18 Jul The progressive commodification of art in contemporary reality
In the contemporary art has entered its most complete and advanced stage of commodification: the market now dictates the rules and buyers decreed the importance of a work.
In fact already the Pop Art, especially with the figure of Andy Warhol, brought to the fore the idea that the true value of a work of art corresponds to its market value and that therefore the artist is much more clever than I can sell at a high price. It attributes, so, importance to the side ephemeral and reproducible art at the expense of what has always tried to express, ie its value and timeless freedom and the idea of the creative act.
“The art business is a step above the Art. I started as a commercial artist and I want to finish by artist business. After doing that thing that you call “art” or any other name you want to indicate the, I gave myself to the art of business. They said: money is a bad thing – work is bad. But making money is art, Affairs and well made are the best expression of art. […] It was enough for me that the art had been channeled into the trade, out of certain closed environments, inside the world of reality.” (Andy Warhol)
Aesthetically art is reduced to ornament, with a degradation of the content, and socially is a sign of promotion, a luxury item, the more attractive the more high is its listing on the market. Today is the patron of the market, that is, the money, the financier is the creator of the artist and the art that are exchanged, like any other financial instrument, squares international business: art becomes a game of signs without reference, an abstract financial instrument within a circle whose purpose is the proliferation of signs financial.
When the art of finance turns into finance art, art is no longer just a commodity, me is currency trading to hedge funds and private equity funds.
Typical of this trend is the current success of artists such as Koons and Murakami using art as jaws for a mass production of objects of high-cost and overestimated. The artistic practice is so treated as a commercial company that produces events indifferently and goods type elitist, while “great” artists of the past are traded at auctions like any other financial product: commodity that creates money and that affected the market prices.
In this scenario, we can declare the sunset accomplished commodification of art and its final disappearance?
Perhaps it is more correct to speak of a cover-art, of its invisibility: art by dint of exposing himself and be exposed has made invisible, relegated in a marginal and peripheral up to us discoprire.