Without a doubt, 2019 will be remembered as a year of transition.
A year full of political and financial uncertainties which consequently also reflected on the art market.
Although the art world was confident, not anticipating major changes in Europe’s so-called “big apple” – London – Brexit led to the closure of some galleries and the opening of their headquarters from London to Paris, to name some of them: – White Cube, David Zwirner, Pace Gallery.
The year was enriched by the 58th Venice Biennale curated by Ralph Rugoff “May You Live in Interesting Times” which – as the title suggests – proved to be a true reflection of the climate of great changes we are experiencing, with works focused on current themes concerning international politics, environmental emergency and social problems such as the issue of migrants, the feminist movement, racial and gender equality.
On the occasion of the Biennale, the city’s foundations and museums have prepared exceptional exhibitions such as the retrospective on Jannis Kounellis at the Prada Foundation, Arshile Gorky at Ca’ Pesaro, the monograph on Georg Baselitz at the Academy Galleries, Luc Tuymans at Palazzo Grassi, Pino Pascali at Palazzo Cavanis and Alberto Burri at the Cini Foundation.
With a witty appearance the street artist Banksy, not officially invited to exhibit but also inevitable figure that this year has caused a lot of talk about himself, was also noted.
In addition to this performance followed by a mural in the Dorsoduro district, Banksy was able to anticipate and ride the Brexit wave with the work “Devolved Parliament“, strategically put up for sale by Sotheby’s on the occasion of the last London auctions prior to the exit of the Great Britain from the EU, marking the record for the artist with 11.1 million euros.
Always on time on occasions, this time anticipating Christmas, the artist offers his version of Santa Claus on a wall in Birmingham, rendering the tragic beauty of the holidays into flesh and blood.
The edible banana attached to the wall with adhesive tape and priced at 120,000-150,000 $, was a winning strategic move to get the whole world talking about it, and it is clear that the old concept of the value we attribute to things is reconfirmed to be still very much popular.
Cattelan had leapt to the headlines already in September when his work “America“, a massive gold toilet, was stolen during his recent solo show at Blenheim Palace, Oxford.
2019 was a year characterized by very important retrospectives dedicated to great artists, such as Olafur Eliasson at the Tate Modern in London, Antony Gormley at the Royal Academy, Mario Merz and Cerith Wyn Evans at the Hangar Bicocca in Milan, the aforementioned Maurizio Cattelan at Blenheim Palace in Oxford, Lucio Fontana at the Metropolitan Museum in New York and many others.
The result of 4 years of work, with almost 80 works on display, I would say that the exhibition of the year was “The Young Picasso – Blue and Pink Periods” at the Fondation Beyeler in Basel, where even the prestigious monograph on Rudolf Stingel had a huge feedback.
In international auctions the climate of uncertainty was recorded in the appearance of a smaller number of works valued above 20 million dollars, perhaps a symptom of a period of little confidence.
Despite this the general results were quite positive again this year, so much so that we have witnessed excellent records, including Jeff Koons who has reconfirmed himself as the most paid living artist in the world with the “Rabbit“, a sculpture of 1986, sold at auction in May by Christie’s New York for 91.1 million dollars.
It was a year of great changes for the historic Sotheby’s auction house – founded in 1744 – which passed into private hands following the sale last June: entrepreneur and collector Patrick Drahi bought the giant of the sector for 3, 7 billion dollars.
The main international trade fairs have registered excellent sales and the recently concluded Art Basel Miami, featuring a positive climate, seems to be no less so.
Similar to it, Frieze London has also enjoyed excellent feedback from the public and buyers, so much so that in the climate of uncertainty many have called it a bubble of happiness.
Also Fiac in Paris saw a great success both in sales and in public, a result obtained also thanks to the first benefits of the shift of interests.
The Turner Prize – established in 1984 – was for the first time assigned to all four finalists, Lawrence Abu Hamdam, Helen Cammock, Oscar Murillo and Tai Shani.
The innovative proposal came precisely from the artists through a letter to the jury explaining that at such a difficult time, their choice to present themselves as a collective is a symbolic gesture in the name of sharing and solidarity, in art as in society.
Technology, including new startups, art created by artificial intelligences or Cryptoart – a market that involves only digital works of art to be purchased with digital currency is also playing an increasingly important role in the art world.
We are in the era of interactive images and many museums are moving to accommodate new methods of using and learning. In Italy, the M9 in Mestre and the MAV in Ercolano are an example, the new generation museums that use advanced technologies and immersive installations.
The desire to live a 360° cultural experience is increasingly leading to the creation of virtual tours in many cities of art, the most recent promoted in Milan on the occasion of the 500th anniversary of the death of Leonardo da Vinci.
In recent years, online art sales have shown considerable growth (in double figures) and have produced revenues of about $ 6 billion, a sign that the art market – very traditional in structure and dynamics – is opening up more and more to new languages.
I imagine that the future of art will reserve us many beautiful surprises and also in 2020 there will be fun!
“The shades of the art rainbow are endless: choose your favorite!”