlimited, which focuses on curated, large-scale installations that will otherwise look out of place in a typical gallery display. It is housed in a 16,000 square-meter exhibition space. Unlike the Galleries sector, which is laid out as a series of booths with changing displays, Unlimited invites viewers to interact not just with the work but the physicality of the space. Monumental sculptures, live performances, larger-than-life paintings and video projections are just some of the surprises that await fair goers. Curated by Giovanni Carmine, Unlimited this year featured 76 artworks by emerging and named artists from across the world. Themes predominantly explored artistic responses to politics, climate change, technology, and major global crises. 

    Malaya del Rosario, art manager based between the Philippines and Switzerland, roamed Unlimited’s grounds and has selected five unforgettable works to discover.

    1. Rirkrit Tiravanija, untitled (curry for the soul of the forgotten) (2015)

    Presented in an enclosed space, Rirkrit Tiravanija’s work features a three-channel video projection as well as actual objects. In front of the screens are low, plastic stools. At the center of the room is a bronze cauldron, a replica of the one in the video, on top of a flattened cardboard. It is meant to feel like someone is in the middle of cooking a meal on an open fire. 

    Tiravanija is known for combining film, readymade and performance in his practice. Food, and specifically, Thai cuisine, is a long-standing component in his works, often symbolising community, gathering, and the everyday. An earlier work from 1992 saw the artist feeding curry to visitors in a New York gallery as a performative piece.

    In this particular work, the artist wanted to pay tribute to ‘the forgotten,’ presumably the political activists fighting for democracy, through food. Shot in Thailand,  the film documents the ritual of cooking curry to highlight “the often-forgotten agents of social and political change in protests both domestically and around the world.” Interacting with this work in a three-dimensional setting is like being transported to a street kitchen that would feel very familiar to someone coming from Southeast Asia.

    1. Wu Chi-Tsung, Dust 002 (2023)

    Taipei-born, Wu Chi-Tsung, is very much interested in how we see the world through media and how our perceptions are easily altered by technology. The installation, Dust 002, consists primarily of a telescope, video camera and projector. Entering a darkened room, the viewer’s gaze is drawn to the telescope facing a wall, a halo around it, and fluttering specks of light. The movement is caused by magnified particles in the air, as activated by the viewers’ movements inside the room. 

    The combination of optical tricks, technology and chance is quite smart, and the result is a highly aesthetic and poetic experience for the viewer.  It demonstrates how we can so easily and inevitably impact our environment without realizing it. To fully appreciate the artwork means to take one’s time in observing the elements and delicate motions in the space.

    1. Mika Tajima, You Be My Body for Me (2023)

    Los-Angelos born Mika Tajima’s practice is driven by an inquiry into how technology and virtual spaces transform bodily and physical experiences into new forms. Interacting with Tajima’s work, Be My Body for Me, feels like walking through a rock garden, in which large, rose quartz sculptures are positioned alongside freestanding ‘smart glass’ panes. As the viewer moves around, the glass panes change opacity through electric charges. While these changes seem random, the glass panes are in fact connected to a digital algorithm. 

    The rose quartz, on the other hand, pinkish and massive, seems to represent human torsos. Upon closer inspection, one will notice holes cutting through the sculptures, acting as pressure point openings. Tajima’s choice to use this material is due to its inherent technological capabilities. “The punctured diagram of acupuncture pressure points on rose quartz brings together ancient materials, techniques, and the enigmatic symbols of human energy, life, and the urge to control the unknowable,” explains Tajima. 

    1. Kaloki Nyamai, Dining in Chaos (2023)

    Kaloki Nyamai’s triptych of gigantic paintings are hard to miss. Hanging gracefully as unstretched pieces of canvas across the monumental exhibition hall, they powerfully represent Nyamai’s interest in painting as a sculptural medium. Depicting vignettes taken from the artist’s Kenyan heritage, they are unforgettable not only for their scale but their bright colours and eye-catching imagery. 

    Using acrylic, sisal rope, and dye transfer on paper over canvas, all three paintings show human figures doing seemingly leisurely activities against a backdrop of social unrest. Despite this context, the paintings successfully depict a beautiful kind of chaos – organic, textured, contrasting, full of movement. 

    Referring to the title, ‘Dining in Chaos’ the artwork asks a simple yet provocative question: When a major disruption occurs, “does one stop abruptly, or carry on dining?” 

    1. Martha Jungwirth’s Memorial II (Triptychon) (2021)

    Martha Jungwirth’s work, Memorial II (Triptychon), is a nearly nine-meter-long frieze-like painting. Made up of oil on paper on canvas, it features animal-like elements painted through rapid paint brushstrokes. The three-part image is mostly sparse, raw and unprimed, making the figures look like they are floating in space.  

    The work is inspired by animals affected by modern environmental disasters and sculpted creatures found in ‘King Tut’s (Tutankahmun’s) tomb in Egypt a century ago. Looking through this long canvas, the painting acts like a window to the past. It portrays a lone creature on the left panel contemplating its uncertain destiny, while streaks elsewhere suggest exposed ribcages or animals’ wiry legs. Jungwirth’s expressive and poetic approach seamlessly connects ancient civilizations to contemporary environmental issues and eternal life and death questions. 

