Artist-run media documenting art and culture

Tag: introduction

  • Art and Wine: Creativity, Taste, and the Trained Senses

    Art and Wine: Creativity, Taste, and the Trained Senses

    Since its launch, Art-Beats has been driven by a curiosity for artistic practice, visual arts, and cultural expression. But cultural disciplines do not exist in isolation. They are expressions of a shared cultural fabric, shaped by overlapping histories, practices, and ways of sensing the world. Culture unfolds across rituals, tastes, places, and shared experiences.


    As Art-Beats evolves, its focus aims to expand to include other cultural forms that shape how we perceive, evaluate, and enjoy the world around us. Wine, with its deep ties to craft, history, place, and social life, is one of them. This is not a departure from art coverage, but an extension of the same curiosity, approached through different sensory experiences.


    A Shared Cultural History: Art and Wine in Dialogue

    Caravaggio, Bacchus (c. 1598). Uffizi Gallery, Florence.


    The relationship between art and wine is also deeply embedded in cultural history. Wine has been a recurring subject in fine art for centuries, from Caravaggio’s Bacchus to the convivial scenes of Dutch Golden Age still life paintings or vanitas, where wine symbolised abundance, indulgence, and moral tension, like the fleeting nature of earthly pleasures and worldly pursuits.

    In contemporary culture, the dialogue between art and wine has become increasingly deliberate and conceptually rich. One of the most enduring examples is Château Mouton Rothschild, which since 1945 has commissioned leading artists to design its annual labels, including Pablo Picasso, Andy Warhol, and Gerhard Richter. These wine labels have become cultural markers, embedding each vintage within the artistic language of its time and transforming the bottle into a collectible object that carries both aesthetic and historical value.

    Pieter Claesz, Still Life with Herring, Wine and Bread (1647). Los Angeles County Museum of Art, Los Angeles.

    More recently, artists have begun to engage with wine not only as surface but as form and narrative. Daniel Arsham’s reinterpretation of the Moët Impérial bottle, rendered as a futuristic archaeological artefact, repositions the champagne as an object suspended between past and future, consumption and preservation. The work echoes Arsham’s broader practice of imagining contemporary objects as relics, and in doing so, invites reflection on how cultural value is constructed and remembered.

    Beyond high-profile collaborations, a growing number of producers are embracing art-inspired labels and artist partnerships as a way of articulating identity, place, and philosophy. In these cases, visual language becomes a means of storytelling, offering an entry point into the wine’s origin, values, and sensibility.

    Passion Assets, Perception, and Experience

    Luxury wines, some with hand-painted labels displayed at Tenuta Torciano Winery in Tuscany, Italy

    Art and wine are often spoken about in the same breath, usually at gallery openings or long dinners where conversation flows as easily as the glass. In financial portfolio management, as defined by the CFA Institute, they are even considered part of the same asset class, categorised as passion assets or collectibles. But the connection between them runs deeper than social ritual. At their core, both art and wine are assessed through systems of perception. They encourage engagement. Demand attention. Evoke curiosity. A willingness to learn how to look and how to taste. And perhaps most importantly, both art and wine reward presence.


    Neither experience is passive. An artwork does not always reveal itself at first glance, just as a wine rarely tells its whole story in the first sip. Both often require a slow activation of the senses, guided by knowledge and personal experience. By intentionally looking, we learn to see brushstrokes, composition, expression, and intention behind an artwork. Sip by sip, we learn to taste structure, balance, acidity, texture, and finish of a wine. Over time, our perception sharpens. Pleasure and appreciation deepens.

    Assessment, Criticism, and Contemporary Pressures

    There is also a shared discipline of assessment. In wine, we speak of structure, typicity, and expression. In art, we evaluate form, coherence, and emotional resonance. Both fields balance subjective response with trained judgement. You can love a wine that breaks the rules, just as you can be moved by art that resists categorisation or conventions. But even rebellion gains meaning when you understand what is being challenged.
    Both art and wine are also shaped by ongoing criticism, debate, and shifting evaluative frameworks. In wine, discussions increasingly centre on how climate change is altering traditional styles and regional identities, how producers respond to evolving consumer expectations around sustainability and moderation, and how economic pressures affect production and distribution. These debates challenge long-held notions of typicity and quality, prompting producers and critics alike to reconsider what excellence looks like in a changing world.

