The Softpower of The Artmarket

FIRST EDITION DEBATE ON THE CURRENT SYSTEM OF CONTEMPORARY ART
SOFTPOWER
THE ARTMARKET
AND THE CONTEMPORARY GLOBAL ART AS THE NEW FOLKLORE
COLOURING THE GREY State of Body
Colouring the Grey curatorial project has opened a series of three exhibitions, by bringing forward the Romanian emergent artists in international cultural spaces, in 2011-2012. The concept illustrates an overview on the East-European identity in transition. The first was presented within Special Projects section of the Moscow Biennale of Contemporary Art 2011, under the name The Second Wave of Romanian Emerging Contemporary Artists (September 2011). Second exhibition was presented in Artists House Tel Aviv, the oldest cultural location in Israel (1934), developping the concept of State of Mind (November-December 2011). The third and last part of the series is called State of Body and is exposed within the Independents Liverpool Biennial 2012.
ISBN: 978-973-1984-86-5
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Texts by Cosmin Nsui, Oana Nsui Editing & proofreading: Oana Nsui, Anca Lepdatu, Oana Dumitru, Layout: Cosmin Nsui
Sponsors
Partners
Thanks to: Claudia Andrei, Ana Maria Badea, Lewis Biggs, Anca Crciun, Terry Duffy, Chaim Efrima, Cristi Farca, Dana Ichim (Asociaia Maia), Joli Miklos, Florin Miron, Dana Neoi, Ctlin Pantea, Ion Alexandru Radu, Simona Rdulescu, Dan Plea, Sara Scheuer, Alan Smith, Angela Toader, Eugen Voicu, Anthony Willats Special thanks to artists involved in this project Copyright 2012 Cosmin Nsui. All rights reserved. Contents of this publication may not be reproduced in any form without written permission of Nasui Private Collection & Gallery. ISBN: 978-973-1984-86-5 Printed at CNI CORESI SA
2 | Nsui Private Collection & Gallery 2012-2013
NSUI PRIVATE COLLECTION & GALLERY
CONTENTS
5
THE SOFT POWER OF THE ARTMARKET
Debate on the current system of contemporary art
51
FOCUS CRISTIAN TODIE
Introducing Theoretical Art
24
COLOURING THE GREY STATE OF BODY
Rediscovering corporal figuration in realistic key
THE SOFT POWER OF THE ARTMARKET

INTRODUCTION
5 Definitions 6 Hypotheses 6 Post Duchamp & Warhol contemporary art as the new popular & folk art 6 Folk art, a consequence of the paradigm change. The artworks folk feature 6 Contemporary art as entertainment industry 6 The public receiving, contributing to and continuing the art's folk attribute 7 Art beyond systems and institutions 7 Introducing Theoretical Art 7 The cultural capital and the economic capital of the artwork 7 Artwork addiction to the capital circulation
I.
9 Post Duchamp & Warhol paradigm: the new folk art
II.
11 Perishability as the common attribute of styles and theories
III.
12 The value of art after the twentieth century
IV.
13 The crisis of present day values
V.
15 Institutionalized art and its role as a soft power
SPECIAL EDITION FOR PREVIEW BERLIN & INDEPENDENTS LIVERPOOL BIENNIAL 2012
2012-2013 Nsui Private Collection & Gallery | 3
CONTENTS
VI.
16 The market and the industrialization of artistic values
from the second half of the twentieth century shrinking markets and emerging markets
16 The geography of contemporary art: major and minor markets, 16 The economy of cultural and artistic values
VII.
18 Art institutions as agents 18 Collectors Museum 18 The Agency-Gallery 18 Art dealer 18 Art fairs 19 Auction houses 19 Investment funds and their returns 19 The public 19 The artist
VIII.
20 The competition of art market giants
IX.
21 Corrupt art
X.