    Born in 1940 Vienna, Jungwirth has developed a unique abstraction grounded in observation and the body. Her work spans over six decades, occupying an intuitive space beyond spoken language and object obtrusiveness. 

    With so many high-impact artworks, Unlimited has proven to be the pulse for global art trends and an excellent platform for artists we need to know now.

  • Interview on Living in Switzerland podcast

    Interview on Living in Switzerland podcast

    On December 8, 2023 I was featured in an interview conducted with Kathrin Spinnler for Rigby AG and their podcast series Living in Switzerland.

    The podcast is called The Swiss Art Scene with Nikolai Kleist Burkal can be found here. (available on various podcast platforms)

    The series aims to provide information about various aspects of moving to and living in Switzerland for both a new and residing audience, and for foreigners and Swiss alike.

    In the podcast I am asked to talk about my practice as an artist, my background and living in the Philippines, as well as the approach the Swiss art scene. I try to give an overview of the the various art venues and institutions across the big cities in Switzerland, how to approach art scenes as an artist, and advice on how to develop and expand your options as an artist in Switzerland.

    The interview captures very well what I want to achieve with Art-Beats, to investigate current topics in art, document art scenes, share perspectives on art, and ideally engage a new audience.

    Please have a listen at the podcast, and I hope you enjoy it.

  • Relocation of Art-Beats

    Relocation of Art-Beats

    It was been a while and a pandemic ago since Art-Beats was initially launched. It was lunched at the cusp of the pandemic in Manila, and I think it is safe to say, no one could anticipate the ramifications of that disruptive force on people’s everyday life and the art world.

    As many artist were forced to abandon projects, art spaces closing down, and the art market and institutions thinking of new ways to engage with their audience and collectors, many new things blossomed along with technological leaps. AI-generated art, NFTs, Virtual Reality etc were already known technologies, but became tools for exploring new opportunities with, let’s say, mixed reception.

    The Art-Beats website did lay dormant for a while, at least in terms of publications, but on its Instagram page various gallery, bienniale, and museum visits have continuously been shared and documented.

    Another major event that has affected Art-Beats’ continued activities, is its (or rather its owner’s) relocation from Manila to Zurich, Switzerland. The shift from Southeast Asian to Europe might impact which art scenes will be covered, but I do aim to keep a broad approach on the art world.

  • Checking the pulse on art criticism

    Checking the pulse on art criticism

    Throughout art history art criticism has contributed greatly to discussions and understanding of art. Criticism has played a key role in the sense-making of art by offering a personal assessment of artworks, while bridging the gap of understanding from artwork to audience.

    I picked up this topic for two reasons. Firstly, I was interested in knowing how the role of the art critic has changed over time. And secondly, I realised I couldn’t remember the last time I actually read a review of a current show. I have been studying, working, and have even been writing about art for a while, but somehow I find myself spending little time on art reviews. In my mind, I should be the perfect audience for it. So, am I just lazy or is there something wrong in the world of art criticism that I have missed (read: one statement does not exclude the other).

    My previous understanding of the art critic’s role was linked to the effort of acknowledging and legitimising artist’s work. A good review can help an artist make a name for him/herself, while a bad review could set back an artist’s career. This seems pretty straight forward in earlier times where reviewers had a good overview of how many artists were represented in an art scene or movement, but a bit more complex in contemporary art where you have not only a huge variety of styles, mediums, and cultures represented, you also have vast amount of distribution channels with a constant flow content being added (especially via social media).

    To gain a little more perspective on art criticism today, I have been diving into dusty history books to look for key people and events that have helped in shaping art criticism as a term and profession. Basically, I have been looking for the distinction between art history and art criticism.

    Art has changed considerably over time, both in terms of creating, studying, and experiencing art. This makes me wonder how art criticism has also changed along with changing art practices, and what challenges the field of art criticism is facing today.

    Through these questions and in reviewing the history of art criticism, I would like to use this research to understand the need and potential of art criticism today.

    Criticism in the history of art

    I have always found it interesting to go back in time to see how ideas were formed, and how they have evolved over time into something we might consider well-established components of our society and culture today. I like to keep in mind, that every current tradition was once created by someone.

    Photo: The Thorvaldsen Museum Copenhagen, 2016

    So, do allow me to skip into the history books a little, to browse through the past valuable writings of the Roman writer Pliny the Elder, whose descriptions of art in the Natural History (around AD 70) include some of the earliest writings on describing art; of the Chinese writer and historian Xie He’s Six Principles of Chinese Painting (6th century AD), which were established to assess the quality of paintings; even browsing past the essential writings of Italian artist-writer Giorgio Vasari, who authored Lives of the Most Excellent Painters, Sculptors, and Architects (1550), which laid out an important foundation for art writing by including the artists’ biographies. This is just to say that, many important writings on art can be traced far back to both Western and Eastern history, but in the case of art criticism, we will have to pick up from when the term became a distinct genre of its own.

