Kovach Imre Barna* and Murray Hunter
Metaphorically, new art trends are like volcanoes. They erupt along the tectonic fault lines of colliding and shifting cultures. No one can predict when an eruption will occur. Nor can the length and magnitude be known until after the event.
Art goes through violent changes when cultures shift, leading to new trends and paradigms, due to the tectonic nature of cultural vista.
Today’s art world is a very well mapped out universe consisting of a few thousand leading galleries, museums, a few hundred influential curators and art fair organizers, writers and critics, wealthy collectors and institutions, and of course, the artists themselves.
The artwork is a USD 64 billion a year industry. It mirrors socio-economic trends and itself has become globalized, with different regions within.
Contemporary art is considered a financial asset class, where the promotion, investment, and protection of this asset has taken on priority within the art industry.
Art has become financialized. Financial institutions and fund managers have joined art collectors in creating their respective portfolios of art. Today’s definition of good art is that it is saleable and the definition of a good artist is that he or she is marketable.
The prices of contemporary art have grown to spectacular heights, where the million dollar range for art pieces is very common, and some artists sell their works for tens of millions dollars.
However, if somebody buys a painting for millions dollars, what they are actually buying is a stretched canvas and paint. The actual material value of a painting is a tiny fraction of the purchase price. The price of the art work is based on and justified by opinions within the art community which give a certain value and importance to the artist as a brand. The artist becomes a brand with a price tag.
Within the art world, stability is an important factor because nobody wants a cultural shift which can suddenly devalue art assets. However such devaluations happen from time to time and affect whole periods of historical art.
The large difference in valuation cannot be justified by artistic quality. Its real cause is the pressure on the existing paradigm for change. Certain periods of arts and their paradigms can “fall out of favour”, where the drop in interest leads to falling prices for that particular category. Consequently, art works from this category which were highly priced in their period of popularity can be bought today at ‘give away’ prices. At the same time artists whose work in some way is compatible with the emerging paradigm change, may see their art receive much greater appreciation. This would result in revaluation, resulting in the acknowledgement of their importance and higher price for their works. For instance academic painters, who are almost completely forgotten today, were well known and popular in the 19th century, where they commanded praise and high prices for their works.
The impressionists were not considered to be serious artist in their time. For example, Manet’s painting caused a scandal at the annual exhibition in Paris. However, today Manet, Monet, Cezanne, Pisarro and other impressionists (and post impressionists) command sky high prices. The once so famous academicians then lost their prestige, where their prices went down. Consequently, there is no real interest in them from collectors, art writers and museums. They wait for the moment of rediscovery if it ever happens.
The authors believe that within the art world today, innovation is carefully contrived to keep the market buoyant to make sure that the ‘stars’ of yesterday are the ‘stars’ of today.
From the beginning of the 20th Century there was a revolt against the academic style, where the concept of art for art prevailed. The modernists added two more concepts, that of creating art from art and art about art.
Today’s contemporary artists don’t really look at nature or reflect upon their inner feelings. Rather, they are much more interested in the global dialogue than taking a look at the inner world.
A new tectonic shift is coming
The familiar images of today’s modernist art works which are art for art, art about art, and art from art creations will soon be seen in a new perspective. A tectonic shift in culture and globalization will stir up art movements based upon traditions, scared philosophies and teachings, with its symbols and colours embedded within cultural themes. Patrimonial art which is embedded within cultural themes of traditional lifestyles and beliefs will collide with contemporary art, the art of global capitalism.
By patrimonial art, we mean contemporary art with the intent and knowledge of transmitting sacred tradition.
However, the two art paradigms are not compatible.
Sacred tribal patrimonial art most often consists of thousands of year old symbols and teachings which provide advice and guidelines for all aspects of life.
Patrimonial art is not art for art. It has a much higher goal of seeking to maintain the heritage of harmony and balance of traditional rite, rituals, and spirituality. Patrimonial art is embedded within nature itself. Patrimonial art has a teaching and healing function and establishes the values of humanistic community.
In contrast, contemporary modernist art is a financial asset class. Its goal is to establish a saleable brand, being the artist’s name, which creates a high valuation based upon a consensus between the players of the art world.
