Art Galleries

"A visit to one of the many new art museums that have sprouted in China over the last two decades offers a window into some of the incredible changes in China's art and design scene. At a rapid pace, countless, often spectacular new private museums have been established from the wealth of Chinese and other Asian private collectors; major international art exhibitions are now regularly shown in partnership with renowned institutions around the world, such as the Tate and Centre Pompidou; and a mass art public has suddenly come into being in this short time. This scene offers a vastly different, and in many ways unprecedented, set of conditions for encountering art, museums and their publics in China that encompasses a hugely expanded art museum context in China, the generation of new local and global publics for China's contemporary urban art and design cultures, and a fundamentally changed relationship between China and the global art world." Excerpt from Michelle Antoinette, 'Culture Boom: China's Artscape Now, and the Making of a New Art Public’, pp.152-53

Conférence 30 novembre 2021 :
"When New York looks at the School of Paris (1930-1950). Reception, Rereadings and Appropriations".

On the occasion of the exhibition :
"Chaïm Soutine / Willem De Kooning, painted embodied".
Musée de l'Orangerie, Paris. 15 septembre 2021 - 10 janvier 2022

L’analyse consacrée à la diffusion et réception critique de l’œuvre de Chana Orloff aux États-Unis entre 1929 et 1947 aspire à démonter un avant et un après – le déplacement du centre artistique mondial de Paris à New York – et le chemin qu’emprunta cette artiste pluridisciplinaire afin de considérer sa place en tant que telle, le déploiement de sa carrière aux États-Unis et particulièrement, l’accueil critique qui lui fut concédé. À travers cette critique d’art, l’importance de la culture française aux États-Unis, dans la première partie du XXe siècle, se fait jour. D’une part, des artistes, des architectes, des écrivains et des mécènes américains vinrent à Paris dans la première moitié du siècle. D’autre part, en se rendant outre-Atlantique dès l’entre-deux-guerres, Chana Orloff ne fut pas une singularité. Elle comprit l’intérêt de s’allier aux Américains, qui Juifs pour la plupart, étaient pétris de culture européenne et désireux de resserrer les relations franco-américaines. En exposant à l’étranger, Chana Orloff représenta en quelque sorte l’État français aux États-Unis.

Une histoire globale des avant-gardes picturales se doit d’expliquer pourquoi celles-ci apparurent en certains endroits et pas en d’autres, comment elles circulaient entre les pays et les capitales, ce qui les portait et si elles rompaient réellement avec leur temps, sachant que la plupart finirent par connaître une véritable canonisation.
Les avant-gardes lièrent leur sort au développement des journaux et des revues, c’est-à-dire à celui des techniques d’impression et de reproduction en série. Elles profitèrent également d’un vaste mouvement de circulation des idées, des hommes et des objets avec le développement des réseaux ferrés et des transports maritimes.
Dans le même temps se forgeaient les identités nationales, férues de tradition et de préservation des cultures. L’approche géopolitique met au jour ce processus par lequel les plasticiens novateurs recoururent à la référence étrangère pour s’opposer aux institutions nationales, travaillèrent à internationaliser leurs réputations pour mieux s’imposer contre le refus de l’innovation porté par le nationalisme, ou, au contraire, se laisser récupérer par des partis nationalistes et révolutionnaires.
Mais à côté des stratégies, réseaux et marchés, place est faite à l’analyse du contexte culturel et moral, économique et politique, matériel et social, affectif et spirituel des artistes des avant-gardes à partir de 1848. Jusqu’à la rupture de 1920, quand ces avant-gardes deviennent politiques, plaçant l’avenir de l’art dans celui de la Révolution.