    Which leads us to Jonathan Richardson’s An Essay on the Whole Art of Criticism (1719) when the term art criticism was first used. Richardson’s works both encouraged young men to embark on the cultural pilgrimage the Grand Tour, which became popular at the time, as well as provided a basis for British collectors to get interested in art, as he attempted to objectively rank the quality of paintings on a scale of 0-18. It is hard to imagine such a practice being embraced today, but at the time, Richardson’s approach helped to engage the British middle-class in art by providing a method for asserting one’s taste.

    Art criticism was thus born, and a popularised method for judging the quality of art was thus established.

    French enlightenment writer Dennis Diderot later contributed greatly to the language of art criticism with his reports on the salons in Paris between 1759-1781. Diderot’s contributions were published in the newsletter La Correspondance primarily for the European elite, which greatly appreciated his new ways of describing art. Because his readership consisted of a smaller and more exclusive group, Diderot was able to write more freely and avoid strict censorship. With Diderot, a new generation of writers flourished who sought to make a living of art criticism and writing.

    Art criticism became a profession and free expression became an essential part of the style of writing.

    In the 19th century, Victorian writer John Ruskin made a name for himself when he famously defended William Turner in his Modern Painters (1843). Ruskin brought forth romantic theory and scientific analysis to prove Turner’s critics wrong. However, an artist who received less praise and appreciation from Ruskin was J.M. Whistler. Ruskin allegedly published a letter in 1877 wherein he bashed Whistler’s work Nocturne in Black and Gold in harsh terms, for lacking a moral and didactic purpose. Whistler sued Ruskin for libel and actually won the case, but went bankrupt after the case ended. To make things worse, during the trial the Nocturne painting was apparently brought into the courtroom upside down and was further ridiculed in the press. Professionally, they both suffered from that court case.

    Art criticism became a way of justifying style and expression in support of the artists. What Ruskin brought to the table was really the use of theory and scientific analysis, which became great compliments to art assessment. Ironically, Ruskin also demonstrates the damaging effect of bias in criticism, as some historians speculate on Ruskin and Whistler’s differences in political ideology as an explanation for the quarrel between them.

    Across the English Channel, French poet Charles Baudelaire had found new ways of critiquing and writing about art in his The Salon of 1845 and 1846 publications. According to Baudelaire, art criticism and writing should be passionate, partial, political, and addressed to the majority – in this context, the middle-class. He urged that criticism should be formed from an exclusive point of view, but in a way that would open up the greatest number of horizons. As was the common practice at the time, Baudelaire would walk through the large salon exhibitions while jotting down phrases or pages of notes for each artist. Like Ruskin, Baudelaire was a product of Romanticism. The late 19th century was a turning point for increased urbanisation. Baudelaire’s views on Romanticism as an expression of pure individuality and emotionality were challenged by the push for a more modern subject matter, thereby paving the way for a new direction in art, towards Realism.

    Art criticism became a medium for engaging the wider audience in art, as well as for providing valuable feedback to artists, in other words art criticism had two audiences: the public and the artists. Art criticism also helped predicting the direction of art by tracing trends in society and painting styles.

    In the early 20th century art was changing rapidly, with new movements shooting up like mushrooms, so art criticism had to keep up. Bloomsbury Group-member and English writer Roger Fry gained a reputation for his expertise on the Old Masters. However, Fry became an advocate for the new developments in French art, which he famously dubbed as Post-Impressionism. He was fascinated by the trends in modern art, and vigorously defended art based on pure imagination; as opposed to earlier art directions attempting to capture the real and natural. He supported the thoughts of Formalism, which argued that, the most central quality of art is its form, rather than the conventional subject matter. According to Fry, the value of art should therefore be judged on its ability to produce a distinctive aesthetic experience, with the experience representing a so-called aesthetic emotion.

    Art criticism not only helped to justify individual artists’ works, but also helped open up whole new movements and new ways of perceiving art.

    Mid 20th century art was helped along with critics such as Polish-Italian writer Guillaume Apollinaire and Argentine writer Rafael Squirru, who saw a reoccurrence of the poet-as-critic (like Baudelaire). Apollinaire’s literary contribution helped in defining the aesthetic principles of Cubism as well as of Surrealism, while Squirru contributed greatly to promote Latin American art through the decades. In the US, writers such as Clement Greenberg wrote critical essays published in Art and Culture (1961), and helped create awareness of the emerging American art, particularly in praising Abstract Expressionists Jackson Pollock, Willem de Kooning, Barnett Newman and others in that group.

    Art criticism became a channel for representing art in the otherwise marginalised areas of the art world, and basically helped widen the reach of art documentation.

    In 1949 the International Association of Art Critics (AICA) was established as an affiliate of UNESCO in order to revitalise critical discourse, which had suffered from fascism throughout the 1930s and 40s. AICA was established to preserve the vocation of art criticism, as well as to analyse its responsibility to artists and the public. According to AICA, its defined objectives included promoting art criticism as a discipline and defending impartial freedom of expression and thought.

    Art criticism as a global network was thus established by forming its own international association. AICA became a support system and a forum for art critics to understand their responsibility, as well as to revitalise the profession.

