L: Johannes Nathan, The Art Market Dictionary, 8 Feb 2017, Paris, GREMA

Johannes Nathan (Nathan Fine Art / TU Berlin) : « The Art Market Dictionary – Reflections on the Mapping of a Complex Field »

The Art Market Dictionary (AMD) is the first encompassing reference work on the art market and its historical development. It will provide key information on central agents such as auction houses, commercial galleries, art dealers, and advisers. Each entry will give brief business histories or biographies followed by notes on areas of specialization, artists represented, principal exhibitions and publications as well as significant transactions. The AMD will also list resources with additional information including archives, museums, libraries, databases, and scholarly literature. Where available, it will include relevant illustrations. The project’s first phase covers Europe and North America in the twentieth and twenty-first centuries. Developed in collaboration with a highly qualified international team of Section Editors, the AMD will feature contributions from specialists worldwide. De Gruyter, the AMD’s publisher, is a Berlin-based academic publisher. Among the databases published by de Gruyter is the Allgemeines Künstlerlexikon (AKL) the world’s most encompassing database on artists.

Free and public lecture
Group de recherche sur le marche d’art lectures and program
Time: 5 – 7pm
Centre Malher de l’Université de Paris 1 Panthéon-Sorbonne
(M° Saint-Paul, 9 rue Malher, salle 106)

Exh.: Who Pays?, Kunstmuseum Liechtenstein, 10. Feb – 21. May 2017, Vaduz


RELAX (chiarenza & hauser & co), Who Pays?, 2006

“Art = Capital”, once stated Joseph Beuys. He thus summed up in a concise formula what his worldview was: “Human creativity is the true capital.”

Who Pays? takes Beuys’ concept of capital as starting point to question and elucidate the concomitant transformation of meanings and values of money and capital. Who Pays? has gathered artistic positions from the 1960s to the present. They enable us to pursue our ideas of wealth and poverty, of giving and taking, as well as of participation which are nowadays reduced to purely economic aspects from different perspectives.


Artists: Ovidiu Anton – Gianfranco Baruchello – Joseph Beuys – Susanne Bosch –
Marcel Broodthaers – Filipa César – Felix Gonzalez-Torres – David Hammons – Diango Hernández – Thomas Hirschhorn – Anja Kirschner & David Panos – Alicja Kwade – Thomas Lehnerer – Mark Lombardi – RELAX (chiarenza & hauser & co) – Christof Salzmann

The exhibition and accompanying programs are cooperations of Kunstmuseum Liechtenstein, artsprogram Zeppelin Universität Friedrichshafen, Zukunftswerkstatt Liechtenstein, as well as Haus Gutenberg, Balzers, Liechtensteinische Kunstgesellschaft, Filmclub im Takino, Schaan, TAK Theater Liechtenstein, Schaan, Dialogprojekt Arbogast, Götzis, planoalto Institut, St. Gallen, und TALENTE Vorarlberg.

Colliding Visual Worlds / Sehwelten in Kollision – Symposium | Exhibition | Workshop | 3 March 2017, 3pm

Colliding Visual Worlds / SEHWELTEN IN KOLLISION – Potential and Impact of Virtual Reality on the art markets | Symposium | Exhibition | Workshop | 3 March 2017, 3pm

How will virtual experiences influence our perception of art? Do they change established models of the presentation and agency of art? Is this the art world’s quantum leap?

Virtuality has become reality. Digital technology has reached a peak in mass-efficiency, it generates a huge market and affects different areas of life. At it is sure to fundamentally change our lives in the future.

The Symposium ‘Sehwelten in Kollision’ – ‘Colliding Visual Worlds’ discusses possible areas of use of virtuality for the art markets of tomorrow. Virtual showrooms allow new forms of encounter, exchange, global networking. Virtually accessible knowledge and archival spaces will be completely redesigned, thereby transforming our art interest and expanding it indefinitely. Virtual tours create new individual artisan experiences, time and location independent rooms open hitherto unthinkable possibilities for future art presentations. The question that arises is how is the art market, how will the marketing of art change itself through these new spaces? What is the development of the role of the gallery owner as a communicator and a network between the different worlds?
More information on the symposium, workshop and exhibition here (in German).