    In the art world, assessment is similarly influenced by broader cultural and structural pressures. Questions of access, visibility, and economic sustainability continue to shape artistic practice, alongside debates about how digital platforms, institutional gatekeeping, and global audiences redefine value and authorship. At the same time, artists are navigating expectations around authenticity, social relevance, and cultural responsibility, often working across disciplines and formats that resist traditional modes of critique. In both fields, judgement is no longer fixed but negotiated, reflecting a cultural landscape in flux.

    Final Thoughts

    In a culture increasingly shaped by speed, algorithms, and instant gratification, this is where art and wine quietly align. They remind us that aesthetic experience is not consumed but cultivated. It is built through repetition, reflection, and openness. Through tasting widely. Through looking closely. Through research and experience, yes, but also through feeling and sensing.

    Further Reading & Sources:

  • Art and Rarity: Originals, Editions, and Reproductions

    Art and Rarity: Originals, Editions, and Reproductions

    What does uniqueness of an art work mean – and what influence does rarity have in today’s art market?

    The question is rooted in my own initial discontent of the commodification of fine art. Perhaps, due to a tendency of romanticising important or relevant fine art as unique or “one of a kind”, which is a dangerous thing to do. This thought might narrow your mind to “what art should be” as a reaction to “what art has become”. So, in an effort to educate myself, and better explain this aspect of art production to others, I am here looking into the levels of rarity art may be produced under, and why does this matter.

    From ancient Chinese woodcuts to Andy Warhol’s silk screen prints, the tension between originality and reproduction has always been central to the art world. Today, with artworks sold everywhere from international fairs to online platforms, understanding the difference between unique works, editions, and reproductions may seem useful – for artists, collectors, and audiences alike.

    Kunsthaus, Zurich

    3 Encounters with Art Rarity

    My reflections on this topic stem from a couple of personal encounters:

    The Picasso Print: A friend once asked me about a lithograph advertised as a “Picasso” for around $500. My friend asked me why it was so cheap, and whether it would be a good purchase. The real question wasn’t whether the piece was authentic, but whether it was a limited edition, an open edition, or simply a fancy poster. Rarity, as well as who produced or printed it, as well as the quality of the edition, could determine the value.

    An Yves Klein in Manila: At Art Fair Philippines some years ago, I saw what appeared to be an ultramarine coloured sculpture advertised as Yves Klein’s Blue Venus. The work, I later researched, was conceptualised by the artist, but was only produced after the artists death in limited production of 300 sculptures. The work is dated 1962/1982 for when it was initially conceptualised, and when it was actually produced with authorisation by the artist’s estate 20 years after his death – it was priced around $100,000. This triggered some questions in me; was this an ambitious effort to democratise Klein’s work, or a bold attempt to commercialise a legacy? You can find editions of this sculpture at many prominent museums and galleries around the world, which adds legitimacy and value to this posthumous work. See an example of one of the editions here on The Met’s website.

    Edition-Only Galleries: In cities like London and Paris, I’ve passed by gallery streets selling, sometimes exclusively, certified prints, editions, and replicas. These spaces illustrate how entire business models can revolve around the reproducibility of art. These galleries also often appear in major art fairs, selling artworks by the likes of Francis Bacon, Dalí, or Basquiat. The artworks represent a mid-range segment of the market, between very affordable and very expensive blue chip art.

    Each of the experiences above revealed how fluid the boundaries are between original, edition, and reproduction – and how much these definitions matter in shaping perception and price.

    Art Zurich 2022

    Why Rarity Matters in Art

    As mentioned, art is sometimes romanticised as “one of a kind.” We imagine the solitary artist creating a singular masterpiece, preserved in time. But reality is more complex, and there are different reasons why it would make sense to break up a unique artwork into limited editions and reproductions.

    Today, the art markets thrive on accessibility, affordability, and scalability. Collectors now navigate a spectrum of artworks – from originals to certified editions, prints, and posthumous reproductions. Each category raises important questions about value, authenticity, and intention.