22 Emerging markets in Eastern Europe 22 Activists 23 Dezinstitutionalized institutions 23 Economy of sharing, collaborative consumption, Fair Trade
CURATORIAL CONCEPT
24 Colouring the Grey - State of Body
SELECTED ARTWORKS
26 Radu Belcin, Drago Burlacu, Francisc Chiuariu,
Felix Deac, Bogdan Raa, Flavia Piti, Aurel Tar
FOCUS CRISTIAN TODIE

51 Introducing Theoretical Art
ARTIST SHORT BIO

54 Radu Belcin, Drago Burlacu, Francisc Chiuariu,
Felix Deac, Flavia Piti, Bogdan Raa, Aurel Tar
PARTNERS
58 St Georges Hall, Best Communication Media, Certinvest, Chapman Taylor
UPCOMING PROJECT
64 Future Now, Working Title
4 | Nsui Private Collection & Gallery
2012-2013
DEBATE
ECONOMIC CAPITAL of the artwork
simulation of artwork structure in the field of production

CULTURAL CAPITAL of the artwork ECONOMIC CAPITAL of the artwork
CULTURAL CAPITAL of the artwork
Western Europe & USA
Eastern Europe & emerging states
* This material is used as a starting point for discussions on the current system of contemporary art. The recording of debates in various cultural areas will add to this material to create a subsequent book. Thank you for all comments, live or at cosmin@cosminnasui.com.
A
Photo: NSUI PRIVATE COLLECTION & GALLERY
I. Introduction
by a particular space, group or specific activity. In this material, it refers to the urban areas in general, as art generators, all around the globe. POPULAR: that can be easily understood by anyone, simple, natural CREATIVE INDUSTRIES are considered components of modern post-industrial economies and synthesize a series of characteristics1: - they represent a set of intensive knowledge activities, part of the knowledge-based economy; - include design, production and distribution activities of goods and services with high artistic and scientific creativity, respectively having intangible cultural or information / encoded (as intellectual property) assets; - have the ability to generate revenue from marketing creative products and services, as well as from the exploitation of intellectual property rights; - have the potential to generate economic sustainable growth, promoting social inclusion, cultural diversity and human development. THE CULTURAL AND CREATIVE2 INDUSTRIES are: Advertising, Architecture, Art and art market, Crafts, Design, Fashion, Movie, Video and photography, Software and computer games, Music, Visual arts and Performing arts, Publishing, Television, Radio.
rt in the 21st century is looking for a new artistic paradigm that should restore the aesthetic and commercial valuation system. The theory that this study aims at introducing is that, at the end of the 20th century and beginning of the 21st century, contemporary culture and art have begun generating a new type of urban folklore, forced, through the speed of novelty, to enter an anonymous artistic consumption and production.
Definitions of concepts
FOLKLORE: all stories, legends and creative production owned
Hypotheses: assumptions for this paper and for further discussions

2.1. Post Duchamp & Warhol contemporary art as the new popular & folk art
We define the post Duchamp & Warhol contemporary art as contemporary folk art, an art using anthropological decoding tools specific to nowadays urban areas. We also consider it a popular art, easy to understand, using very well known idioms and iconographies, globally spread. characteristic of an artwork. activities and products. Artistic genres and cultural products and any other derived products are unprecedentedly in ongoing development.
2.3. Contemporary art as entertainment industry
2. 2. Folk art, a consequence of the paradigm change. The artworks folk feature
The types of artistic emulation, known as Schools or Trends, are actually creative products generated by prototype models. This kind of art objects is derived from the interpretation of reality made by artists, from the prototype perspective. This is supplemented by the wide dissemination of artistic message to the public very wide open to interpretations. All these form the folk
The power and expansion of global entertainment industry is due to features such as simple, easy based upon which creative products are disseminated and understood unbelievably fast and by a large extent of people from different cultural areas. We hereby define contemporary art as entertainment, with features such as: mass production and distribution, general audience, high aesthetic tolerance, afterhours broadcast (after the working program), following the same audience segment in competition with show arts (music concerts, dance, theater, etc.), movie industry and TV productions. The entertainment function of contemporary art is the result of the need for relaxation, of the social cultural alternative to the time assigned to work. The need for entertainment is directly proportional to the access to free time of a society. Culture and arts are the trade support of entertainment
2.4. The public receiving, contributing to and continuing the art's folk attribute
Public frustration of educated people when meeting entertainment forms of contemporary art is recorded through the inability of selection and attraction to easiness. The speed of entertainment artistic productions shows the high level of perishability of the value and reduced cultural capital.
2.5. Art beyond systems and institutions

In reversal to contemporary art as folk art, genuine art is the one that generates research and de-automates consciousness, first of the artist, then of the viewer. Genuine art is open to anyone and no form of power or capital should have ownership monopoly on art.
