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    Home Blog Page 42

    Collectors and the loan of the artworks

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    redazione
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    Il prestito delle opere d'arte art rights magazine
    Il prestito delle opere d'arte art rights magazine

    COLLECTORS AND THE LOAN OF THE ARTWORKS

    The loan of a work of art gives value to the works, but what are the steps for the Collector?

    The Collector who chooses to lend a work of art for an exhibition must be reassured on several steps: logistics, handling, preparation, insurance, safety, promotion, communication and much more…

    Here are the steps and documentation required of the Collector for the loan of a work of art:

    Documents for the loan The organizer of the exhibition initially sends the loan request to the collector or to the owner institution. Immediately after accepting the request, we proceed with the compilation of the documents necessary for the loan

    That are:

    • The Loan Form, a fundamental document in which the loan conditions are regulated.
    • The Condition Report, a document in which the results of the evaluation of the state of a work are reported, dated and signed, before being loaned and by an Expert Restorer or Conservator.
    • Artwork Insurance where the conditions provided for by the insurance policy are reported.
    • The Facility Report, that is the document that describes the characteristics of the exhibition site, both from the point of view of safety / surveillance, and the conditions of display and conservation of the works.

    Within a museum, the Registrar is the professional figure who deals with the management of the loan and all the logistical activities of the work during all phases involving the loan.

    For the Collector, on the other hand, it is possible to foresee the presence of an Art Collection Manager or a Fine Art Logistic Expert, two very different professionals in terms of training and skills, but able to support the collector in this delicate phase.

    Transport of the work

    The transport of the work is a very delicate phase that requires the intervention of experienced professionals, who will have to prepare all the precautions in terms of handling and packaging based on the specificity of the asset. During transport it is also necessary to fill in a transport document (DDT), on which the recipient of the work, the transporter, the registrar, the fitter or the lender notes the conditions of the work and of the packaging upon arrival.

    The staging of the exhibition

    The setting up is one of the most risky phases for the integrity of the work: for this reason it is essential to always take into consideration its conservation, display and safety needs. During the set-up it therefore becomes appropriate to document the movements, equipment and devices used, in order to facilitate future set-ups.

    Given the complexity of the operation, it becomes of fundamental importance to use both a digital archive, to have an updated history of all the information on the work, and professionals capable of managing each phase of the loan with competence.

    Among the useful tools for archiving works of art we find Art Rights, a platform that offers professionals as well as collectors the opportunity to document and record the loan phase of works of art with over 200 fillable fields depending on information within the Art Rights Certificate, the first Passport of the work of art

    And you, are you ready to lend your works?

    Photo credits: Photo courtesy of MIT List Visual Arts Center.

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    Interview with Marta Giani, Juror of the Painting Category of Art Rights Prize

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    redazione
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    The interviews of Art Rights Prize

    Interview with Marta Giani, Director and Head of Sale of Sotheby’s Italia – Painting Juror of the Art Rights Prize

    Art Rights Magazine, Media Partner of Art Rights Prize, the first International Digital Prize for Artists 3.0, presents every week the Judges that make up the Jury of Experts of the Art System and the Art Market.

    In the perspective of comparison and meeting between Artists and Art Professionals, the Jury of Art Rights Prize boasts the participation of 15 Judges who offer a personal and professional preview of the importance of Art Awards, advice on the best way to submit their candidacy together with the motivations that should push an artist to participate in an art award

    Arouse the desire to go beyond the image of a work to deepen the knowledge of the artist.

    This is the desire of Marta Giani, Director and Head of Sale of Sotheby’s Italia, who holds the role of Judge of the Painting Category for the Art Rights Prize.

    Although her profession leads her to interface with the Second Market of auction houses, Marta’s attention is not lacking to the young generations of artists, for whom she always hopes that despite having a knowledge of the contemporary art scene, they know how to make his own personal artistic research.

