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This book examines the art markets of the Global South while questioning, based on the heterogeneity of the selected contributions, the very idea of its existence in the context of the global art market. Gathering new research by recognized scholars, you will discover different markets from the so-called Global South, their structure, the external determinants affecting their behavior, their role in the art system’s development, and how they articulate with other agents at the local, regional, and international level. In this publication, an important wealth of research on various African countries stands out, providing an unprecedented overview of the markets in that region.
This volume originates from the TIAMSA conference The Art Market and the Global South: New Perspectives and Plural Approaches, held in Lisbon in 2019.
This volume originates from the TIAMSA conference The Art Market and the Global South: New Perspectives and Plural Approaches, held in Lisbon in 2019.
This book examines the art markets of the Global South while questioning, based on the heterogeneity of the selected contributions, the very idea of its existence in the context of the global art market. Gathering new research by recognized scholars, you will discover different markets from the so-called Global South, their structure, the external determinants affecting their behavior, their role in the art system’s development, and how they articulate with other agents at the local, regional, and international level. In this publication, an important wealth of research on various African countries stands out, providing an unprecedented overview of the markets in that region.
This volume originates from the TIAMSA conference The Art Market and the Global South: New Perspectives and Plural Approaches, held in Lisbon in 2019.
This volume originates from the TIAMSA conference The Art Market and the Global South: New Perspectives and Plural Approaches, held in Lisbon in 2019.
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Abstract
The paper takes up the issue of international trade in art from the Global South perspective. Leaving on the margin the most important countries for the matter in question, i.e. the United States of America, some European countries (Great Britain, France, Germany, Switzerland) and China, attention is focused on the emerging economies of the southern hemisphere: South America, Africa, India, and South-Eastern Asia. The aim of the paper is to identify the value, directions, and indicators of international art trade in Global South countries. The analysis is based on the UN Comtrade database and International Trade Center (ITC) statistics. The export and import of products classified as commodity group 97 (works of art, collectors’ pieces) and antiques are analyzed.
An analysis of value of the international art trade is presented. Special attention is given to trade balance indicators (negative or positive). Based on the data gathered, the directions of international art trade are identified in the selected Global South countries. Furthermore, the concentration of exporting countries and the average distance between them and their destination countries is presented; the same is done for importing countries. The measure of concentration is based on the Herfindahl index (also known as Herfindahl–Hirschman Index, HHI, or sometimes HHI-score). The source of the data for the geographical distance between two countries is CEPII (Centre d’Etudes Prospectives et d’Informations Internationales) data. The paper also has a cognitive and empirical character. The analysis of data enables to achieve new perspectives that can be observed in the current art trade seen from the Global South. Advanced visualizations of the geographical structure of the international art trade in the discussed regions are also presented in the article.
Abstract
Raffaella Frascarelli and Valerio Rocco Orlando’s ongoing research South of Imagination recognizes in the cultural horizon of the Global South the social resource required to establish an unconventional educational experience at Matera in a state-owned building granted to the artist for the next thirty years. The Epistemologies of the South by Boaventura de Sousa Santos and the Southern Question by Antonio Gramsci foster this process. A series of workshops involving independent and multidisciplinary communities of artists Adrian Paci in Shkodër (Art House), Wael Shawky in Alexandria (MASS,) Yto Barrada in Tangier (Cinémathèque de Tanger) represent the educational action able to draw on the unconventional knowledge of the southern demo- diversities.
The paper investigates the sociocultural and economic perspectives of the Global South new art markets, their effects on the interaction between aesthetics and economy, and their influence on the development of independent cultural processes. The endeavors of these new art markets to create and redistribute aesthetic, sociocultural, and economic values in Southern Europe, Middle Eastern countries and Africa are assessed along with the “glocal” dimension and the molecular collaboration of artists collectives who, while disentangling and deconstructing the myth of individual creativity, are transforming the art market as well.
