Iris Ramler  

HAPPY 2008

In short, possibly triggered by the skillful maneuvering of Saatchi, the last decade, has witnessed a feverish activity in which, from the dealer's perspective, art has turned into a commercial instrument aimed at fast returns. The time frame for the investment's yield has been shortened to such extent that some buyers don't even unpack the acquired goods before sending them off to the next transaction.

This hyper liquidity of recent years, has contributed to converting many people into compulsive buyers. New stock markets, new "players" from all parts of the globe, shape the purchasing masses. Auction houses have been taking advantage of the flocks of collectors that arrive for the awaited fairs such as the last Frieze, to squeeze in one more sale. The selection of the pieces leaves a lot to wish for and the high prices will lead clients to pass on many lots. It is simply not possible in one week to find owners for 20 Wharhols and many "dotted" Hirsts. Newspapers wrongly announced the beginning of the collapse of the market. For obvious reasons, good quality work seldom emerges, but fetching outrageous sums when it does. This scenario is valid for the "established" market to which happily enough, artists from many "foreign" places are now added.

Speculation or not, the sales result in record prices for some pieces, but more sobering ones for others. For example, Raquib Shaw 's Triptych , initially estimated to fetch 400 to 600 000.- pounds - actually sold for £2 900 000. Was it passion what unchained the bids? I certainly wish so for the anonymous buyer. This change in price becomes an issue yet again when insuring art work. I personally had to adjust the value ofan exhibition that I am curating several times for it to be fully covered.

Since the end of the XIX century, with the advent of the industrial era, many 'styles' have been forged. One by one they contributed to an increase of representational forms and interpretations of the surroundings. But one crucial figure, transformed the perception of art : Marcel Duchamp (1887-1968).

CONCEPT rules from this moment on. Installations, mixed media, photography, film , paint , shape his complex production. Any form of expression is valid in order to materialize the initial "idea". Duchamp and his followers reacted against the prevailing notion of "objectual" art as it was conceived until then, by the use of objects whose arrangement suggested a new reading (his ready-mades) and a new concept that incited multiple interpretations.

Other movements erupted: Transvangard, Minimal Art, Arte Povera and nameless other groups whose leading figures unchained an iconoclastic war. In some cases, like that of Paul McCarthy, the immediate and strong provocation is of no major substance, with just discomfort remaining latent
(also a valid effect) . In other work, though, there is sensitive and sensual gestation - like Louise Bourgeois Tate Modern) or the Matthew Barney retrospective at the Serpentine, or the "musical
sculptures" of Cardiff and Bures (a multimedia exhibition MAM Miami.

In short, to each his own….

What is important is to delight in the infinite human talent, a captivating exercise that may render our hectic life somewhat more pleasurable.

Iris Ramler

spanish version I english version

   
 
Iris Ramler Stein
Iris Ramler Stein