    Marta Giani

    Marta Giani, Director, Specialist of the Department of Modern and Contemporary Art, has been working with Sotheby’s Italy since 2006. After a first experience in the field of company mergers and acquisitions immediately after graduation, she collaborated with the Palazzo Reale Museum in Milan in occasion of temporary exhibitions.

    She has gained significant experience in the field of contemporary art restoration and in 2004 he began his collaboration with the historic auction house Finarte.

    In 2006 he joined the Sotheby’s team in Milan, where he began his career as a Junior Specialist for the Modern and Contemporary Art department.

    Always in close contact with colleagues in London, Paris and New York for international valuations and auctions, since 2012 he has been Deputy Director and fulcrum of the Milanese department.

    Since 2016 she has been promoted Co-head of Sale of the Milanese sales of Modern and Contemporary Art: in May 2017 she orchestrated the sale of the international collection “White VS Color”. From June 2018 she became Head of sale of the Milanese sales of Modern and Contemporary Art.

    1.For you, what importance does an Art Prize have in an artist’s career?

    In my opinion, for an artist, especially a young one, the fact of participating in an art prize can be a very positive and constructive experience.

    First of all because he refines the ability to concentrate and synthesize his research, but above all because it allows him to compare and measure his skills and ideas with artists from different geographical areas and with different backgrounds.

    2.What would you recommend to an artist who wants to participate in an Art Prize?

    I think it is important for an artist who decides to participate in an Art Award to maintain a humble and constructive attitude and an open mind.

    It is also essential that he has the incentive to know and deepen what surrounds him. Both local and large-scale museums, temporary exhibitions in art galleries in Italy and abroad, national and international fairs and auctions are all equally essential aspects of a system that the artist must know to complete the his training and define his own style.

    In an era of pandemic, with the limitations to which we are forced both in terms of travel and as regards the availability of content, it is clear to everyone that the digital medium has become essential.

    3.What factors do you take into consideration when judging a nomination for an Art Award?

    On the one hand, personal taste is essential, but I think it is very important not to stop at this criterion.

    The works of art are in fact the result of subjective searches that are distant from each other and with disparate motivations and in most cases not immediate.

    The fact that it is not immediately understandable paradoxically makes the work of contemporary art more interesting. As for me, I would consider the candidacy of an artist if his works aroused in me the desire to know more about the reasons for certain choices or about the use of certain materials and expressive techniques.

    Another criterion for judging depends on one’s knowledge of the contemporary art scene: researches that have already been seen, which are not original or that clearly trace the work of more well-known and established artists would discourage a candidacy proposal.

    If you are an artist, what are you waiting for?

    APPLY NOW, TILL 30th NOVEMBRE 2020 to Art Rights Prize, the first international digital art prize.

    And you, are you ready for Art Rights Prize?

    SUBMIT NOW YOUR APPLICATION

    Who are the Blue Chip artists

    By
    redazione
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    ARTISTI BLUE CHIP ART RIGHTS MAGAZINE
    JEAN-MICHEL BASQUIAT BABY BOOM, 1982 Acrylic, oil stick, paper collage on canvas mounted on tied wood supports, 49 × 84 1⁄16 inches (124.5 × 213.5 cm). c The Estate of Jean-Michel Basquiat, ADAGP, Paris and ARS, New York 2017. Photo: Elisabeth Bernstein

    WHO ARE THE BLUE CHIP ARTISTS

    Blue chip artists are the most successful personalities and the safest investments in the art system

    Despite the fluctuations in the market, due to the recent financial crises, art continues to be a secure passion asset in the long term, because more and more collectors decide to invest in the purchase of the works of the most popular artists on the market.

    In fact, it is the blue chip artists who give the greatest earnings.

    Thus emerges from Artprice100®, Artprice’s Art Market Index which allows collectors to follow market trends based exclusively on so-called Blue Chip Artists.

    But who are the Blue Chip Artists?