Jammu which is identified as 'City of Temples' has rich heritage and blend culture. The native's belief that Jammu got its identity, after its founder Raja Jambulochan, who was considered to be ruled in the 14 th century in the region. According to Tarikh-i-Azmi, Jammu came into existence over 900 century. The state of Durgara (modern name 'Duggar' or 'Dogra') is commonly found in the region. It is considered that Vallapura (modern name Billawar) was the capital of Durgara state, and the details of all the kings who were ruled over there were mentioned in Kalhana's Rajtarangini. Raja Bhim Dev is specially stated in the Delhi chronicles as he was a supporter of Mubarak Shah. Jammu is a land of diverse culture, traditions, different languages, norms, values and ethics. Every religion in Jammu has its great significance, people from different communities participated in each other festivals. Large number of architectural monuments, imperial houses, temples, art galleries, palaces, lakes etc. Basohli is famous for its paintings in the Jammu region. Numerous fairs and festivals were celebrated with great enthusiasm. Jammu is also famous for its cuisines like kachalu, gulgule, sund panjeeri, guchiyyan (dried black morel) patisa, kalari cheese, gheur etc. Specialty of Dogri food are rajma with rice, kulthein di dal, maa da madra, auriya and also various types of pickles are poured like kasrod, girgle, mango with saunf, jimikand, tyaoo seyoo etc. Dogra culture depicts their art of style in a magnificient way. This paper attempts to highlight the rich heritage of architectural monuments of temples and unique culture of the region because very few knows about the identity of Dogras and their Culture. The main objective of writing on this paper was that it attract the readers to visit in the region and learned about the historic culture of Dogra's.

The report on the Spanish art market in 2021 analyzes, with data obtained since 2019, the evolution over the last decade and the great impact that the pandemic has had on the art market, and how the context, full of uncertainties and challenges, has led the sector to undertake new lines of contact with the clients. A turning point for a market already in a recovery phase.

Colombo, Cristina F. 2014. “Interiors for Art: Exhibiting Spaces or Exhibited Spaces?”. "Engage in the Visual Arts" 34 (Summer 2014): 18-29.
ISSN 1365-9383

Since the Second World War, curators and exhibition designers have had to present more and more unconventional artworks, sometimes intangible, multimedia, or site-specific installations, for which they need to conceive innovative displays. Along with this, the role of the centres that traditionally host contemporary art is changing. Although various models for museum and gallery interiors have appeared over the course of the twentieth century, in many contexts the alternatives have been overcome by the neutrality of the ‘white cube.’ However, this ‘ideal’ space has been subject to criticism and revisions, and has been interpreted in many different ways.
Now the scene is more complex, as the activities of art centres transcend the physical limits of their display rooms, invade urban spaces, and involve digital communication networks. Even the approach of presenting art together with expository strategies is changing in the direction of the spectacular, and direct involvement of spectators. Multisensory environments and ‘laboratories’, where the artist organises performances or time-based actions, are becoming frequent again, highlighting the process of creation of an artwork over the final result.
When artworks are not simply arranged in a room, but have a real (physical) or apparent (perceptual) spatiality, the surrounding architecture is affected. This is one reason museum directors and gallery owners usually turn – or return – to the white cube. This article will firstly highlight the architectural challenges posed by digital art. It will then give examples of buildings which oppose the white cube model or incorporate the white cube into designs which are more rooted in local landscapes and architectures.  It will end with a discussion of workshop spaces and an art gallery in Italy which has dispersed its centres.

Language: English

Madrid careció hasta bien entrado el último cuarto del siglo XIX de unos espacios expositivos que, regentados de forma profesional desde la iniciativa privada, estuvieran hábilmente conformados para dar salida a las obras de los artistas contemporáneos. Esta mancanza, auspiciada sin duda por la inexistencia de una masa consolidada de coleccionistas, produjo consecuentemente la imposibilidad de conformar un sólido entramado comercial artístico en la ciudad, lo que le privó de convertirse en una de las grandes capitales europeas del mercado del arte junto a Paris  y Londres. Todo empezaría a cambiar cuando antes de finalizar la centuria, dos marchantes emprendedores, Pedro Bosch y Ricardo Hernández, se propusieran revertir dicha situación con el propósito que la capital recobrara su pulso artístico.

Keywords
Bookstore, gallery, '40's , Oporto, Portugália


Abstract

This research documents the activity conducted by Portugália Bookstore and Gallery, a space dedicated to the dissemination of the arts, which existed in Oporto between 1945 and 1951.
Despite Portugália gallery being referenced in some literature, particularly related to art in Oporto in the '40's, it's activity has not yet been fully researched; it's active role in the cultural and artistic life in Oporto is still largely unknown, particularly it's contribution for the dissemination of modern art, which at the time, was seeking channels for it's visibility and self-affirmation. This research aims to provide a complete as possible document, which is expected to demonstrate it's important role in the art scene of that time.
This study will expand the currently known chronological boundaries of the exhibition spaces in Portugal. The opening date of the first art gallery in Oporto, should therefore be amended from 1953, the date of Alvarez Gallery's opening, to 1945, when began the activity of the Portugália Bookstore and Gallery.
This research aims to contribute to the revision of the history of art in the first half of the twentieth century in Oporto and Portugal, in light of the role of art galleries and exhibition spaces as active players in the art scene, and the analysis of their influence in surrounding environment.