There is also a mythology about contemporary art. The assumption that contemporary art is one of the highest social achievements of people within society. Thereby placing the discipline on a cultural plane that is viewed as something pure and uncorrupted.
Contemporary art is consequently seen as being one of the most valued artefacts of society, being collected in art galleries, museums, and in private collections around the world, unquestionably considered to be at the pinnacle of human prowess.
In such an environment of closely connected curators, critics, gallery owners, artists, and fund managers, value is created and maintained in the interests of small select groups.
In contrast, patrimonial art doesn’t yet have a plane of entry into the art establishment. The deep meanings contained within and the sacredness of patrimonial art may not help in creating financial value. However a patrimonial art work may have deep cultural value within the community, religion or spiritual schools it originates from. Ultimately, this may translate into monetary value as well.
An eruption is coming from within the ranks too. Many contemporary artists are not completely signed up to the modernist paradigm. Many have interest in art outside the bounds of modernism. They often admire sacred patrimonial art influenced by it and resort to embedding the ideas of patrimonial art into their own works.
One example here is Picasso and his fancy of African tribal art.
There are also indicatory trends in the culinary arts and gastronomy which have parallels to the art world. Australia is going through a small renaissance of traditional bush foods and fusion gastronomy, bringing together food influences from different culinary cultures, is now the order of the day within restaurants and food malls all over the world. Traditional herbal remedies are now more popular than ever.
There are many modernist artists now working within Indian, Asian, African, and South American indigenous communities , where local artists are influencing them with intellectual and style inputs within modern art pieces.
A special case which should be followed is Australia. Community artists have transformed sacred ancient patrimonial designs into modern art where gallery valuations went through the roof in recent years.
There were many ‘natural nations’ in existence before colonialism and its child globalism. Many of the natural nations are still here upholding their culture and art traditions which influenced contemporary art. Working within these two paradigms requires contemporary artists to start looking within once again.
This is beginning to affect the appearance of modernism.
A new patrimonial art is emerging with global outreach nurtured by sacredness and cultures of ‘natural nations’, like the indigenous communities in the Americas, Africa, Asia, and Australia. This trend will meet modernism and collide with it.
When these two tectonic plates collide, a process happening now, sacred patrimonial art will break the plate of modernism. Along the break lines a number of eruptions will occur in the form of new patrimonial art centres emerging across the globe.
This will cause a paradigm shift in the art world similar to the one which happened when modernism started.
The result will be a new patrimonial art paradigm that will incorporate the values and sacredness of many cultures that have been unable to express themselves in the globalized community of today. Art in the not too distant future will reflect some of the old traditions of the past and present.
The age of modernism is barely more than 100 years and thus has a minuscule timeframe when compared to patrimonial art. Patrimonial art has been in existence for thousands of years.
When we see modernism reflecting age old patrimonial art, we will come to our senses. We will stop believing that art is for art, art is about art, and art is from art. This will challenge the concept of art as a financial asset, that the best pieces of art are the ones that sell for the most.
Every artist knows deep down that his or her talent and dedication is not for developing financial assets.
The greatest art ever produced by humankind was never produced for sale or profit. Art was not pegged down by its potential of creating value, except for the intrinsic values of perfection, culture and spirituality.
The tectonic shift in the art world and the emergence of new patrimonial art styles across the globe carries with it the potential to make art free once again by unshackling creativity.
Ultimately the reason for making art and owning art will be rethought. The concept of branding and price tags developed by the organized artists of the modern era who have reverted into factory production of their pieces for profit will be challenged.
The new patrimonial art will provide a venue for valuable traditions, spiritual and aesthetic that are quickly disappearing off the face of the earth today due to globalization. By serving the community providing it with its symbols, identity and self-esteem, by making a people’s tradition alive and active again new patrimonial will have a much wider acceptance and more functions than modernist art could ever have.
* Kovach Imre Barna is an independent spiritual teacher, thinker, calligrapher, painter, and sculptor.