    These are artists whose prices exceed one million euros and remain constant over time. They are the artists widely recognized by the market, whose position has been consolidated by exceptional sales volumes over the course of several years and are represented by the most important galleries in the sector

    The works of blue chip artists not only have great economic value, but also represent a safe and reliable investment, because their value will remain stable over time despite the ups and downs of the economy.

    A few examples? Artists like Pablo Picasso, Mark Rothko, Jeff Koons, Jean-Michel Basquiat and Kaws are Blue Chip Artists.

    Where does the term Blue Chip come from?

    The term derives from poker, in fact, “blue chip” (blue chip) is the chip with the highest value.

    In the financial markets, in general, “Blue Chip” indicates the shares that are not only the most expensive, but are also those that guarantee greater investment stability and security.

    Blue Chip Artists and Galleries

    In the art world there are galleries with a notable economic impact and credibility including Hauser & Wirth, David Zwirner Gallery, Gagosian, Massimo de Carlo or Perrotin, just to name a few, they count in their stable many blue-chip artists whose prices are often “defended ”On the occasion of auction sales.

    In addition, galleries often also deal with the cataloging and archiving of the works of these artists, with the aim of ensuring their collectors control over the authenticity, enhancement and promotion of the artists’ works.

    For an Artist, having an updated and complete catalog of works allows them to increase the value of their works of art, improving their reputation within the art system.

    Today it is possible to create a complete and digital Artist Archive thanks to the use of professional tools such as Art Rights, a platform that allows you to manage and certify works of art

    Are you ready to become a blue chip artist?

    Photo credits: Jean-Michel Basquiat’s ‘Baby Boom’ (1982) at Lévy Gorvy © The Estate of Jean-Michel Basquiat, ADAGP, Paris and ARS, New York 2017

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    The Final Exhibitions of the Prizes

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    redazione
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    THE FINAL EXHIBITIONS OF THE PRIZES

    The moment when an artist can really get involved

    It is said that art awards are important for the career of an artist because they offer visibility and opportunities for comparison at an international level.

    But how does this happen?

    Thanks to the Final Exhibition, the final moment of each art prize, which can take place through an exhibition in a physical place or, thanks to the support of cutting-edge digital platforms, in virtual reality and 3D.

    The Final Exhibition is a showcase of excellence for contemporary artistic production at an international level, offering not only visibility but also networking opportunities.

    The Final Exhibition is a unique opportunity for an artist at the beginning of his career or already established to be able to:

    • confront with other artists
    • live an experience of healthy competition
    • interact with a varied audience of art lovers and potential collectors
    • expand his network of professionals in the sector such as curators, museum and gallery directors but not only
    • get involved to boost his career

    The final exhibitions are almost always group exhibitions, organized according to the theme of the award or with the aim of providing an overview of the current state of international contemporary art.

    Often the exhibition arises from the curation of a professional or from the collaboration of international jurors who have evaluated and selected all the candidates.

    The exhibition of the works is divided by theme, by technique (painting, sculpture, installation, etc.) and generally each artist has their own dedicated space with the works in competition, to better facilitate the understanding of their research.

    The final exhibitions are also opportunities for in-depth study and training through a program of side events such as conferences, talks, workshops and educational initiatives that offer artists and visitors various opportunities to meet and discuss the various aspects of art.

    Is it possible to sell your works during the final exhibitions?

    Not always…

    The choice to consent to the sale or to the exhibition of the works only depends on the provisions of the organizing body, which you can read in the Regulations of the Art Award.

    Last but not least, the final exhibitions, which can last up to one or two months, include an awarding event for the winners, at which time the participating artists reach the pinnacle of their visibility.

    And you, are you ready to get involved in a Final Show of an award?