Speakers include
Sabine Himmelsbach | Direktorin, HeK (Haus der elektronischen Künste Basel)
Priska Pasquer | Galeristin, Priska Pasquer, Köln
Thomas Mödl | IT-Experte, DialogData, München
Thea Dymke | ZKR – Zentrum für Kunst und öffentlichen Raum Schloss Biesdorf
Karoline Pfeiffer | Independent Collectors

Friday, 3 March 2017, 3pm – 8pm (entry 2pm)
HeK (Haus der elektronischen Künste Basel)
Freilager-Platz 9
4142 Münchenstein/Basel, Schweiz

Registration fee: 45 Euro
Places are limited, please register soon.

This is a cooperation of BVDG (Bundesverband Deutscher Galerien und Kunsthändler e.V.) und HeK (Haus der elektronischen Künste Basel).

With thanks to our partners (selection) WELTKUNST, DialogDataIndependent Collectors, Koelnmesse, ProhelvetiaMIGROS Kulturprozent.

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Brosens, Koenraad, review of Sandra Van Ginhoven’s ‘Connecting Art Markets’

Sandra van Ginhoven, Connecting Art Markets. Guilliam Forchondt’s Dealership in Antwerp (c.1632–78) and the Overseas Paintings Trade, Studies in the History of Collecting & Art Markets I, Christian Huemer ed., Boston (Brill) 2017. ix, 288 pp., 71 full color ill. ISBN 9789004319745; E-ISBN 9789004334830

Sandra van Ginhoven’s Connecting Art Markets. Guilliam Forchondt’s Dealership in Antwerp (c.1632–78) and the Overseas Paintings Trade is an ambitious and valiant book. The result of doctoral dissertation research conducted at Duke University under the auspices of Hans J. Van Miegroet and Neil De Marchi, the study is a beautifully argued analysis of the commercial activities and strategies of pivotal Antwerp art entrepreneur Guilliam Forchondt (1608–1678) between about 1643 and 1678. It explores and explains the entrepreneurship of this chef d’enterprise in an unassuming, highly effective and pioneering manner. Continue reading “Brosens, Koenraad, review of Sandra Van Ginhoven’s ‘Connecting Art Markets’”

Annalea Tunesi, The Matters of a Museum, @2017 NCSA conference, Feb 4, Charleston

Paper: Annalea TunesiThe Matters of a Museum: From a Self-Celebrating Shrine to an International Monument (Winner of the NCSA Scheurle-Zatlin International Travel Award)


E. de la Tramblais,“Chute de la Colonne Vendome/Fall of the Column in the Place Vendome” in Les Desastres de Paris en 1871.

Panel XIII-B, Museums and the Nation, Saturday, Feb 4, 2017 (Middleton Room)

@38th Annual Conference of the Nineteenth Century Studies Association (NCSA),
February 2-4, 2017.

Over three days and sixty-five panel sessions, the 2017 NCSA conference will explore the ways in which nineteenth-century men and women sought to commemorate, preserve, and utilize personal and collective memories and histories. Topics will include civic commemorations, jubilees, holidays, public memorials, architectural changes, cemeteries, elegies, death rituals, photography, souvenirs, memoirs and autobiographies, and literary and artistic uses of the past. Papers will also analyze theoretical concepts of memory, invented traditions, and contested spaces, as well as interdisciplinary and alternate interpretations. The final program can be found below (.pdf) and here.

NCSA_Program_FINAL (.pdf, 466kB)

CFP: Shaping New Tastes in a Global Perspective (Florence, 31 May -1 Jun 17)

Florence, Italy. Kent State University, Florence Program, May 31 – June 1, 2017
Deadline: Feb 15, 2017

Intersections/Intersezioni. Conference Session.

The Age of Exploration: Shaping New Tastes in a Global Perspective.

During the Early Modern period, global trade routes determined a new idea of market and exchanges. The traditional idea of European expansion has been questioned over the last few decades, and exchanges between different cultures have been re-considered analysing interactions in a multifaceted way. This session wishes to explore, not only the perception and reception of new products on the European market, but also their agency in facilitating the intersection between different cultures, by looking at:

Continue reading “CFP: Shaping New Tastes in a Global Perspective (Florence, 31 May -1 Jun 17)”