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This chapter discusses the extent to which the Turkish art market has been internationalized by focusing on the case of the Contemporary Istanbul Art Fair, the major art market event in the country. We examine this case as an instance of a broader phenomenon: the internationalization of art markets in emerging economies and their contribution to the global art market. The data we draw upon mainly comes from two sources: annual catalogs providing information on artists and galleries participating in the event and the artworks exhibited, along with annual activity reports of the organization that mostly provides statistical information on the event in different aspects. Utilizing the data and the available secondary literature, we organize our discussion on internationalization around three analytical aspects: galleries and dealers, visitors and collectors, and artists and artworks. Overall, we suggest that the Contemporary Istanbul Art Fair has gained considerable ground in becoming an international art event by carving out a niche for itself in the global art scene even though its status in terms of reputation and commercial size is not analogous to the art fairs that constitute the center of the global art market.
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The Singapore government has strived for decades to locate the island state as a central hub for regional and international art activity and transactions through successive cultural policies. Policy documents reveal that economic impetus has been the underlying motivator for many of its cultural initiatives. Over the same thirty-year period, the global art market has experienced shifts in agency across primary and secondary markets. Thus, auction houses have been dominant drivers of market expansion in emerging economies whilst, simultaneously, the international auction houses have expanded their global footprints.
In the context of this ascendancy of auction markets and Singapore’s policy driven activities to become a global art market hub, this chapter reveals chronological shifts of auction activity in Singapore that closely align with evolving public policy and global market expansion. The notion of ‘Southeast Asian Art’ as a nominal genre for art of the region is examined, particularly in the context of the hegemonic capacity of Singapore to corral market activities on behalf of its Global South, geographical neighbours. By demonstrating the prescient behaviours of auction houses in response to the cultural aspirations of regional collectors, this chapter exposes the fragile infrastructure of emerging markets driven by policy.
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The increasing interest towards art markets in the global South goes along with regional segmentations. It is now common to talk about the “African art market”, the “Asian art market” or the “Middle Eastern art market”. The goal of this chapter is to analyse how urban art market ecosystems manufacture such macro representations. In particular, I argue that “hub cities” such as Dubai, Hong Kong, Singapore, and Miami, which strive to attract key global players and connect segmented national scenes, play a major in framing the geographic imaginary of the global art market. The paper focuses on Singapore’s top-down strategy to rise as Southeast Asia’s art market hub. Against the background of nationally fragmented Southeast Asian markets, the Singapore art market ecosystem develops strategies to construct a Southeast Asian art scene in both symbolical and material terms. On the one hand, institutional actors elaborate overarching regional frames to convey Southeast Asian aesthetics and attenuate the predominance of national categorisations. On the other hand, dealers and art fairs endeavour to connect artists and collectors from different countries in the region, by translating their work, and associating them with themes and symbols that are familiar across different national contexts.
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When Raymonde Moulin developed her pioneering research on the art market at the very end of the 1950’s and during the 1960’s, she found it appropriate to consider the French case only. At the time and until the middle of the 1960’s, the art market was hyper concentrated in France – not to say in Paris. It is only in a rather recent phase of the development of the art market, especially from the 1990’s, that the internationalization both of the market and of its leading operators became a massive phenomenon. Still, what is the role of the Southern hemisphere in what is today a highly internationalized contemporary art market? Are countries of the Southern hemisphere present on the international art market and to what extent? And do they contribute rather homogenously or are there strong inequalities between them? To frame it in a different way: is there such a thing as “global South”? After questioning the very concept of “South”, this contribution studies both the art market and art institutions in the Southern hemisphere. Then it reconsiders theories of so-called “artistic globalization” from the perspective of this peculiar case. Because of the specificities that they present, and although they all share a peripheral position at the international level, countries located in the Southern hemisphere should prevent social scientists from treating them as a global entity.
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In order to explore the Art Market behavioral characteristics in the Global South and to go beyond the reports of Latin American modern art auctions, a series of contemporary examples were detected around the innovation of arts management processes, the empowerment of its artists and the support of the local collectors, who turned on paths towards the difficulties of accessing a global demand. This emerging region contains a vibrant art circuit that allows the evolution of a Contemporary Art Market towards new measurement compasses. To analyze its operation under new perspectives, it is possible to understand why the market is adapting to regional needs and is moving through a context of a Creative Economy growth, that now a days is required to be in tune, with its importance of contributing to the sustainable development of the cultural sector.