    Photo credits: Pexels

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    Interview with Marco Rubino, Head Jury of the Street Art of Art Rights Prize

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    redazione
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    MARCO RUBINO giudice street art art rights prize
    MARCO RUBINO giudice street art art rights prize

    The interviews of Art Rights Prize

    Interview with Marco Rubino, Community Partner, Contemporary & Street Art Contributor Forbes Italia – Head Jury of the Street Art of Art Rights Prize

    Art Rights Magazine, Media Partner of Art Rights Prize, the first International Digital Prize for Artists 3.0, presents every week the Judges that make up the Jury of Experts of the Art System and the Art Market.

    In the perspective of comparison and meeting between Artists and Art Professionals, the Jury of Art Rights Prize boasts the participation of 15 Judges who offer a personal and professional preview of the importance of Art Awards, advice on the best way to submit their candidacy together with the motivations that should push an artist to participate in an art award

    Nurturing a passion for art means not only collecting it, but also becoming a supporter, especially of young art.

    Marco Rubino, Partner of Community – one of the main European communication consulting firm – Collector and Contributor for Forbes Italia is constantly looking for names (still) not completely mainstream, but with a strong artistic career well underway as CbHoyo, Helena Margrét, Dot Pigeon, MrDoodle, Andrea Crespi, Jhon Paul Fauves and Ktnepiz.

    His collection is eclectic, but follows two guidelines: his taste combined with that of his wife Valentina, together with careful research between physical and digital.

    As a communicator, he is attracted not only by the aesthetic aspect, but above all by the creative idea of ​​each work he welcomes in his collection, where he mixes Street Art pieces by Ron English, Cartrain, Pure Evil, Banksy, Obey or BenEine, with unique works or limited edition by exponents of Contemporary Art such as Giampiero Romanó, Kaws, Francesco De Molfetta and Emilio Isgrò or unique sketches like the one created for him by Alec Monopoly.

    In his casket there is also space for photography, mainly in black and white, such as the shots by Elliott Erwitt or Alison Jackson, or those in saturated colors by Steve McCurry.

    A category that amuses him are the art toys: Kaws, Murakami, the editions for Seletti by Maurizio Cattelan and the legendary pumpkins by Yayoi Kusama.

    Very active on social networks, on Instagram he has given himself a rule: to publish photos of works of art that can excite and capture attention such as to interrupt the usual mental flow.

    Today as Head of Street Art Jury for Art Rights Prize Marco Rubino talks about the importance of a nomination for an art prize, the value in an artist’s career and what he would like to read …

    Marco Rubino

    Community Partner and Contemporary & Street Art Contributor Forbes Italia

    In Community since 2003, Marco has a deep experience in financial communication and Litigation PR.

    For Community he manages the communication of prestigious Italian and international companies, supporting them in ordinary and extraordinary finance operations. The experience gained in the Community is completed with the management of corporate communication for some of the major multinationals operating in Italy.

    In the first months of Covid, together with two gallery owners – Marcello Polito and Nicoló Stabile – he gave life as curator to the first charity auction of Contemporary Art and Street Art in favor of the Sacco hospitals in Milan and Cotugno in Naples.

    One way to demonstrate how art can also be useful to others. Attention to social issues – Marco sits on the board of the Laps Foundation, a non-profit organization founded by Lapo Elkann and of the Reputation Science Advisory Board – is one of his passions together with art and travel.

    Since 2018 he is a contributor for Contemporary & Street art for Forbes Italia.

    1.For you, what importance does an Art Prize have in an artist’s career?

    An award has a different value depending on the stage an artist is in.

    If it is taking its first steps, the prize represents an opportunity for great visibility, regardless of the outcome of the race.

    In the case of a more mature artist, however, the prize can represent an objective recognition of their efforts.

    In any case, the prize is a way in which to compare oneself, one must never fear competition, external judgment if healthy can be very constructive.

    2.What would you recommend to an artist who wants to participate in an Art Prize?

    First of all, I would recommend that you always believe in your dream regardless of the outcome of the competition.

    Then to present the work that more than the others represents his artistic thought, not necessarily the one he thinks the jury will like most.