DEBATE
Andy Warhol, Self-Portrait in Drag, 1981. Dye diffusion transfer print (Polaroid), 3 11/16" x 2 7/8"
Rose Slavy (Marcel Duchamp), 1921. Photograph by Man Ray. Art Direction by Marcel Duchamp. Silver print. 5-7/8" x 3"-7/8"
Art autonomy is demonstrated by the fact that it can be produced independently, outside institutions, whether public or private. The critical self-negation essential for the development of art often takes place outside institutional practices. To society, the contesting role of contemporary art is important and uncensored, even if associated to any revolution, reform or radicalism factor. Art between power (politics) and market (economic) acquires (media) addiction. Art should not exist only in and for museums and on the art market, but also with the aim to develop and always articulate new ways of critical sensitivity. Genuine art should become a tool to see and learn the world with all its contradictions. From this point of view, museums and art institutions should function mainly as depositories and laboratories for the worlds aesthetic exploration. Private or public institutions should prevent art from privatization, economic assignment and subordination to the populist logic of culture industry. In The Rules of Art (p. 104) Pierre Bourdieu records the types of art objects: social art, bourgeois art, art for art and pure art. Upgrading these categories in nowadays contemporaneity we could classify the art of Jeff Koons, for example,
in the category of bourgeois art and aesthetics.
2.6. Theoretical art

A form of genuine art is theoretical art. Theoretical art means art which is based on a theory, develops it and arguments it visually and artistically. The difference between theoretical and conceptual art is that the latter replaces the object with the concept, operating a change of language and means of expression. Theoretical art is art inspired through research by forms of science such as mathematics, geometry, physics, etc. Theoretical art investigates scientific researches on the structure of which it builds new realities. Works of theoretical art are patented as inventions and protected by industry. Their owners can use them with prototype value, but also with the opportunity to be reproduced at large scale for utility purposes. See the postulate of Cristian Todie page 51.
with no important commercial value, with dissemination and movement restricted almost always to the producers themselves. Therefore, Eastern Europe understands and defines differently the cultural capital and the economic capital of the artwork. On the other hand, recent intense exploitation within the areas of the economic powers (the Anglo-Saxon American model) of artworks accumulations of economic capital has led to various types of economies which subordinated and marginalized their cultural capital.
2.8. Artwork addiction to the capital circulation
2.7. The cultural capital and the economic capital of the artwork
The absence of Eastern European art market in the last almost six decades has produced artworks
Artifact self-sufficiency and social engagement of art have been corrupted by the forces getting in touch with it: politics, economics, media. The accepted, official, conformist art is the result of public, political corruption (as distortion), while the decorativism and entertainment art are the result of private corruption made by commercial and utility structures. Contemporary art is dependent on the movement of capital. A contemporary art oriented to the progress of the cultural capital would lead to the loss of market, just as market development involves maximizing the profit and increasing economic capital.
Photo: THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS, INC; PHILADELPHIA MUSEUM OF ART
Cristian Todie, Caddy Baroc, 2001, used into the performance action ACHAT
2012-2013
Photo: CRISTIAN TODIE
I. Post Duchamp & Warhol paradigm: the new folk art
he end of the twentieth century art has undergone one of the most radical paradigm shifts from Leonardo Da Vinci. Marcel Duchamp and Andy Warhol, the pioneers of this new artistic paradigm have each launched definitions and mechanisms that have irrevocably transformed the understanding of the function and forms of art. The former left art without the object of the professional art craft, the latter deprived it of its unique value. Many innovations have occurred successively, using these new paradigm formats, leaving, on one hand, many artists without their livelihood and, on the other hand, a great part of the public in discontent, because of the misunderstanding of art works and in extensio of artistic phenomena. Relinquishing its function as object, art was progressively charged with concept until this has become indispensable to it. The charging with concept of the artistic production is inversely proportional to the presence of the art object; it might even be absent from the encounter with the artistic discourse or the materiality of creation. Because art no longer requires
craft skills, the savoir faire is widely accessible to creators. Artistic means and stylistic methods were made available to the public, giving rise to hybrids, true folk artists, producers or co-producers (not only through interpretation) of artistic creation and different types of derivatives of artistic character. Through mimicry, these artists take advantage of this systematic confusion of cultural capital production and pursue financial resources in order to become new Jeff Koons-es. Art criticism has gradually remained without the object of analysis; it became a rigid and academicized textualism of highlyconceptual or philosophical and aesthetic discourses. The analysis of concepts transformed art criticism into a discipline of hunting footnoted quotes to build a metadiscourse on artistic concepts, lacking in object form, oftentimes dull and incomprehensible to the general public, like a network of parallel mirrors. The prophets Duchamp and Warhol have been interpreted, quoted and reinvented worldwide for more than 60 years without anyone being able to provide a real invention or an exit from the
paradigm created by them. In more than six decades, it was formed a critical mass of new folk of contemporary art, adapted to the anonymity of the speed of artistic production and of every persons 15 minutes of fame, prophesied by Andy Warhol. This folk art is currently represented by hundreds of thousands of professional artists and amateurs around the world, in the same random way in which people in the Cucuteni period, the Metal Age or the Gothic Middle Ages produced works with a common folk denominator. Then, the same materials (ceramics, iron, etc.), motifs and decorative patterns, tools were discovered and used simultaneously on an extended geographical area, similar to what we call today a global phenomenon. Nowadays, globalization occurs locally by the adoption and adaptation of macro-models into micromodels. This local micro-globalization of contemporary art phenomena makes the styles of the artists resemble one another very much, without discovering great differences between the cultural areas of origin. In search of originality, artists have come to be similar.
