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Regards sur la mondialisation. Le champ artistique en Chine et à Hong Kong sous l’égide du marché mondial de l’art

2017-09 , Mazzurana, Thomas , Schultheis, Franz

The art market has not only expanded massively in volume since the end of the 2000s; it has become noticeably more globalized in regard to the actors and the institutions involved and to contemporary visual art itself. The attention of Western actors is today drawn particularly to Asia, and especially to China, whose rapidly growing economic power has been accompanied for a decade by a strongly expanding art market. At the same time, actors from the emerging markets arise with new power and their own demands. The paper is based on the results of an ethnographic research project, which focused on the positions and perspectives of the actors of the art world on the spot, their views on the current changes, the concrete practices in the Chinese and Hong Kong art markets respectively the art field in their specific socio-historical form and in their interweavement with the Western art world.

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Dangerous Liaisons: The Strange Relationship between Art Fairs and Galleries. The Case of the Art Fair "Art Basel"

2014-09-04 , Mazzurana, Thomas , Schultheis, Franz , Single, Erwin

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A Social-Topography of Art Basel: Hierarchies in the Global Art Market

2013-10-03 , Mazzurana, Thomas , Schultheis, Franz

The paper applies Pierre Bourdieu's theory of interactions between socially and physically acquired space to Art Basel, which, as the "Art Olympics", represents the wealthiest sector of the art world in terms of symbolic and economic capital, and is generally considered the most important art fair. Art Basel represents a temporal and spatial concentration of the global art market. Here the hierarchies, positions and structures of the field of the galleries are reflected in the "(An)Ordnung" (Löw): in the configuration of the boxes allocated by the exhibition management and thereby reproduced. The struggle not only for the around 300 exhibitor spaces, but also for the most prestigious locations at the exhibition itself, is outlined by the actors on site in qualitative interviews. At Art Basel, "front row" galleries benefit from their exclusive location, which also helps to generate symbolic capital. Inequality in terms of symbolic capital is reinforced through the inequalities of placing themselves in attractive locations in the space. Galleries "on the fringes" are allocated their space due to their limited capital resources, and at the same time this space results in less opportunity of generating symbolic capital. An initial analysis of Art Basel 2012 shows that galleries from certain countries are able to generate "profit from space" (Bourdieu). The "prime positions" around the circular courtyard are mainly occupied by galleries from the United States and Switzerland. More generally, the centres and peripheries of the global art field are reflected at Art Basel. Through the process of correspondence analysis, these connections are indicated systematically. In addition, qualitative interviews with gallery owners and a questionnaire are incorporated into the social-topographical analysis at Art Basel.