Con la definizione "altre mostre" si intende far riferimento alle occasioni espositive promosse da Case d'asta e Gallerie d'arte che, principalmente in ambito svizzero-tedesco tra 1898 e 1945, hanno presentato opere di Giovanni Segantini-prevalente-mente disegni-appartenute a collezioni private di maggiore o minore entità. L'analisi è stata resa possibile grazie alla disponibilità di un insieme di cataloghi d'asta che ha consentito di focalizzare l'attenzione sulla diffusa circolazione della firma di Segantini 1 , in seno al collezionismo privato dei paesi di lingua tedesca nella prima metà del Novecento 2 , riferendo in molti casi su esposizioni non citate nella più importante e recente letteratura su Segantini 3. Sono stati così ricostruiti passaggi di proprietà ancora non emersi e si è potuto apprezzare il formarsi di un diffuso collezionismo di opere del nostro autore entro il panorama più ampio del sedimentarsi del gusto e delle tendenze dell'epoca.

The Venice Biennale Sales Department represent an important example of commercial platform in Italy. Aiming to shed light on its role as a predecessor and pioneer, the paper offers an overview of how sales were managed, investigating the decades following WWII, when the Sales Department was directed by the dealer and gallerist owner Ettore Gian Ferrari.
The Sales Department was part of the Venice Biennale from the very first day (1895) until the
institutional Reform of 1973; although many mistakenly believe that it was closed after student protests in 1968. In the background there is the growing gallery system and all of the issues related to the post-Fascit era of the Biennale.
New findings from the Biennale‟s Historical Archives of Contemporary Arts (ASAC) and from Gian Ferrari‟s Archive (Museo del Novecento) highlight not only the key role that the Venice Biennale Sales Department played, but also the changes in sales and buyers over this 20 year post-war time span.

Our study, which can be considered as a work in progress, is based on a qualitative analysis of data obtained from interviews carried out with different types of active Spanish artists, both emerging artists in the first phase of their career as well as consolidated artists. From the data provided by them, we can offer a brief quantitative approach to certain aspects, although our goal is to go further. From this quantitative analysis we continue our qualitative analysis, which allows us to identify the present problems, demands and needs of the artists with respect to the market agents with whom they maintain commercial relations, as well as the nature of the same as compared to the last decades. This leads us to draw some evaluation conclusions about the possible short and medium term evolution from the current situation of this process of change, and to propose a short code of good practices that can lay the foundations of an optimal relationship between artists and the art market in the near future.

Nuestro estudio, que podemos considerar como un work in progress, se basa en un análisis cualitativo de datos obtenidos de entrevistas realizadas a diferentes tipos de artistas españoles en activo, tanto artistas emergentes en la primera fase de su carrera como artistas consolidados. De los datos aportados por ellos, podemos ofrecer una breve aproximación cuantitativa a ciertos aspectos, aunque nuestro objetivo es ir más allá. A partir de este análisis cuantitativo continuamos nuestro análisis cualitativo, que nos permite identificar los actuales problemas, demandas y necesidades de los artistas respecto de los agentes del mercado con quienes mantienen relaciones comerciales, así como la naturaleza de las mismas en comparación con las de décadas pasadas. Ello nos lleva a sacar unas conclusiones evaluativas sobre la posible evolución a corto y medio plazo a partir de la situación actual de este proceso de cambio, y a plantear un breve código de buenas prácticas que puede sentar las bases de una óptima relación entre artistas y mercado del arte en el futuro más cercano.

Colombo, Cristina F. 2011. “Gallerie d’arte: Esposizione e promozione dell’arte contemporanea.” 2555-2564. In "Il paesaggio: Gli interni/Landscape: Interior", edited by Claudio D’Amato. Proceedings of ReteVitruvio I International Conference “Il progetto d’architettura fra ricerca e didattica / Architectural Design between Teaching and Research”. Bari: PolibaPress, Arti Grafiche Favia.
ISBN 978-88-95612-80-5

In 1944 Silvio Branzi, art journalist of the Gazzettino di Venezia, was called by Edizioni Delfino of Rovereto to edit some books dedicated to the painters Gino Pancheri, Guido Polo and Tullio Garbari. The monograph dedicated to Tullio Garbari carefully prepared in the closing months of the Second World War will not be published due to
misunderstandings with the publisher Enrico Gaifas. All the material prepared for the book is kept in Silvio Branzi Fund, now part of the Bonsanti Archive of the Vieusseux Cabinet in Florence.