Aurel Tar, GIBRALTAR ultraperiferic art corner, Pastorale Orangerie, Rpa Roie Sebe, Romnia, 2010 performance, action
2012-2013
Photo: AUREL TAR
DEBATE
II. Perishability as the common attribute of styles and theories
aking into consideration the fact that a paradigm shift generates a folklore specific to itself, types of folklore, developed after various stylistic periods of the history of art can be followed. Art objects herein called folk objects are the product of mechanisms started from a model based on extensive production, regardless of the historical period. One can identify examples like the Venetian School having Titian as prototype, the Florentine School with Botticelli, the Little Dutch Masters with Pieter Brueghel the Elder, the School of Rubens, the one of Rembrandt, Pre-Raphaelites with Raphael, the Barbizon School beginning with Constable and continuing with Millet, the cubist folklore around Picasso, etc. Putting scientific research at the center of art, Leonardo Da Vinci generates on a historical scale the most important art paradigm shift until the twentieth century.
Strong Trends or Schools manage to impose themselves as Styles. Styles are conglomerates composed of a prototype, its
Jeff Koons' sculpture Puppy, a 12 metres high puppy made of fresh flowers built sculpture for the Documenta in Kassel 1992. Nowadays its place is permanently at the front of the Guggenheim museum in Bilbao
variations (Trends/Schools), public perception of the time, values and theories that contain stylistic features. They practically form what we call in this material folklore/folk art. Each style goes through three stages: avant-garde, consecration, mannerism. The distances between the stages are different from case to case. These styles, actually types of folklore, once absorbed by their contemporariness, expand, then shrink and are replaced. According to some researchers3, in order to be established to an audience, a style needs thirty years of peace, three years of war and three months of crisis. The theories, the conceptual scaffolding of the Styles, are also subject to perishability. Paradigm-changing prototypes actually reveal new functions of art and specific forms to valorize it. Also, a crisis of values and theoretical systems is the sign of the paradigm going into the mannerism stage.
Photo: T NOEB SE
III. The value of art after the twentieth century
ere is how Pierre Bourdieu explains the value of art4:
The producer of the value of the work of art is not the artist, but the field of production, as the universe of faith, which produces the value of the work of art as a fetish, determining faith in the artists creative power. Since the work of art has no value as symbolic world unless it is known and recognized, that is, socially established as a work of art to viewers endowed with the disposition and aesthetic competence knowledge necessary to know and recognize it, the science of works has as object not only the material production of the work, but also the production of the value of the work or of the faith in the value of the work, which is the same thing. Therefore, it must take into account not only the direct producers of the work in its materiality (artist, writer, etc.), but also all the agents and the institutions involved in the production of the value of the work by producing faith in the value of art in general and the distinctive value of a particular work of art (i.e. critics,
art historians, publishers, gallery managers, dealers, museum curators, patrons, collectors, members of the courts of consecration academies, salons, juries, etc.) and all political and administrative bodies having competence in art (various ministries - depending on the period The National Museums Department,
Field of production
The producer of the value of the work of art is not the artist, but the field of production.