    3.What factors do you take into consideration when judging a nomination for an Art Award?

    There are four main factors that I consider: the emotion it is able to generate, the thought that inspired it, the originality of the creative idea and the message that the work communicates.

    I know perfectly well that emotion is a subjective element and that therefore some may not share this yardstick, but I think that today – in light of the fact that each of us is exposed to a great production of works of art – it is necessary to pause on emotionality.

    Do you remember more easily the last work seen or the last one that communicated something to us?

    Finally, I will tend to orient my choice towards an artist who proves to have preparation and not an improviser.

     

    If you are an artist, what are you waiting for?

    APPLY NOW, TILL 30th NOVEMBRE 2020 to Art Rights Prize, the first international digital art prize.

    And you, are you ready for Art Rights Prize?

    SUBMIT NOW YOUR APPLICATION

    Profession Gallery Assistant

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    redazione
    -
    Professione Gallery Assistant Art Rights Magazine
    A gallery assistant in front of "L'Escargot" by French artist Henri Matisse at the "Henri Matisse: The Cut-Outs" exhibition at the Tate Modern gallery in central London on April 14, 2014. Running from April 17 to September 7, the exhibition is the most comprehensive collection of the artist's paper cut-outs made between 1937 and 1954. Showcasing around 130 works, the exhibition will also be in cinemas as "Matisse Live" from June 3. AFP PHOTO / LEON NEAL -- RESTRICTED TO EDITORIAL USE, MANDATORY MENTION OF THE ARTIST UPON PUBLICATION, TO ILLUSTRATE THE EVENT AS SPECIFIED IN THE CAPTION (Photo credit should read LEON NEAL/AFP/Getty Images)

    PROFESSION GALLERY ASSISTANT

    Who is an art gallery assistant and what does he do

    hen you enter an art gallery, in all likelihood the first person you will come across will be a gallery assistant.

    The gallery assistant is an art professional who could work in a private art gallery or in a public facility.

    To be a gallery assistant it is not always essential to have a degree in a humanistic subject, such as art history, but it is vital to nurture a strong passion for art.

    Among the skills of a Gallery Assistant are:

    • Excellent organizational skills
    • Versatility and resourcefulness
    • Communication skills and ability to create interpersonal relationships
    • Graphic and creative skills
    • Skills on social media and with digital software

    Its tasks, in most cases and for small to medium-sized tunnels, are varied and far-reaching, but often include activities such as:

    • Reception of visitors and collectors in the gallery
    • Support in the organization and preparation of exhibitions
    • Correspondence, or management of phone calls and emails
    • Management of relations with artists
    • Contacts with journalists
    • First contact with collectors
    • Handling of paperwork for participation in art fairs
    • Communication, web page updating and social media management
    • Support for shipping and handling of artworks
    • Cataloging and archive of works and contacts

    In order to effectively carry out the activities of a Gallery Assistant it is necessary for the gallery to provide tools to support the management and organization of work, especially with regard to database management and the archiving processes of works of art.

    Among these we find Art Rights, a platform that guarantees the best services for the management and certification of works of art in full security and privacy in support of the staff of an Art Gallery.

    And you, did you know the profession of Gallery Assistant?

    Photo credits: “Henri Matisse: The Cut-Outs” exhibition at the Tate Modern gallery on April 14, 2014. Courtesy of LEON NEAL/AFP/Getty Images.

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    What you win by participating in an art prize

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    redazione
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    Cosa si vince partecipando ad un concorso d'arte art rights prize
    Cosa si vince partecipando ad un concorso d'arte art rights prize

    WHAT YOU WIN BY PARTICIPATING IN AN ART PRIZE

    What is the real value for an artist’s career?

    How do I understand if an Art Award is really valuable and useful for my career as an artist?

    The prizes, which can be awarded by the Organization, Partners and Sponsors, are usually intended for finalist artists, selected by a Jury, according to criteria established in the Regulations of each individual event.