Purpose of Study: Dementia refers to a variety of diseases that are characterized by cognitive difficulties and an overall decline in daily living skills. Psychologically informed arts and
health programs may be particularly beneficial ways of improving the lives of people with dementia and their caregivers. This study sought to better understand how programs at contemporary
and traditional art galleries might play a role in the lives of people with dementia. Design and Methods: Participants included 12 people with mild-to-moderate dementia, their 12 caregivers and 4 gallery facilitators. Those with dementia and their caregivers
were engaged in art viewing followed by art making over an 8-week period. Data, collected through postintervention interviews with participants, field notes and extensive
written communication between the facilitators and research team, were analyzed using grounded theory methodology to theorize how gallery-based interventions affect people
with dementia and those who care for them. Results: The emerging theory has four primary components: the art gallery is seen as being a physically valued place that provides intellectual stimulation and offers opportunities for social inclusion that can change how dementia is perceived. These components coalesced
to create positive emotional and relational effects for those with dementia and caregivers. Implications: The resulting theory has potential implications for the use of gallery-based programs in dementia care within public health, healthcare, and museum/art gallery policy and practice.

As art museums seek to reach new audiences and broaden the scope of their education departments, they not only exhibit work, but also produce didactic texts, catalogs, timelines, panel discussions, and docent-led tours to contextualize the art on view. They also often venture into artist video interviews, documentary videos of the work being made and/or installed, studio visits, and artist and curator lectures. By institutionalizing and centralizing the creation, installation, contextualization, and audience conversation, a single academic narrative is created to portray simply what is often a complex and multi-layered artistic and cultural process. In this paper, the author compares the display and treatment of artists’ work in formal museums and artist-centered spaces, from the different presentation methods employed for the visceral work of William Pope.L, to Rirkrit Tiravanija’s exhibition Free (1992) at the 303 Gallery in New York City and the Museum of Modern Art, and the Arts attitudes toward art objects at the Chinati Foundation in Marfa, Texas, and the Pulitzer Art Foundation in St. Louis.

This paper aims at understanding, from the inside, the impact of the COVID-19 pandemic and the accompanying restrictive administrative measures on the art market. It is based on the interviews and ethnographic surveys made by graduate students from the Ecole du Louvre, from September 2020 to May 2021. This methodology makes it possible to demonstrate that, during the crisis, art market professionals were driven by the motto “the show must go on”. On the one hand, they wished to keep a straight face and remain silent on their individual difficulties, preferring to talk about their vocation and the positive effects of the crisis. On the other hand, the commercial activity continued despite everything; if the pandemic accelerated the digital turn of the art market, the physical contact with the works and the collectors remained primordial. The art market thus remained physical but accelerated its digital turn. The proportion of each interactional framework—physical and digital—is still uncertain, difficult to measure today and to predict in the long run.

Kunst wird gerade wieder zu Rekordpreisen verkauft.
Doch die Mechanismen des Markts haben sich verändert – und nicht nur wegen der Pandemie

Art is currently being sold again at record prices.
But the mechanisms of the market have changed - and not just because of the pandemic

In November 2021, a week out from the opening of the new purpose-built Shepparton Art Museum (SAM) and the launch of 'Lin Onus: The Land Within', guest editor Paola Balla shared a conversation with SAM curators Belinda Briggs and Shelley McSpedden.

è considerato piuttosto un paese di poeti e scrittori, data la sua tradizione letteraria, ereditata da figure tutelari come Rubén Darío e contemporanei come Ernesto Cardenal, Sergio Ramírez o Gioconda Belli; ma esibisce anche una certa tradizione nel campo delle arti visive, con a capo Rodrigo Peñalba, Armando Morales, il Gruppo Praxis, Alejandro Aróstegui (infatti, uno dei tre fondatori di Praxis). Dopo questi nomi, le informazioni sono molto più scarse e frammentate, e spiccano solo creatori isolati.