DIRECT PRODUCER OF THE WORK
ARTIST
AGENTS PRODUCERS OF THE VALUE OF THE WORK

CRITICS, ART HISTORIANS PUBLISHERS GALLERY MANAGERS, DEALERS MUSEUM CURATORS, PATRONS, COLLECTORS MEMBERS OF THE COURTS OF CONSECRATION ACADEMIES, SALONS, JURIES POLITICAL AND ADMINISTRATIVE BODIES HAVING COMPETENCE IN ART PROCUREMENT, GRANTS, AWARDS, SCHOLARSHIPS SCHOOLS OF FINE ARTS PRODUCTION OF CONSUMERS ABLE TO RECOGNIZE THE WORK OF ART
Department of Fine Arts, etc.), which can interfere with the art market, either through verdicts of establishment, with or without economic benefits (procurement, grants, awards, scholarships, etc.), or by regulatory measures (tax incentives offered to various patrons and collectors, etc.). We must not forget the members of the institutions involved in the production of producers (Schools of Fine Arts, etc.) and the production of consumers able to recognize the work of art as such, as value, starting from the teachers and the parents responsible for the first inoculation of artistic dispositions. (Pierre Bourdieu, The Rules of Art, p. 295-296) So, defining the context of producing the value of the work of art is relevant in analyzing the value of the work of art and of the artistic creation. The current art market moved the center of production of this artistic value decisively from the artist to the field of production. This industrialized field of production is not only the producer of artistic value but also the producer of artists and of the public receiving these values.
2012-2013
DEBATE
IV. The crisis of present day values
Photo: AUREL TAR
Aurel Tar , DOITSCH PROIEKT - 2 EURO, 2008, acrylic on canvas, 150 x 150 cm
he power of a Style to impose itself appears in the context of its functionality, its ability to produce values. After the values enter the phase of decline, they become models for and witnesses to stylistic sets related to historical scales. The post Duchamp and post Warhol paradigm went beyond the avant-garde and the establishment phase and reaches the mannerism phase through a crisis of the values of the paradigm. The success of the post Duchamp and post Warhol art scene is due to being built on the mechanisms of an art market economically capitalized, in an aggressive manner, at global level (see above the creative industries above and below the variety of active institutions-players). In a post-capitalist world, one of the aesthetic values of contemporary art is the result of the exploitation of economic capital inflows.
Bogdan Raa, HandGun, in Piaa Presei Libere, within Proiect 1990, Bucharest, Romania
2012-2013
Photo: LUCIAN MUNTEAN
V. Institutionalized art and its role as a soft power
DEBATE
he institutionalization of art finds many forms and roles for all types of players on the art scene. The funding system influences the creation and the work of art in a variety of methodologies without precedent so far. The public sector institutionalizes art through commissioning, purchasing, promotion, etc. and uses its propaganda potential to recognize power (national, political, historical, ethnographic, religious, military, etc.). This sector also gives art an educational character, for the imposition and maintenance of specific values,
through their wide dissemination. The power of dissemination and the status of official art, recognized and thus validated is a type of soft power. Typically, the forms in which this type of contemporary art is manifested are conservative. The private sector institutionalizes art in order to use its financial investment attributes and to build pyramid schemes in order to increase value and profit. Culture and art are under a corporate umbrella, engaging tax cuts for the corporations. Private corporate sponsorship connects art to corporate values and culture. Copyright,
reproduction and copying regulations are forms of control and restriction of the freedom of movement of creation and shows the high degree of interdependence of the form of finance. Creative labor rights are regulated and independently traded as a commodity on the copyright market. Thus, public and private institutions worldwide are engaged in the propaganda of systems where creation is seen as an instrument or a commodity. Knowledge is limited by control; it can no longer provoke the system due to financial interdependence, and gets to be diluted in the play of production.
VI. The market and the industrialization of artistic values from the second half of the twentieth century
he industrialization of culture is a factor that became dominant after the second half of the twentieth century in Europe and USA. The term cultural industry was used by sociologists Theodor W. Adorno and Max Horkheimer in 1947 (The Dialectic of Enlightenment) to represent all the techniques of production and reproduction of cultural works with social impact. Cultural industries have become the main model of development in the global world culture. The effects of this industrialization make art and culture accessible to large numbers of people who become consumers and thus producers of several types of markets. They can be minor or major markets, in terms of geographical origin (from the West to the East) and of distribution and consumption of artistic production (various forms of art, from the object itself to gadgets). Contemporary art is a creative
2012-2013
and entertainment industry, in which aesthetic values are supported and permanently equaled to commercial values. The field of production (to which Bourdieu refers) in post-capitalism is based on the circulation of values and finding their commercial correspondent. The art and culture market is the place of presentation and meeting of demand and of supply of artistic and cultural products.