    Rarity plays a crucial role in setting expectations. For collectors, understanding whether a piece is unique, limited, or open edition directly affects the assessment of its value. Editions inevitably reduce a work’s uniqueness, but that does not necessarily diminish its quality. Compared to unique works by the same artist, editions are typically more affordable, though it can be argued that editions can reduce the cultural weight of each individual piece.

    It is also important to distinguish between editions and variations. Variations – like Edvard Munch’s The Scream, exists as several oil paintings and pastels – are variations of the same motif across different media. Editions, by contrast, are identical works produced in a numbered or open series, which would be the lithographic prints of The Scream. Nowadays, all the artworks produced during the artist’s life would be considered important, while the earliest completed version from 1893 produced with oil and tempera on cardboard would arguably be the most famous and studied version. Read more about the work on the MUNCH Museum’s website.

    When Art follows Technology

    The medium of an artwork dictates the possibility of producing art in editions. Like fine art photography, video art, or digital art, artworks can practically be reprinted or redeveloped in as many copies as needed, if the owner possess the negatives or original file. In some instances, the artist may choose to only print a photo in a limited number, choose high quality prints that are difficult and costly to make to ensure quality and integrity of the work. For digital art, the artist may choose to sell the original file or as a non-fungible tokens (NFTs), where uniqueness is secured by a distinct digital code stored on blockchain. The NFT market, which saw a boom in 2021 followed by a steep decline in 2024, is still considered an emerging market as reported by Art Basel in 2024.

    Originals, Editions, and Reproductions: What’s the Difference?

    • Unique Artworks: Paintings, sculptures, or installations created as singular pieces. These works embody the “one-of-a-kind” ideal and includes variations on a theme.
    • Limited Editions: Prints, photographs, or multiples produced in a set number. Each is signed and numbered, often retaining significant value.
    • Open Editions: Works reproduced without a set limit—making them more affordable, but less rare.
    • Reproductions: Replicas of existing works, sometimes produced posthumously. These can be authorised by estates or entirely unauthorised.

    It is important to note, that some artworks are only produced as prints, often in editions, but they are not reproduction. These prints are each considered original prints, as the artwork can be carved out on wood, etched into a copper or zinc plate, or drawn on lithographic stone.

    Understanding these categories helps collectors set realistic expectations while giving artists different ways to balance accessibility with financial sustainability. Not every artist can make a living solely from selling unique works one-by-one, and some mediums are especially well-suited to editions. At the same time, editions and reproductions can sometimes feel as though they dilute the intrinsic value of art, reducing it to something more commercial, like derivatives of original works.

    There seems to be a fairly large interest in prints and editions, with the secondary market for mid-segment (below USD 50.000) made up 7% of the art market in 2024, according to MyArtBroker. I would still make the argument, there is a big difference between editions made by the artist’s hand or supervision, and posthumous editions that are banking on the artist’s legacy. For collecting purposes, it is always relevant to ensure a certificate of authenticity, check for artist signatures, check whether edition is numbered, and whether date of print corresponds to the artist’s lifespan.

    For buyers, the key is to recognise these distinctions. Price is one factor, but of course, the most important question to ask yourself remains simple: Do you like the artwork?

    Art14 London

    Opportunities and Challenges of Editions

    Producing editions can be a lifeline for artists. It allows them to:

    • Reach wider audiences at lower price points
    • Create steady income streams alongside unique works
    • Engage with techniques like photography, printmaking, and digital media

    But editions also raise challenges:

    • Prints on paper can be fragile over time
    • Oversupply can dilute artistic value
    • Posthumous reproductions may spark ethical debates
    • Commercialisation risks turning art into pure commodity

    Some Closing Thoughts

    The rarity of an artwork is not just about economics – it’s about meaning. When a work is produced as a unique piece, its singularity becomes part of the story. When it is reproduced, its accessibility carries a different kind of cultural value.

    It can be argued, that the artistic integrity and value can still be preserved if the editions are treated like originals, in the sense of documenting, numbering, and certifying each piece. Unlimited quality prints can be considered high-end posters, which is completely fine, as long as this is transparent and clearly communicated to the buyer.

    Perhaps the key is not to treat rarity as a hierarchy, but as a spectrum of artistic practice. Unique works, limited editions, and even reproductions all have their place – provided we understand their context, purpose, and artistic intent.

    For 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.

  • 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.

  • 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).