‘Is this art?’ is a question often raised by museum visitors when encountering contemporary artworks. But what factors influence museum visitors’ judgement on contemporary art? To what extent do visitors’ prior knowledge, socio-demographic background, emotional experiences, and specific aspects of the artwork itself, influence their judgements? In the context of the Swiss National research project eMotion – Mapping Museum Experience, we investigated these questions experimentally. The site specific intervention created by the renown artist Nedko Solakov in the St. Gallen Fine Arts Museum allowed us to conduct such a concrete experiment. We interpreted the findings by statistical analyses of the data gathered from entry and exit questionnaires (n=291) in view of sociological art theories dominant in the last few decades. Against theoretical expectations, we found that the judgement art/non-art was driven by several factors not anticipated by those theories.

Published by The Marignoli di Montecorona Foundation in the occasion of Meta Grgurevič "Impossible Machines" exhibitions at Umetnostna galerija Maribor, Slovenia (29 November 2019 – 1 March 2020) and at Künstlerhaus, Halle für Kunst & Medien, Graz, Austria (1 February – 2 April 2020).
Edited by: M. Drascek / Texts: M. Drascek, S. Droschl, D. K. Marignoli, S. Vidmar / Publisher: Editoriale Umbra, Foligno.

Zasadniczy zrąb artykułu stanowi rekonstrukcja historii Salonu Sztuki Nike (1943-1951), galerii sztuki współczesnej i antykwariatu prowadzonego przez Karola Tchorka, rzeźbiarza, ojca Mariusza. Autorki przedstawiają szczegółową historię walki o pozyskanie, wyremontowanie i utrzymanie lokalu sklepowego przy ul. Marszałkowskiej 63, problemy z odzyskiwaniem dzieł sztuki po powstaniu warszawskim i zwrotami dzieł powierzonych w komis w czasie okupacji, a także działalność handlową Nike i jej współpracę z różnymi instytucjami artystycznymi. Kluczowym kontekstem dla opracowania historii Nike był stosunek Mariusza Tchorka do działalności ojca. Chociaż historia Salonu rozegrała się w jego dzieciństwie to wpłynęła na całe życie – gromadzone zabytkowe przedmioty położyły się cieniem na relacje ojca i syna.

Traditional postcolonial scholarship on art and imperialism emphasises tensions between colonising cores and subjugated peripheries. The ties between London and British white settler colonies have been comparatively neglected. Artworks not only reveal the controlling intentions of imperialist artists in their creation but also the uses to which they were put by others in their afterlives. In many cases they were used to fuel contests over cultural identity which expose a mixture of rifts and consensuses within the British ranks which were frequently assumed to be homogeneous. British Art for Australia, 1860–1953: The Acquisition of Artworks from the United Kingdom by Australian National Galleries represents the first systematic and comparative study of collecting British art in Australia between 1860 and 1953 using the archives of the Australian national galleries and other key Australian and UK institutions. Multiple audiences in the disciplines of art history, cultural history, and museology are addressed by analysing how Australians used British art to carve a distinct identity, which artworks were desirable, economically attainable, and why, and how the acquisition of British art fits into a broader cultural context of the British world.

It considers the often competing roles of the British Old Masters (e.g. Romney and Constable), Victorian (e.g. Madox Brown and Millais), and modern artists (e.g. Nash and Spencer) alongside political and economic factors, including the developing global art market, imperial commerce, Australian Federation, the First World War, and the coming of age of the Commonwealth.

Chapter One: British Art for Australia, 1860-1953: An Introduction

Chapter Two: ‘Work that would meet the taste of the Colonists’: British art for Antipodean Britons

Chapter Three: ‘The civilization of the people’: Australian national galleries and civic humanism

Chapter Four: ‘A more extended area for English art’: The British world and the imperial art market

Chapter Five: ‘The best equipped agent, with as free a hand’: advisors and selectors of British art for Australia

Chapter Six: ‘A Sop to Cerberus’: Collecting the British Old Masters in Australia

Chapter Seven: ‘One of the many Colonial Delusions’: Australian national galleries and British Landscape Painting

Chapter Eight: ‘No highly desirable Pre-Raphaelite picture should be spared from home’: the antipodean pursuit of a British acme

Chapter Nine: ‘The gap that is steadily widening’: the acquisition of ‘insular’ British Modernism by Australian national galleries, 1900-1953

Chapter Ten: Conclusions

See preview at: https://books.google.co.uk/books?id=aviADwAAQBAJ&printsec=frontcover#v=onepage&q&f=false

The spread of the COVID-19 pandemic worldwide, and the restrictions imposed by the social distance and the enforced confinement, are having an impact on the art markets globally. The aim of this article is to evaluate the impact of an external shock in the primary art market, using three countries as a case study: Portugal, Spain, and Brazil. These geographies have in common being at the margins in the art market’s main art hubs. It is intended to analyze how agents are responding to the new context, according to the data gathered within the gallery sector. The methods applied in the research are a combination of surveys carried out by the authors, field-based observation, along with an academic literature review, complemented by international and national reports analysis. The study’s main findings allow us to characterize the art market as a very resilient sector that energetically responded to the crisis, able to adapt and overcome challenges imposed by the new pandemic situation...