A Season of Classic Films: European classics screened at cultural heritage venues across Europe
This summer, European film classics will be screened in some of Europe’s most iconic cultural heritage venues. From tomorrow until the end of September, classic films from across the EU will be screened free of charge in a wide variety of venues in 13 EU countries – from small towns to capital cities – highlighting Europe’s rich and diverse cultural heritage. As part of the wider restoration and digitisation of heritage films, the event series “A Season of Classic Films” is supported by Creative Europe MEDIA programme.
Commissioner Tibor Navracsics, in charge of Education, Culture, Youth and Sport, said: “European cultural heritage, including our great film classics, should be accessible to everyone. I am pleased to see that the Season of Classic Films makes it possible for everyone interested to be part of an experience shared across Europe, even when attending a local event.”
Commissioner Mariya Gabriel, in charge of Digital Economy and Society, added: “Cinema is an essential part of our rich and diverse European culture and is contributing to reinforce bonds between people feeling the same passion and emotion for films. Digital transformation has a decisive potential to strengthen the positive effects of culture, both economically and socially. This is the challenge of our strategy Digital4Culture, to take advantage of this successful connection between digital technologies and culture.”
The classic films season starts tomorrow at the Bologna Film Festival with a presentation of some of the restored films shot using Gaumont’s Chronochrome colour system, one of the earliest colour filming techniques. Among the classic films to be screened throughout the season are some of the best-known titles in world cinema, including Fritz Lang’s “Metropolis” (1927), Francois Truffaut’s “The 400 blows” (1959), and “Cinema Paradiso” (1988) by Giuseppe Tornatore. The iconic venues hosting the screenings include Aristotelous Square in Thessaloniki, Greece, Kilkenny Castle in Ireland, and the Piazza Maggiore in Bologna, Italy. The full programme of the season is available here.
Since 1991, the European Commission has been supporting Europe’s audiovisual sector, contributing to is competitiveness and to cultural diversity in Europe, through the MEDIA Programme. One of its most substantial actions is providing financial support to the distribution of European films outside their country of production. Every year, on average over 400 films are made available to audiences in another European country with MEDIA’s help. In May 2018, the Commission proposed to increase the budget of the programme by almost 30% for the next EU long-term budget for 2021-2027.
Within this project, Creative Europe MEDIA will also fund the restoration and digitisation of heritage films in order to ensure that the European culture is passed down to future generations. The event series for this summer was planned as part of the 2018 European Year of Cultural Heritage and reinforced by the Digital4Culture strategy.
“A Season of Classic Films” follows a first initiative, the “European Cinema Night”’, which programmed 50 free screenings of 20 MEDIA-supported films from 3 to 7 December 2018 across the EU and reached almost 7,200 people. The classic films season is expected to attract 15,000 Europeans to the free screenings.
The Sounds of the Islands: Junkanoo Cultural Festival
It starts with a deep drumbeat, a baritone sensation that vibrates within your chest. An instant tingle of rhythm journeys up your spine in anticipation of the cadence to come. What follows is nothing short of remarkable; a symphony of unconventional sounds blend together to create the most infectious melodies. This is Junkanoo: a long-standing semi-annual Bahamian tradition birthed from the islands’ early ancestors. Whistles, cowbells and even conch shells are used in this charismatic exhibition of island culture that is now revered around the world.
History of the Tradition
The earliest rumoured origin stories for the bi-annual festival stems from an African Chief by the name of John Canoe. After being kidnapped and enslaved in the West Indies, John Canoe appealed for the right of his people to partake in their celebratory traditions. The most notable time for the festival to be orchestrated is around the Christmas holiday. The most illustrious part of the festival takes place on Boxing Day and New Year’s Day at the capital island of New Providence. On these days, what was once regarded as an expression of freedom and cultural identity has now transformed into one of the fiercest national competitions. On-lookers crowd the parade routes, cheering on their favourite groups and chanting competitive mantras from the bleachers. The four most famous Junkanoo groups face off at the parades every year in hopes to win prizes and highly coveted national bragging rights.