    In the 1970s, Feminist art criticism came naturally with the general feminist movement. A new direction of criticism emerged emphasising the under-representation of women in art. American writer Linda Nochlin’s essay Why Have There Been No Great Women Artists? (1971) paved the way for new discussions on the issue. Nochlin brought up issues of societal barriers preventing women from pursuing careers in art. She also criticised previous perspectives on Orientalism for their often erotic or violent themes as reflections of the early 19th century attitudes of chauvinism and misogyny in France.

    Art criticism opened up the doors for more inclusivity by questioning previous attitudes in art practice. Despite the refinement of art theories over previous centuries, a critical re-evaluation of fair representation in art history was raised with Feminist art criticism.

    Art criticism today – artworks and art-words

    This is the part that really intrigues me, the role of art criticism today. Based on the lessons from the above historical walk-through, some aspects of the evolution of art criticism still seem valid today. The audience can be differentiated between two branches; the public and the artists. Different types of art writings seem to serve different purposes – academic art criticism for scientific study and assessment, and popular art criticism for a wider audience. And then, there are the aspects of personal judgement, fairness, and partiality. So, with that in mind, what makes a good critic?

    Photo: Harland Miller’s Tonight we make history, Blain & Southern Gallery Berlin, 2016

    Gilda Williams’ practical handbook How To Write About Contemporary Art (2014) discusses certain principles worth considering for art critics. According to Williams, art critics lose their credibility if the writing comes off sloppy or somehow marked by favouritism. As a minimum, the critic should disclose any partiality, whether it is writing about a friend, relative, colleague, or the critic’s previous relationship with a given institution or venue. Furthermore, Williams warns readers about seemingly objective art writings from commercial material, such as catalogues from auction houses, galleries, or private collections. However, Williams does note that the traditional image of the art critic as an impartial, incorruptible, and fully independent art explorer is merely a popular myth. Today’s art critic must take upon many roles (researcher, blogger, editor, curator etc.) in order to respond to the demands of art writing, and must master several formats of writing (journal-writing, market news, interviews, academic theory etc.).

    Eleni Gemtou, art scholar at the University of Athens, in her Subjectivity in Art History and Art Criticism (2010) points out the overlapping roles of art historians and critics in terms of analysis, comprehension, interpretation, and evaluation. However, Gemtou characterises the art historian as a person taking a more scientific and objective approach to art, while the critic should balance subjectivity with acknowledged artistic values equally. One role complements the other, as the historian lays the foundation for essential evaluation by the critic.

    Challenges of art criticism today

    It is notable that, as art or painting has been declared dead over and over again (as in the cases such as Paul Delaroche (1839), Marcel Duchamp (1912), and Donald Judd (1976)), art criticism too, has also been declared dead several times. To understand that claim, we would have to investigate the reasoning behind it.

    Photo: Carl Andre: Sculpture as Place, 1958–2010, Hamburger Bahnhof Berlin, 2016

    Art critic James Elkin’s Art Criticism: Writing Without Readers (2003) raises interesting points by arguing that art criticism is in a worldwide crisis. According to Elkin, the world is experiencing an increasing number of writers, but a decreasing number of them contributing to intellectual debates. Elkin argues that the overproduction of art writings is merely used as a selling point in catalogues of commercial galleries, while relevant articles are drowning in a vast selection of art magazines and online media. Ultimately, this means that, art criticism has reached a point where no one takes it seriously, or even bothers to read it.

    In the interview On Time And Spaces For Criticism: An Interview With Thijs Lijster (2015) by Spanish artist-writer Anna Dot, the question “where is art criticism?” rather than “what is art criticism?” is raised. Lijster argues for changing the focus to “where”, as the displacement of criticism has found new channels such as new media, institutions, and professional writings. He points out that, even if we consider traditional art criticism as having a hard time, it does not mean art criticism has ended. The threat to traditional art criticism is connected with how it is bound by time and space. For Lijster, there is a looming threat of art becoming generic, as the borders of history and territory become blurrier. He also describes how the two branches of art criticism are facing challenges, in the sense that, academic art criticism suffers under cutbacks in universities, and popular art criticism suffers under decreased readership.

    On the online show Tea At The Beatrice with Glenn O’Brien (June 2016), Glenn O’Brien meets fellow art critic Jerry Salz. In this cosy, slightly dissatisfied-with-everything, but openhearted conversation between the two seasoned art critics O’Brien and Salz, the audience gets valuable insights into the current state of art criticism. They pick up issues such as how one of the largest art magazines, ArtForum, hardly publishes any actual criticism anymore, and the importance of using of plain language in art writing. What is interesting in this conversation is how criticism seems to have been replaced by the art media’s interest in attracting advertisement revenue. Salz mentions the fear of retaliation against art critics from the galleries and institutions if they write bad reviews. However, Salz emphasises that the size of the venue matters, as negative criticism could have devastating impacts on small venues. In his words: “to take a sledgehammer to a small place”. He further argues that art criticism is generally about respect, and you are respecting the art by allowing criticism to play a role. Across the table, O’Brien expresses the state of art criticism with: “I think it is over, because you can’t write a bad review”. They further discuss the issue of art critics collecting art. When asked, O’Brien openly admits he has been buying artworks as he discovered artists, arguing he’s an advocate for the arts rather than a critic. Salz, on the other hand, states that any artwork he and his wife Roberta Smith (also a celebrated art critic) have ever received has been sent back, except works given by close friends.