    Beyond a material recognition, represented by a certificate, a medal or a plaque, the Art Awards can be given in cash, in services or experiences.

    MONEY AWARD

    The cash prizes, the amount of which varies according to the competition, are distributed in the form of a scholarship or reimbursement of expenses. It should be noted that cash prizes will have, where required by law, a withholding tax of 25%.

    AWARDS IN SERVICES

    The services offered as prizes in an art competition are many. Among the most common are:

    Promotion and Communication Services, such as creating a Digital Strategy and a Website
    Contracts and collaborations with museums, foundations and cultural bodies for commercial or cultural purposes
    Kit of courses, video courses and training lessons to improve your artistic career

    EXPERIENCES

    These can be exhibitions, study trips, artistic residencies and training days, often offered by the event partners.

    And you, are you ready to discover the opportunities provided for an art prize?

    Photo credits: Pexels

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    Interview with Marine Tanguy, Photography Juror of Art Rights Prize

    By
    redazione
    -

    The interviews of Art Rights Prize

    Interview with Marine Tanguy, Founder of MTArt Agency – Photography Juror of the Art Rights Prize

    Art Rights Magazine, Media Partner of Art Rights Prize, the first International Digital Prize for Artists 3.0, presents every week the Judges that make up the Jury of Experts of the Art System and the Art Market.

    In the perspective of comparison and meeting between Artists and Art Professionals, the Jury of Art Rights Prize boasts the participation of 15 Judges who offer a personal and professional preview of the importance of Art Awards, advice on the best way to submit their candidacy together with the motivations that should push an artist to participate in an art award

    “We don’t invest in art, we invest in artists”.

    This is the motto of  MTArt Agency, an agency founded in 2015 by the brilliant mind of Marine Tanguy, who despite being very young has a background of experience in the art sector.

    It is precisely when she finds himself managing her first gallery, in her early twenties, that she comes to understand that the value of the world of art must be placed in artists and in particular with younger ones.

    According to Marine’s thought: “Artists enhance homes, cities, screens and advertising spaces with their art, transmitting their stimulating messages and images for a visually more stimulating life”.

    In this interview, Marine, as Photography Juror for the Art Rights Prize reveals what strikes her when she finds herself evaluating artists’ statements and portfolios, because she would like to recognize in the works the artistic vision that inspired them and much more…

    Marine Tanguy

    An advocate for artists since a young age, Marine Tanguy managed her first gallery at age 21 and opened her first art gallery in Los Angeles at age 23.

    After seeing the restrictiveness of the traditional gallery model, Marine launched MTArt Agency in 2015. MTArt is the first talent agency for visual artists worldwide.

    Clients love to work with the agency to identify the next rising star in the art world. They trust its rigorous selection and the expertise of the team to integrate their art in the most extraordinary contexts.

    MTArt Agency was behind the largest public art painting in the world: the project of Saype in Paris supported by 30 companies including the Eiffel Tower and the Guardian Media Group.

    Its artists enhance your homes, cities, screens, and advertising spaces with their art.

    They broadcast their inspiring messages and visuals for you to lead a more visually inspiring life. Marine was awarded Forbes 2018 30 under 30 Europe: Art & Culture and UK entrepreneur of the year for the 2019 NatWest Everywoman Awards. She is a writer and keynote speaker on contemporary art and art investment.

    1.For you, what importance does an Art Prize have in an artist’s career?

    I feel that all things that come to validate the credibility of an artist are key. The very fact that the judges here are external is very positive if it comes to approving the art of the artists as this means that there are less biased.

    2.What would you recommend to an artist who wants to participate in an Art Prize?

    Do send an artistic statement that would speak truly about why it’s important for you to have people see and be inspired by your art.

    3.What factors do you take into consideration when judging a nomination for an Art Award?

    I want to see an artist whose vision is his/her. A truly innovative and captivating vision.

     

    If you are an artist, what are you waiting for?