How to Experience Junkanoo Year Round
Due to the increased popularity of the Bahamian tradition, Junkanoo can now be experienced year-round. The splashy display of costumed dancers and musicians highlight many destination-weddings. Hosts desiring to offer guests an authentic and lively environment can contract a Junkanoo band to create a unique entertainment experience. If you are in attendance at any of the local seasonal festivals, you are sure to close out the day with a Junkanoo rush out. In recent years, a junior edition of the Junkanoo competition has been added to the winter line up of events. The littlest natives of the island adorn painted faces and tiny drums in hand, skipping and twirling to the rhythmic music.
Whether you are a first-time visitor of the islands or one who calls The Bahamas home, once experienced, the rush of Junkanoo will never leave you.
Turning air pollution into art
Artists are known to take inspiration from the world around them. So it’s no surprise that some have begun shining light on one of the most pressing environmental issues of our time—air pollution.
According to the World Health Organization, every year around 7 million premature deaths are caused by air pollution, with 9 out of 10 people breathing toxic air. Air pollution is also known to contribute to climate change and so efforts to tackle it can also help address the climate crisis.
The time to act is now, and artists, like so many others are looking at ways to raise awareness about air pollution, find solutions to reduce it and even use it as a resource.
Michael Pinsky got inspired by the differences between the various types of air pollution, when he set out to make Pollution Pods. The project consists of five domes, each imitating air in five different areas of the world: Northern Norway, London, New Delhi, Beijing and São Paulo. As you move through the domes you experience varied levels and sources of air pollution.
“I wanted to have very different sensations from one dome to another,” Pinsky told UN Environment. “It’s not just a question of how strong the pollution is but that they have very different characteristics as well.”
For London, Pinsky recreates the smell of diesel. For Beijing, he mixes the smells of industrial fumes, coal or wood-based heating, and transportation emissions. While New Delhi whiffs of burnt plastic and grass, as citizens still burn a lot of their rubbish.
Luckily, the pollution is only in smell and visibility, without the actual harmful gases. But Pinsky says the experience still isn’t very pleasant. That’s the whole point: air pollution isn’t pleasant.
Pinsky hopes Pollution Pods will lead to a more “radical approach” when dealing with air pollution, particularly with transportation. “It’s not so easy to apply the same advocacy or philosophy towards different cities in the world,” he said. “But in some cases, you could turn the problem around in two years with the right policies.”
Daan Roosegaarde was motivated by living in Beijing and witnessing the city’s strive for economic development and citizen wellbeing, when he created the Smog-free Tower. The “largest smog vacuum cleaner in the world”, as Roosegaarde calls it, sucks up polluted air, cleans it and releases it back into the atmosphere.
“I thought to myself, ‘I’m not a minister, I cannot give 20 billion euros to green energy today. But I’m an engineer and an artist, I can create a clean-air park, like an oasis.’”
The premise is that the smog-free tower sits in a city park, making the air 20–70 per cent cleaner than the rest of the city. It uses positive ionisation technology, which Roosegaarde says is the only way to clean large volumes of ultra-fine particles while using little energy.
Towers are now found around the world in China, Poland, the Netherlands, and soon, South Korea and Mexico. It’s also led to a global campaign, with local partners in each country replicating the towers. Roosegaarde has now introduced the smog-free ring—made of compressed smog particles—and the smog-free bicycle as well.
“This is not utopia. It’s a pro-topia where we, step-by-step, try to improve our cities,” he said. “The grand goal is to have them not needed anymore, but until then, you do what you can to remain healthy.”
Air pollution-based ink
Anirudh Sharma was visiting his family in Mumbai, India, when he began to notice that in the evening his white shirts would gradually turn speckled with something that resembled dirt.
“I realized this was air pollution, or sooty particulate matter, made of black particles released from exhaust of vehicles,” Sharma told his alma matter Massachusetts Institute of Technology (MIT) Media Lab. “This is a major health issue.”
When he returned to Massachusetts Institute of Technology, Sharma decided to do something about the air pollution back home. So he set up Graviky Labs—a start-up that has developed a technology to attach to diesel exhaust systems to capture particulate matter. The team at Graviky treat the soot to turn it into ink, called Air-Ink, for use by artists around the world.
So far, the start-up has captured 1.6 billion micrograms of particulate matter, or the equivalent of collecting 1.6 trillion litres of outdoor air.
“Less pollution, more art. That’s what we’re going for,” Sharma said.
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