Montevideo è uno dei centri culturali più importanti del Sud America. Da secoli la città accoglie immigrati da tutto il mondo, ognuno con il proprio patrimonio culturale. L'intensità di questo scambio culturale è evidente nella fiorente scena artistica di Montevideo. Esploriamo dieci delle più interessanti gallerie e musei d'arte contemporanea della capitale uruguaiana.

Sei gallerie che dovresti conoscere in Messico: Quando si parla di arte, le gallerie sono sempre in prima linea. Dalle proposte emergenti agli artisti affermati, presentiamo un elenco di questi luoghi imperdibili a Città del Messico Galleria Kurimanzutto Con l'intenzione di creare una galleria a Città del Messico che rappresentasse artisti contemporanei, tre amici hanno deciso di aprire la galleria kurimanzutto. L'idea è nata tra l'artista Gabriel Orozco, che viveva a New York, José Kuri, che in quel periodo studiava un master alla Columbia, e Mónica Manzutto, oggi moglie di Kuri, che lavorava presso la prestigiosa galleria Marian Goodman. Hanno iniziato con gli uffici negli edifici Condesa a Mazatlán, e si dice che una volta vendessero lavoro nel mercato di Medellín. La crescita è stata così grande che l'architetto Alberto Kalach si è occupato del progetto architettonico di una casa nel quartiere di San Miguel Chapultepec. Ora rappresentano artisti molto importanti a livello internazionale. Iniziativa curatoriale MARSO Questa galleria d'arte contemporanea è a Berlino… ma a Juárez. Ha smesso di essere una scuola di computer (piuttosto affascinante, a proposito) per diventare un'iniziativa curatoriale MARSO dall'ottobre di quest'anno. Uno spazio artistico installato in un palazzo del XX secolo restaurato, progettato per artisti stranieri e messicani, come Linda Tegg, che ha inaugurato la galleria con la sua mostra Coexistence. Sofía Mariscal è la fondatrice del progetto e curatrice delle mostre, insieme ai suoi partner Marina Magro e Diego Hass. Galleria OMR Fondata nel 1983 da Patricia Ortiz Monasterio (l'attuale direttore) e Jaime Riestra, suo marito, OMR è diventata una delle gallerie più prestigiose del paese grazie al buon complemento che hanno tra artisti messicani e stranieri, la loro varietà di media e discipline , e gli esemplari che, per la maggior parte, comunicano un gusto per il monumentale, il geometrico e qualcosa che evoca nostalgia, malinconia, un vuoto indescrivibile. La cosa interessante è che non sono artisti così critici o politici, ma estetici.

This article explores the complex, “contact zone” nature of museums within the context of the current environmental crisis threatening our planet. Historically and even today, museums have engaged in a practice of “monocultural” thinking which is mired in a pretext to neutrality that has advanced the patriarchal capitalist neoliberal status quo and maintained a vision of a human/non-human binary of power, dominance, and control. However, there is also growing evidence that museums are shifting their approaches. Focusing on examples from Canada, we discuss how museums are using exhibitions and pedagogical and community outreach strategies to render visible deeply problematic and global “technofossil” practices, encourage activism through aesthetic engagement, encourage dialogue between community and industry as well as engage in imaginative decolonising initiatives that remap our understandings of who we are and where we need to go. We argue that in taking up environmental issues in ...

Historical interiors can certainly be seen as repositories for cultural sustainability. They have diachronic aesthetic value and provide us with cultural identity. Their physical materials and methods of construction offer us a connection to the past. These interiors and their functions often become obsolete and require new functions more suited to our modern-day society. Historical interiors commonly get converted into contemporary art exhibition venues. The re-programming of historical interiors helps to keep these places relevant. It becomes a sustainable alternative to desertion or demolition, and ruination. However, in many cases old interiors are adapted to contemporary white box galleries, which compromise their internal meaning and significance. Heritage legislation offers protection in this regard. However, these guidelines are vague and do not offer concrete methods on the responsive adaptation of historical interiors into contemporary exhibition spaces. To address this co...