    APPLY NOW, TILL 30th NOVEMBRE 2020 to Art Rights Prize, the first international digital art prize.

    And you, are you ready for Art Rights Prize?

    SUBMIT NOW YOUR APPLICATION

    Identikit of the Millennial Collector

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    redazione
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    Cosa si vince partecipando ad un concorso d'arte Art Rights Prize
    Cosa si vince partecipando ad un concorso d'arte Art Rights Prize

    IDENTIKIT OF THE MILLENNIAL COLLECTOR

    The art market changes, collectors change: who buys art today?

    The U.S. Trust Insights on Wealth and Worth® already anticipated what the recent The Art Market Report conducted by UBS and Art Basel confirmed: the Millennials (i.e. those born between the 1980s and mid-1990s) and the “Generation Z” (i.e. those born between the mid-1990s and 2010) are the collectors of the future.

    Although Baby Boomers (i.e. those born between 1945 and 1964) still make up the majority of collectors, Millennials are the fastest growing segment.

    But what characteristics does the young millennial have? The collector of the future is…

    Smart

    Dynamic, always up to date and used to have everything and immediately: the millennial collector needs to be constantly stimulated and is very careful to buy according to ethical consciousness

    Nonconformist

    Young collectors are wary of previous generations: they demand transparency in transactions, clear prices and information immediately available at the time of purchase.

    Digital-Addicted

    The millennial collector informs, interacts and buys on the web. According to the UBS and Art Basel report 92% of HNW (High Net Worth Collectors) collectors claim to have purchased works online, through the use of sales platforms and Instagram.

    Social friendly

    Millenials use social media to discover new artists, but are not influenced by them in the final choice. Instagram is the most used social media to inform themselves, build relationships, find galleries and even buy.

    Art=Investment

    Young collectors tend to be driven primarily by financial motives and the work of art is primarily conceived as an investment

    Eclectic

    Millennials collectors are interested and buy the most diverse forms of art, from paintings to installations; from street art to digital art, passing through video art and illustration.

    Well liked and respected

    When they enter the gallery or visit a fair, the Millennials and Generation Z want to feel welcomed and taken seriously, like a middle-aged collector.

    Are you also a Millenial and want to start collecting works of art?

    Art Rights offers you all the tools to create your collection, managing it independently, privacy and security wherever you are, with certified documentation in Blockchain always at your disposal.

    In addition, with Art Rights’ Art Concierge service, you’ll have the largest community of art professionals to support you at all times and in any situation.

    And you, are you ready to become a Millennial collector?

    Photo credits: Photo by Fuse, via Getty Images.

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    Interview with Carolina Ciuti, Head of Jury of Video Art of Art Rights Prize

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    redazione
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    Carolina Ciuti Giudice Video Arte Loop Barcellona Art Rights Prize

    The interviews of Art Rights Prize

    Interview with Carolina Ciuti, Curator and Artistic Director of the video art festival LOOP Barcelona – Head of Jury of the Video Art of Art Rights Prize

    Art Rights Magazine, Media Partner of Art Rights Prize, the first International Digital Prize for Artists 3.0, presents every week the Judges that make up the Jury of Experts of the Art System and the Art Market.

    In the perspective of comparison and meeting between Artists and Art Professionals, the Jury of Art Rights Prize boasts the participation of 15 Judges who offer a personal and professional preview of the importance of Art Awards, advice on the best way to submit their candidacy together with the motivations that should push an artist to participate in an art award

    Among the narrative and creative forms used by artists, Video Art is the medium of our time, which finds in technology its form, its construction and the diffusion of a message.

    Artists’ videos have gone, over time, from a self-production to a real almost cinematic production with very wide circuits, where foundations, collectors and gallerists are often involved, finding space in special fairs and festivals, such as LOOP Barcelona, among the most important for the sector.

    Chairing the Jury of the Video Art of Art Rights Prize we have Carolina Ciuti, Contemporary Art Curator and current Artistic Director of the video art festival LOOP in Barcelona.