    It is valuable to hear these thoughts and arguments from art critics on the state of art criticism today. There seems to be a consensus that the traditional art critic is no more, but the role has branched out to several fields within art. Platforms for general publications have changed along with critical writings and the readership. This could answer my personal question as to why I no longer see and read any current reviews. They are surely there, but as a reader you’ll have to become a researcher too. So, I sense that, there is a demand for accessibility and sorting out relevant information.

    The potential of art criticism today

    I find it hard to believe that art criticism is really dying, or is dead, for that matter. Although, as I mentioned in the introduction, I probably fall under the category of people who do not bother to read art reviews. It is definitely not for the lack of interest, but I think that, my personal attitude towards reviews is more linked to a personal relationship to art. My experience of art is a personal thing. I love making the discoveries and assessments on my own. Another valid point, as mentioned by experienced writers on art (O’Brien, Salz, Williams etc.), there seem to be a general problem with the language in current art writings, which probably goes with the commercial demand for art writings (but not criticism).

    Photo: Frank Holliday, Partners & Mucciaccia Singapore, 2015

    It is hard to disagree with the idea that, the 19th century critic roaming the salons of Paris is no longer among us. If that is what the critics mean by the traditional art critic is dead. I am completely fine with that; it still holds value in a historical context. But I think art criticism offers much more than the personal judgment of shows or artworks, as it provides valuable documentation in itself.

    The “make or break” factor of art criticism is interesting though. Salz’s comment: “to take a sledgehammer to a small place”, not only applies to small venues, but to small art scenes as well. Feedback is invaluable at any stage of development, but hammering on something before it gets a change to flourish, is dangerous too. It is a balance worth considering.

    I understand the critics’ desire to retain the integrity of professional art criticism. I understand that professional art critics want to maintain both, the principles of “good writing”, as well as that of professional relationships with other art professionals.

    In the broadest sense of art writing, anyone can be an art writer. There are countless art events taking place all over the world, and art criticism should play a role in this. For small art scenes, there has to be room for assessment and feedback for the benefit of the public and the artists. In worst cases, we will see developing art scenes with only positive marketing materials available. Catalogues and commercial writings are fine, for they provide the public with general information and they also play a part in documenting events for future use. But one could argue that, good art scenes need good art critics, and for that to sustain, art criticism essentially needs credibility, impartiality, and passion.

    Finally, I think we should be careful with the term art world when we are actually talking about the art scene in a country, or even just a particular city. The practices and the level of development are so different across continents and cultures that, it would be a shame to assume we are all facing the same challenges, and thereby try to apply the same solutions.

    I absolutely see a value in art criticism for both big and small art scenes today. I believe it should play a role in educating the audience, documenting art events, as well as giving access to art scenes we probably would not be able to reach.

    Further Reading  – History of Art Criticism

    • Britannica encyclopedia: Pliny the Elder, Natural History (around AD 70); Xie He Six Principles of Chinese Painting (6th century AD); Dennis Diderot (1713-1784); Guillaume Apollinaire (1880-1918).
    • Vasari, Giorgio Lives of the Most Excellent Painters, Sculptors, and Architects (1550)
    • Richardson, Jonathan An Essay on the Whole Art of Criticism as it Relates to Painting and an Argument in Behalf of the Science of a Connoisseur (1719)
    • Ruskin, John Modern Painters (1843)
    • Mayne, Jonathan, The Mirror of Art: Critical studies by Charles Baudelaire (1956), Doubleday & Co., New York.
    • Woolf, Virginia Roger Fry: A Biography (1940), Harcourt, Brace & Co., New York.
    • Rafael Squirru: www.rafaelsquirru.com
    • Greenberg, Clement Art and Culture (1961), Beacon Press, Boston.
    • International Association of Art Critics (AICA): www.aicainternational.news
    • Nochlin, Linda essay Why Have There Been No Great Women Artists?, published in Gornick, Vivian Woman in Sexist Society: Studies in Power and Powerlessness (1971), Basic Books, New York.

    Further Reading  – Contemporary art criticism

    • Gemtou, Eleni Subjectivity in Art History and Art Criticism (2010), published in Rupkatha Journal, Vol. 2, No. 1, India.
    • Williams, Gilda How To Write About Contemporary Art (2014), Thames & Hudson, London.
    • Elkin, James What Happened To Art Criticism? (2003), Prickly Paradigm Press, Chicago.
    • Dot, Anna interview with Lijster, Thijs – On Time And Spaces For Criticism: An Interview With Thijs Lijster (2015), A*DESK online art magazine (see www.a-desk.org)
    • Online show Tea At The Beatrice with Glenn O’Brien, episode from June 14th 2016, produced by Made To Measure (M2M).
  • Art Scenes and their mechanism

    Art Scenes and their mechanism

    Art scenes may be considered exciting places to experience art or to be seen as an artist, but the term art scene is often being used quite liberally (by myself included). But having a workable definition of art scenes can actually be quite useful in understanding the mechanisms of art, art activity, and the stage on which it unfolds.