Several studies have addressed the challenges faced by cultural and creative professionals and businesses since the emergence of the global COVID-19 pandemic. Some success stories have surfaced around larger organizations that managed to adapt quickly because they had been preparing for the digital era. The focus of the study presented here adds the much-needed viewpoint of those individuals who form the target audiences and are vital for the future of any CCI organization. These are the results of a public survey aimed at informing directly cultural organizations that experiment with new creative approaches and are adjusting to the transformations that have taken place. Findings are vital for organizations from smaller cultural markets while key conclusions shed light on the new disposition of the public towards existing and future formats of cultural offers online that are valid for contemporary audiences in general. These cover several key observations regarding the most popular ...

Nel corso della storia, l'Iran è stato spesso definito la culla dell'umanità e della cultura. Sebbene i suoi successivi regimi autoritari abbiano inibito lo sviluppo degli artisti, soprattutto dopo la rivoluzione del 1979, quando la maggior parte di loro ha lasciato il Paese, va detto che la posizione geopolitica del Paese ha sempre favorito l'arte. Oggi, nonostante la crisi economica e le sanzioni del governo degli Stati Uniti, sempre più artisti e gallerie partecipano alla scena artistica di Teheran. Allo stesso modo, molti investitori stanno incoraggiando la produzione e l'esposizione di opere d'arte. Poiché molte gallerie occidentali come Perrotin, Lisson Gallery, Thaddeus Roppac, Rodolphe Janssen o Gagosian rappresentano artisti iraniani in risposta a un crescente interesse globale per la scena artistica mediorientale, abbiamo deciso di esplorare il background storico persiano e una selezione di dieci artisti contemporanei provenienti da la Regione.

Depuis le milieu des années 2000, l’émergence d’un marché de l’art contemporain au Moyen-Orient a généré une recomposition des polarités cultu­relles à l’échelle régionale. Cet article met en perspective deux villes, Dubaï et Beyrouth, dont les développements récents, du point de vue de la structuration des institutions culturelles et de l’urbanisation de zones marginales, témoignent de façons distinctes mais non moins comparables de l’émergence de nouvelles formes d’urbanité. Leur cohérence tient au partage d’affinités culturelles (modèles esthé­tiques, formes architecturales et de consommation) ainsi qu’à l’extraversion de ces régions urbaines vers les marchés régional et global de la culture.

This article documents and comments on Qaumajuq, the new centre for Inuit art at the Winnnipeg Art Gallery, by Michael Maltzan Architects and Cibinel Architecture; in parallel with Nicole Luke's overview of the building and inaugural exhibition INUA.

From the late 1950s until well into the 1970s, the Düsseldorf gallerist Alfred Schmela was instrumental in helping German artists and collectors to escape the misery and isolation of the postwar era and to engage with a new international art scene. In 2007 Schmela's estate found a new home in the Special Collections of the Getty Research Institute, which also includes the archive for the exhibition Yves: Propositions monochromes, with which Schmela opened his gallery on May 31, 1957. Besides letters and photographs, the archive contains a remarkable document: what is in all probability the first sound recording of an artists' talk in Germany. This took place in the gallery, with an audience of mainly laypeople, on the evening after the opening and was led by Yves Klein, Norbert Kricke, and Pierre Restany. These archival materials cast a new light on that legendary exhibition, in which the display, the German‐French cultural exchange, and the reception and medialization of Propositions monochromes were all of special significance. At the same time they also convey a typical picture of the reservations the German public still had toward abstract art in the late 1950s.

The spread of the COVID-19 pandemic worldwide, and the restrictions imposed by the social distance and the enforced confinement, are having an impact on the art markets globally. The aim of this article is to evaluate the impact of an external shock in the primary art market, using three countries as a case study: Portugal, Spain, and Brazil. These geographies have in common being at the margins in the art market’s main art hubs. It is intended to analyze how agents are responding to the new context, according to the data gathered within the gallery sector. The methods applied in the research are a combination of surveys carried out by the authors, field-based observation, along with an academic literature review, complemented by international and national reports analysis. The study’s main findings allow us to characterize the art market as a very resilient sector that energetically responded to the crisis, able to adapt and overcome challenges imposed by the new pandemic situation...