    In this interview Carolina tells what should be the role of an Art Award in the career of an emerging or established artist, because the difference is there, and what she would like to find in the nominations. When she has to judge, Ciuti says: “I do not pay much attention to elements such as seniority or prestige, but rather to the quality of the work presented and the dialogue that this establishes with the artist’s general poetics.

    Impossible then not to keep these words in mind when the Artist chooses to apply for the Art Rights Prize…

    Carolina Ciuti

    Carolina Ciuti is curator of contemporary art. She graduated in History and Protection of Artistic Heritage at the University of Florence and then specialized in Contemporary Art with a Master at Sotheby’s Institute of Art in London.

    She is currently the artistic director of the LOOP video art festival in Barcelona, where she has worked with internationally recognized artists such as Regina de Miguel, Agnes Meyer-Brandis, Aleksandra Mir, Muntadas, Steina and Woody Vasulka and Anton Vidokle.

    His curatorial projects have been exhibited at Cinéphèmère-FIAC Paris, Filmoteca de Catalunya, Fabra i Coats-Centre d’Art Contemporani de Barcelona, MACBA and Real Cercle Artístic.

    She has published I Have A Friend Who Knows Someone Who Bought a Video, Once (Mousse Publishing, 2016) and Before The Name: a book on an itinerant performance project. (RAM Editions, 2018).

    She was a contributor to the magazine La Maleta de Portbou and the publishing house Istituto Italiano Edizioni Atlas. In 2017 she co-founded the collective CRiB, with which she creates hybrid proposals between visual arts, theater and performance.

    1.For you, what importance does an Art Prize have in an artist’s career?

    I believe that the function of an award and its impact on an artist’s career takes on completely different values depending on the nature of the recognition and the trajectory of the artist in question. 

    At the beginning of a career it can mean an increase in visibility and access to resources and material conditions difficult to obtain otherwise; at a more advanced stage it can instead become a factor contributing to increase the “cultural value” attributed to a work, or a tool aimed at the realization of ambitious projects (in this case I am referring, more specifically, to a production prize).

    Among the prizes that in my opinion are of particular importance are those that combine the final recognition (be it economic or exclusively symbolic) with a process of training and building contacts for the artist.

    More generally, I believe that the Quality Awards, or rather those conceived with the real intent of CON-tribute, can play an important role of dynamization, in an increasingly precarious artistic ecosystem without social structures to protect those who create.

    In this regard, I would like to mention the not too distant episode of the Turner Prize 2019, in which the four nominated artists decided to divide the final prize in equal parts: an important gesture of political strength, but above all of economic solidarity in the face of increasingly complex conditions.

    2.What would you recommend to an artist who wants to participate in an Art Prize?

    Probably the same things I try to remind myself when I prepare an application for a curating or research competition:

    1) Evaluate whether the award can contribute positively to your training and/or positioning, from a conceptual, economic and future outlets point of view;

    2) understand exactly the characteristics and purpose of the award in question, in order to send a relevant application;

    3) contextualize the candidate project and explain its importance in the present time: why here? why now? If the objectives of a proposal and its contemporary need are clear, those who will have the task of evaluating it can only be involved.

    3.What factors do you take into consideration when judging a nomination for an Art Award?

    As I also explained in part in the previous question, among the most important factors that I look for in a project there is certainly the ability to generate in the viewer multiple cues for reflection on the time we live.

    I do not consider originality and innovation particularly important, but rather sensitivity and critical capacity on the part of the artist in interpreting the debates of the present moment and reworking them in a personal key.

    For this very reason, I do not pay much attention to elements such as seniority or prestige, but rather to the quality of the work presented and the dialogue that this establishes with the artist’s general poetics.

    To try to summarize, a proposal that is clear and coherent in its motivations and objectives, pertinent to the context of the candidacy and “urgent” will certainly have more possibilities.

     

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