    I picked up this topic because I wanted to write about my personal experiences of various art scenes, but I made a fatal error, I assumed that we all have the same understanding of what art scenes are. Furthermore, it seems to me there are many different uses and definitions of the term art scene, so I’ve read up on a few interesting perspectives to add on to my own perception of the term.

    In this article I deal with art scenes in terms of the art activity in a specific location, and try to map out some of the key art participants. By defining the mechanisms of art scenes I’ll try to compare the art scenes of two very different cities (Paris and Manila) in order to understand their function and difference.

    Perspectives: art scene as a polyseme

    The term art scene can be considered a polyseme, in the sense that it has multiple meanings depending on who uses it. For example, an artist might use the term to map out where to be seen, an art historian or curator might use it to track art styles, trends, or movements, and a gallerist might use it in terms of positioning art sales. They might all be referring to the same scene, so what are art scenes?

    As nicely described by the two philosophy scholars Josef Kovalčik and Max Ryynänen (2018), art scenes are commonly considered places from which artists and their works are associated, but could also be used to describe an environment an artist has “spun out of”. This is exemplified by artists such as Picasso being Spanish-born but making a name in the Paris art scene, or Marina Abramovic being a product of the experimental Balkan art scene. Thereby, we associate artists to certain art scenes with the belief that the art scene has played an important role in their work. According to Kovalčik and Ryynänen, the possibilities and limitations of certain art scenes are influenced by many factors such as political control, aesthetics, and the existence of an audience for the works. They also discuss the aspect of artists from peripheral areas (in terms of low art activity or no existing art scene) moving to central art scenes where “things are happening”. This aspect often plays a key part in artist’s biographies, where the artist’s roots are described as well as what happened when she/he moved to a particular city?

    Kovalčik and Ryynänen also list the participants of art scenes such as the artists, curators, gallerists, critics, mediators, museum professionals, and collectors, where if often occurs that individuals have several roles. They argue that all the participants are somewhat conscious of each other. Higher cultural institutions and galleries are often aware of grass-root spaces and activities, and are sometimes referred to as scenes themselves (e.g. the museum scene, grass-root scene etc.). These scenes, based on geography, make up a network where works and thoughts are shared inside a system.

    Another interesting perspective on art scenes is described in the essay The Logic of Scenes by artist and writer David Burrow published in Deleuze and Contemporary Art (2010). Particularly, Burrow describes a perspective on the European avant-garde and its focus on communal experimentation, and how the European avant-garde opened up the potential of matter, bodies, and groups. The interesting here is how the avant-garde artworks brought forth new arrangements of life and practices. The logic of scenes advocates that artworks, writings, performances etc. along with the actions and declarations by individuals and groups play an important role in these new arrangements, and could push for new orientations. It further describes how art both emerges out of a scene and helps produce a scene. Art scenes in this definition are coined as “a distribution of presentations” wherein the art activity is marked by encounters and articulations. Art scenes are here not defined as professional networks, but rather informal presentations of events, and differ from formal organisations of art. They are shaped by their local and specific nature, they have no specific size, nor do they have a specific duration (Zepke et al. 2010; Burrows: 157-176).

    What I take from the definitions by Burrow, Kovalčik, and Ryynänen, is the sense of association and communal component of art scenes. Art scenes have the dual quality of being formed by artists as well as nurturing artists, and this creates a network for art professionals. Being associated with an art scene can be used as a tool to promote art, but it can also be used in finding a scene “out there” that fits your interest, whether you’re an art professional or an art explorer. So with that in mind, we can also distinguish between informal and formal art scenes, depending on their uses by the art participants.

    My take on art scenes

    Photo: outside PI Artworks London, 2016

    As mentioned, I’ve been personally using the term art scene to determine art activity in a particular location. Practically I’ve been using the term in my efforts to explore and identify which art activities are going on where, and who’s involved? Furthermore, I’ve been using it to identify what does the art activity say about the specific location at which it takes place. In other words, I’ve been using art scenes as an identifier for art activity anchored to a local culture of a place.

    In my experience there are three general elements that play a key part in defining the practices within art scenes, namely tradition, convention, and resources.

    Traditions matter in terms of how things have been done in the past. Every tradition was at one point invented, which I think we tend to forget. Traditions are created out of needs at a certain point in time, and are continued either because the need continues to exist or because the tradition has become a habit.

    Conventions matter in terms of how things are done now. It’s more immediate. It’s relevant in terms of how we are addressing problems or challenges now, and in terms of what is perceived best practice.

    Resources matter in terms of local cultural policies, how are things financed, how social capital among participants is strengthened, what resources are physically available, and of course the utilisation and keeping of knowledge.

