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Issues of 2008
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Museums and the art market. Discussions in the hermitage theatre
The important event was organized by the State Hermitage, Pro Arte Institute, Society of the British friends of the Hermitage and the French institute in St. Petersburg under the auspices of the auction house Christie’s and consulates¬general of the Great Britain and the USA. Indeed, such a distinguished professional community that gathered in St. Petersburg made the Northern capital the center of the national art life in September. Themes of conferences and sessions sounded like manifests: “How to establish a new name in the modern art?”, “Creativity and business”, “Prices on works of art at auctions and their influence on the reputation of an artist”. Interestingly, at the press conference dedicated to the opening of the symposium the Director of the State Hermitage Mikhail Piotrovsky compared contemporary art market with the “Limbo that any work of art should pass through before coming in a museum”. Reports made by the participants of the symposium were very up¬to¬date in the context of the recent loud events, especially the theft of 221 showpieces from the Hermitage’s collection (we may recall groundless accusations and rumors about conspiracy between the museum staff and criminal antique traders). Participants of the symposium discussed many questions concerning official recognition of artists, corporate collecting of modern artworks, tactics and strategy of development of Russian art galleries. The Director of the London Royal Academy of Arts Norman Rosenthal shared his experience in organizing exhibitions with the audience. The Head of Christie’s International department of the postwar and contemporary art Amy Capellazzo and the staff expert of that department Katharine Barton spoke about price formation at auctions and its influence on the reputation of an artist. The curator of Venetian biennale Robert Storr compelled attention of the audience on the second day of the conference. He talked about discovering of new gifted artists from the Eastern Europe, about the role of Venetian biennale and other major projects in developing of modern art in general. “Art agents operate at the so¬called primary art market, while museums, galleries and auction houses start doing business with artists who managed to enter the second stage. However, nowadays the difference between the primary and the “secondary” market is rapidly disappearing. Biennales play very important role in this process. Money is very important as well. Indeed, organization of exhibitions and promoting of an artist costs quite a lot”. The final discussion was dedicated to modern Russian museum policy. Unfortunately, one of the distinctive features of this policy is establishing of opposition between traditional academic art and modern tendencies. On the first day of the symposium, this topic was mentioned in the report of Andrei Erofeev, the head of the department of modern art trends and the curator of the collection of modern art of the State Tretyakov Gallery. The basic idea of his report was that museums used to keep aloof from defining key figures of modern Russian art themselves. Thus, it often happens that decisions about who will represent Russia at major international art events depend on amateurs and unprofessional dealers. The Hermitage museum contested that statement and presented the guests the “New Hermitage” project. The guests visited the exhibition of photographs by Yuri Molodkovtsev “Vitruvius and Sons” at the attic of the Winter Palace. The well known St. Petersburg composer and musician Eugeny Fedorov (Tequilajazz) created the music for the art project. Notably, one of the veiled aims of the symposium was to help the Hermitage in foundation of its own collection of modern art. New showrooms will be opened at the Eastern wing of the General Staff Building after the end of reconstruction in 2014. The important conference gave Russian participants an opportunity to share their opinions and experience in public, mark the ways of development of the national art market as well as to learn from their foreign colleagues. Indeed, we should change quite a lot in the Russian art market in order to become an integral part of the global art market. According to Robert Storr, the process of integration of local markets in the global one is actively going in Asia, in China in particular. For example, more than fifty galleries of modern Chinese art were opened in Shanghais this year, while only ten galleries were opened in St. Petersburg in recent ten years. Katharine Barton, the representative of Christie’s London branch spoke about the current problems of Russian art market in the exclusive interview to “Antiq.Info” magazine.
— Katharine, what can you say about the Russian art market? — First word that comes to mind when you try to characterize the modern Russian market is vibration. The market is yet forming. Still, even now it can be divided into the Moscow and St. Petersburg segments, if speaking about creative energy and financing. The Moscow segment is more developed; there are more galleries and funds, galleries open every year. The St. Petersburg market has typical traits of the European market originally: it is a monolith. It will be very interesting to see both markets progress within the national one in future ten years. — Can you name some modern Russian artists who are popular in the West now? Can their artworks be a success at auctions? — Many Russian artists are known among Western collectors and experts. Still, it is too early to talk about successful auction sales. Installations by Ilya Kabakov are the only exception. However, it is hard to sell them, as they are too bulky and big¬sized. I think that Russian art has to firm up. Modern Russian artists and gallery owners should actively take part in international biennales and art fairs as Armory show in New York and Art¬Basel. I must also say that Russian art dealers are not expanding proper efforts to promote artists in Europe. Young artists should exhibit their works in London, New York and Zurich: there are numerous collectors, art galleries and art events there; any talented and original artist will surely be noticed. In my opinion, Russian artists should travel more. Just remember “Russian–French” artists of the early XX century — Leo Bakst, Alexander Benoit, Dobuzhinsky, Remizov and others. Even nowadays, it is sometimes hard for Europeans to understand and feel Russia. Still, they show great interest towards it. Many of the Western gallery owners and dealers told me that they were looking forward to visit the Moscow Antique Fair. At auctions Russia is traditionally represented by artworks of XIX century; paintings of that period are selling good. As to the art of the post¬war period and the contemporary art, we know little about it, as it had the “underground” status during the Soviet age. May be it is good as we have an opportunity to learn something new. — There is a rumor that the auction house Sotheby’s is going to establish its Moscow department. What about Christie’s? Will it try to enter the Russian market? — I can say nothing about opening of the Christie’s branch in Moscow. However, we are greatly interested in cooperating with our Russian colleagues. We would like to share our experience with them, as Russian collectors are an integral part of collectors’ community worldwide. Collectors and dealers from Russia regularly bid at the major auctions in New York and London. This autumn Christie’s is planning to hold two important events in Russia. We will take to Moscow Pablo Picasso’s masterpiece of the so¬called “blue period” “Portrait of Angel de Soto”. The picture belongs to Andrew Lloyd Weber and will be sold at the auction “Impressionists and Masters of XX century” on November 8 in New York. The important work is estimated at staggering $40,000,000–60,000,000. The pre¬sale display will take place at the manor of P. Smirnov on Tverskoi Boulevard. Notably, Pablo Picasso was among the few Western artists of XX century recognized in the Soviet Union; that is why his works are well known among the wide public. (Pablo Picasso belonged to the Communist party — note of the author of the article). Besides, there are five Picasso’s works dating the “blue period” in Russian museums (in the State Hermitage and in the State Pushkin Museum of Fine Arts in Moscow — note of the author of the article). In mid November in Samara gallery “Victoria” Christie’s will display twenty unique works of art — probable top lots of the coming “Russian week” in London. It is the first time since 1998 that Christie’s takes art pieces to Russia. This is the part of our “Russian strategy”. In conclusion, I would like to stress the opinion of Katharine Barton and her boss — the Head of Christie’s International department of the postwar and contemporary art Amy Capellazzo. Both experts believe that Russian collectors and businesspersons who are ready to invest their money in art will soon turn to contemporary art market (as Chinese and Indian collectors and dealers already did) as the modern art is more open and cheaper than antiques. However, Russian participants of the symposium did not agree with that point of view referring to Russian traditions of visual culture formed by the national museums.
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