Art market

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.

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.
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.
Paris Photo (Paris) – next up on November 7, 2024. The largest fair dedicated to photo art and usually held in Paris’ iconic Grand Palais.
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.
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.

Art Central (Hong Kong) – which usually happening at the same time as Art Basel Hong Kong and Hong Kong Art Week.
Liste Art Fair Basel (Basel) – which happens at the same time as Art Basel Basel, and focuses on “new discoveries in contemporary art”.
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.
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.

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.

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.

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.

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.

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?”

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.

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

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.

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.

Tag: Art market