    A comparison of two art scenes: Paris and Manila

    Photo: outside Louvre Pyramid Paris, 2014

    Considering Paris and Manila, two very different art scenes and cultures. I have lived, studied, or worked in both cities, and it’s amazing to experience the different dynamics between the two. It’s important to note, that this comparison is not a scoreboard of which scene is better than the other. That wouldn’t make any sense and I have no interest in doing that. The emphasis is really on the practices, and what the different dynamics are.

    Considering Paris, a city with a long tradition of art schools, public and private museums, established districts of art galleries, known artist collectives, annual art fairs, and regularly operating auction houses. The art scene in Paris consists of a strong support system of art professionals such as trained artists, educated curators and historians, art writers, experienced venue managers, and cultural policy makers who are voicing how to change conventions to keep up with time, e.g. the challenges of art sales moving to online platforms, new tax policies for art stored in tax havens, repatriation of looted art, or whatever else the topic might be.

    Paris has developed its art scene through traditions of doing things, e.g. artists get educated at art schools, the art is exhibited in galleries and maybe later in larger venues once the artist has been acknowledge by the art community, the artist gets commissioned by local governments to do bigger works, and so on.

    Paris might also have to change its conventions to deal with current challenges, e.g. museums having to find new ways of attracting crowds as young people are loosing interest, the lax regulation on art sale means many artists are missing out on their compensation from the droit de suite (art resale right) etc.

    Finally, the city’s resources are unfortunately not constant. Resources have to be observed and maintained. If a city wishes to finance a vibrant and attractive cultural scene, then these expenses will have to come from somewhere. Knowledge as a resource also requires maintenance, such as passing on valuable know-how before it’s lost.

    Photo: Art14 London, 2014

    Then if we look at Manila. A top 10 city among the world’s most densely populated cities pr. square kilometre, and approximately twice has densely populated as Paris. However, the population is much younger. Median age in France is 41,7 and the Philippines 25,7 (2020). I would argue this difference matters. Less space and younger people does change the culture and dynamic of a city.

    Manila also have a younger tradition of art schools, a few public and private museums, no dedicated districts of art galleries but rather clusters of a couple of fine art galleries, few formal art collectives, a few annual art fairs, and occasional art auctions.

    Manila doesn’t have as long a tradition of established practices (major revolutions haven’t made it easier to establish continuity though), but I would argue there is a stronger sense of freedom on how to go about things (can be both good and bad). The freedom of not being tied to traditional practices makes Manila a scene that constantly has to change its conventions, a carte blanche if you will. A way of looking at it is, this gives the city a unique position to adapt to best practices of establishing well-managed institutions, programming art education, funding art projects etc. For example, I find it interesting that the Philippines doesn’t have an actual Ministry of Culture (at least as of now 2020), and the current governing body for culture and arts commissioning NCCA (National Commission for Culture and the Arts) was established as late as 1992. Keyword again: young!

    Manila is certainly a place where you can talk about scenes within a scene. The gallery scene is fairly new, yet growing every year. The art hub scene is so booming, that I can’t even keep up. The art crowd and participants might predominantly be young (my assumption), but people are curious and eager to try things out. I feel there’s an urge among art participants to be relevant and to be represented in the art world, and why wouldn’t you applaud this drive.

    Traditions of practice can be useful in terms of planning and supporting the arts, but it’s not vital for the existence of an art scene. The challenges attached to conventions and resources are a different matter, and they will always need to be updated regardless of traditions.

    Staging art

    So, if we accept the premise that art participants make up the art scene, each with their different role to play, the art scene becomes a stage for multiple-purpose interactions. Multiple-purpose in the sense that the participants utilise art scenes for different purposes. Artists might use the art scene to gain exposure and sell art to make a living. Curators might use it to nurture their network or gather inspiration and ideas for exhibits. Venue managers might use the scene to find artists and curators to collaborate with, or gather information on prices of artworks. A bit simplified, but it’s just to say that art scenes can be considered stages where these art participants meet and form networks.

    Another important factor in staging art is of course the tool of media. Media in its broadest sense is a way of channeling art activity to an audience, a way of learning, a way of gaining exposure as an artist, but not to forget that media can also influence and colour people’s opinion.

    In order to gain exposure, artists will have to engage in some sort of media activity, or even better, have some else manage it for them. Art scenes will probably be there regardless of media interaction, but media does help in creating awareness of particular art scene.

    In my opinion, nothing can really replace first-hand experiences of art, whether we talk about art works or art scenes. Ideally you’ll physically go out and experience art in person, but of course you can’t be everywhere all the time, and media channels (whether its TV, social media, art magazines etc.) are great ways to learn what’s going on in the world.

    For further reading

    • Kovalčik J. & Ryynänen M., “The Art Scenes.” Published in journal Contemporary Aesthetics, Vol 16, 2018.
    • Burrow D. “An Art Scene as Big as the Ritz: The Logic of Scenes”, published in Zepke S. et al., Deleuze and Contemporary Art, Edinburgh, Edinburgh University Press, 2010.
  • What do I look for when I go to an art show?

    What do I look for when I go to an art show?

    This article is meant for anyone unfamiliar with visiting art shows, museum exhibits, or simply anyone not sure how to approach art in general.

