Super Art Market

Super Art Market
               Genre: Documentary
  To the layman, as well as for the art-loving connoisseurs is the pricing on the international art market is usually a screened mystery of what contemporary art is still true to a much greater degree than for the famous works of art. On this terrain, there is clearly opaque criteria beyond design, materials, technology and aesthetics of art, between the art dealers and their well-heeled customers behind the scenes, plenty of galleries, exhibitions and art markets are conspiratorially negotiated. With the dramatic phenomenon of commercialization and functionalization of contemporary art as an exclusive, profitable product, the beginning of the 21st Century to its zenith in size was heading million, employs the documentation Super Art Market of the Berlin filmmaker coming from Belgrade, Zoran Solomun.

There are the art dealers and gallery owners, the so-called art-dealer, the focus of this documentary standing, those who guide the destinies of the art market and holding a powerful position of connection between artist and buyer. Their reputation and goodwill is both critical to the commercial success of an artist, and secondly, they dictated by their selection and their judgments of the wealthy world of art lovers, which announced – and is usually expensive. Zoran Solomun presents five renowned gallery owners who argue with surprising frankness about the art, with art excellent to do business and where, despite the emphasis on commercial components and their different attitudes to mixed and the enthusiasm for innovative creative noticeable, the young New York art dealer Leo King, who came from Germany and is dubbed in the press like with “King of Manhattan; Gerd Harry” Judy “Lybke from Leipzig, which has exhibits of art since the early 1980s and now won a remarkable reputation as a gallery; Swiss Lorenz Helbling, who operates in Shanghai, a renowned gallery of contemporary Chinese art, Mihai Pop, dedicated to cooperation with its partners in the gallery “Plan B” of Romanian art, and finally Laura Bartlett who operates her art business in London and with The mention of unsaleable surprising aspect of art.

As early as 2001, the director turned his documentary The Chinese market is an economic issue and the recent intensive examination of a very specific industry with its obvious and hidden it in practice has strengthened his personal opinion that a market in itself never “could be free,” but rather constituted a Kontrollmeachanismus. That on the territory of art is no different than anywhere else also, is transported a simple realization, the Super Art Market, which portrayed his gallery of much of its more or less authentic self appearing leaves. The staging and the image of an art dealer himself – that the film shows quite clearly – are of increasing importance to a thriving art market, the enormous expansion of sales to dizzying maximum amounts has now been held back last year, proclaimed by the international financial crisis. Super Art Market offers rare insights into the mechanisms of commerce and art, which appears here as a multifaceted cultural commodity whose price depends on a sensitive balance of its Wertekonsenzes that regulates a large extent on the type-dealers will.

(Mary Anderson)

Title: Super Art Market Country of production: Germany Year of production: 2009 Length: 92 (Min) of material: Arsenal – Institute for Film and Video Association

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