    The more exposure you get to art the better you’ll be at placing it in a context and thereby understanding it. So, in this article I’ve compiled a little step-by-step guide to assist anyone wanting to learn more about approaching art.

    I believe many people associate art with either luxury or expertise. In other words, that you either need a lot of money or extensive knowledge about art history, art terms, specific periods etc., but I would argue that art really is for anyone. It just requires a little introduction to get you started.

    Don’t get discouraged if you stumble over terms you are unfamiliar with, and forget about the money aspect of art for a bit. The purpose of this article is just to encourage you to start exploring art on your own!

    Below you’ll see a few points you can use as a checklist when going to an art exhibit, or just when you are trying to digest a single art piece. I’ll try to expand on steps will be further discussion below.

    A checklist – 10 things to look for in an art work:

    At first glance, try to identify what you see:

    • What is your immediate reaction? (Ignore the price at first, if it’s given)
    • What material has been used? (Specific, such as acrylic, oil, watercolour, mixed media)
    • What medium? (Painting, sculpture, photo, video, installation, or a performance)
    • Can you identify a certain style? (Expressive, abstract, figurative, surreal, realism – or just try to use your own words) 

    Second, try to gather some information:

    • Who made the work? (Artist, age, and nationality – if given)
    • What is the title of the work? (If not left untitled)
    • When and where was the artwork made? (Context of time and place)
    • Is there any material about the work? (Wall text, description, flyer, article, artist statement)

    Third, gather your thoughts:

    • How does it fit with other works in the exhibition? (Solo or group show)
    • What is your overall impression of the work and show? (Combine your observations)

    First glance – what do you see?

    At first, it’s important not to think too much as you are just gathering your impressions of an artwork. It goes without saying, that different artworks will trigger different reactions in different people. Your initial reaction is always interesting, as your perception of an artwork might change as you familiarise yourself with it. 

    Whatever the artwork is, try and see if you can identify what it is made of (material) and on what environment (medium) the material was applied on. For example, the material could be acrylic on canvas, and the medium could be a painting. The style of the artwork can be hard to identify if you don’t know the terminology, but don’t worry. You might know some or none of the styles, but just try to keep it simple. 

    If you see an artwork you can’t categorise in terms of style, then try to use your own words. To help you get started, some basic styles you might encounter could be abstract (no clearly identifiable figures), figurative (like portraits and landscapes), realistic (a clear depiction of something from real life), surreal (something sort of distinguishable, but usually in a dreamy scenery), or expressive (it can either be abstract or figurative, but often characterised with elements strongly distorted to invoke some sort of emotional effect).

    These terms are here a bit simplified, but the point is more for you to familiarise yourself with the different styles.

    Second – what information do you have available?

    The steps in familiarising with the artwork is to gather whatever information is available to you. You can use the art label, wall text, or whatever other written information to see who made the artwork. What title is given, when and where was it made, and is there any information about the artwork or exhibit than can help you understand why the artwork was made?

    This is all good information that can help you combine your own observations with what the artist intended to communicate through the artwork. After reading up on the information available, you might see the whole artwork in a whole new light, which often happens to me. In other words, you have a context to place the place the art in!

    Third, what is your overall impression?

    After combining your observations with the information gathered, what thoughts did it trigger in you? Your initial reaction is still completely valid, but knowing the context, you might have a more holistic view of the artwork or exhibit. It helps you to place the artwork in a context. 

    Placing the artwork in a certain period could help you understand the style used or maybe even why it was made. Styles, materials, and motives change over time, so there’s always a lot of clues left by the artists for the viewer to decode.

    It is often said, that art is a language, and it’s a way of expressing something that can’t always be verbalised. 

    Personally, I always keep in mind; someone made this artwork, and it shows a snapshot of what was going through the artist’s mind at a certain time and place. Beside its aesthetic qualities, art can often give you great cultural and sociological insights.

    Further reading

    In case you want to familiarise more with general art terms, MoMA has a nice and easy glossary of art terms publicly available here:

    • https://www.moma.org/learn/moma_learning/glossary/

  • Launching Art-Beats!

    Launching Art-Beats!

    Welcome to Art-Beats, an artist-run platform for art articles, current discussions, and eventually podcasts that will hopefully be the beginning of a great journey of idea exploration, conversations, and insights to the art world.

    The plane of launching this platform has finally come to fruition, as the format and content will keep developing, and hopefully reach a wide audience.

    This site is created and developed by Nikolai Kleist Burkal, an art participant with different roles and experiences, including art writer, artist, gallery manager, art handler, and proposal writer. It is based on these roles, and of course as an art enthusiast, traveling across Europe and Asia, that the idea of Art-Beats came to live and hopefully will help mediate current themes and understanding of the art world.

    The vision statement of this platform can be found in the About-section, and mentions the intent to publish relevant topics and talk about art in an inclusive way. The idea with the Art-Beats is to post articles and eventually podcasts on current and historical topics and events, and will also try to provide helpful tools and material for potential art visitors and explorers. Hopefully, these discussion will help shed light on and demystify the art world a little bit, and to make art more approachable and less intimidating (as I often hear from people outside the art world).