The geography of contemporary art: major and minor markets, shrinking markets and emerging markets
Contemporary art is circulated, produced and traded mainly in cultural spaces that overlap with the geographic distribution of economic power. The maps and charts published regularly
by Artprice (www.artprice.com) accurately state which are and especially which are not the areas favorable to the production and consumption of contemporary art. Globally speaking, artistic values have their commercial counterpart in the economic values of the spaces of geographical origin or other consumer areas. An artistic value can be commercially converted by the market of origin, if there is local demand, or by the global consumer market, where there is power of investment and commercial reporting to that value. Depending on the economic power, one can distinguish the major markets, with an appetite for economic investment, usually in cultural and artistic expansion, through the products offered to consumption (including on minor markets). The major market serves a physically expanded area, exceeding its national and geographical boundaries, both through production and especially through
DEBATE
The emergence of minor markets gives them the title of emerging markets. They become interesting for major markets, through the especially speculative alternatives of short-term profits that they can provide. Typically, new emerging markets overlap with emerging economies. By contrast, shrinking markets are markets where the economic capital is relocated to other areas with higher growth potential (see emerging markets).
The economy of cultural and artistic values

In this new economy of cultural and artistic values, the standards of classical culture are in a process of profound redefinition depending on the demand, the production and the distribution of cultural products. The commercial impact of culture and art is without precedent. Art and culture are institutionalized at a public and private level. Art institutions are agents, vehicles through which art is produced, distributed, marketed. Several types of economies of artistic values can be distinguished. There is an economy of transactions with art objects, an economy of arts services, an economy of derivatives, a copyright economy etc.
Daniel Buren, Monumenta 2012 @ Grand Palais, Paris. The Monumenta 2012 exhibition invited Daniel Buren to create a work for the monumental space of the 45-metre high glass atrium in the 13,500-square-metre nave of the Grand Palais in Paris. The annual exhibition featured Anselm Kiefer in 2007, Richard Serra in 2008, Christian Boltanski in 2010 and Anish Kapoor in 2011.
consumption. Minor markets stand out as markets where consumption is greater than domestic production can support, and this profile actually creates them. Thus, they these become outlets for major markets. Exporting and importing
culture develop in this twentieth century a global economy of values and expand beyond the primary level of cultural diplomacy, which ensures knowledge and reciprocal politically correct recognition of the cultures from different geographical areas.
By consuming culture, art and media, people get in touch and are exposed to the same messages, they consume the same object, have the same values, the same representations, similar knowledge, regardless of gender, ethnicity, religion, level of culture. Contemporary art coagulates the society in communities, maintains their stability and social structures and creates an unconscious solidarity, defined by sociologists and political scientists as a global neotribalism5.
VII. Art institutions as agents
Private contemporary art museums have become a catalyst for investment and a guarantee for risk insurance. This guarantee is given by continually adding value to works in museums, by the heavy rotation movement in which they are entered. The speed with which postcapitalist values are established is an effect of the global financial crisis that needs to find alternative areas for financial security such as art and other luxury industries. Museums of contemporary art, generically called by Hito Steyerl Global Guggenheim, serve the same role as the stadiums for sporting events. For an artist to be professional, he must play on these stadiums of the art world, whether they are called Guggenheim, MOMA, Pompidou or Tate. A goal scored from a gate made of two backpacks on a green space is like an exhibition in a gallery in Bucharest or Tehran. The professional peek of an artists career is to be exhibited, circulated and purchased by a museum of contemporary art. The museum guarantees the value (risk reduction), creates the landmarks of artistic value and
Collectors Museum
indirectly credits the high growth potential. The betting agencies in the art world - auction houses, the public who buys tickets and secondary derivatives such as gadgets, the media industry, the publishing industry and the art books industry are found in synergy when a contemporary artist reaches the peak of his career. The Museum Trustees or the people in the boards of museums form a network of collectors who contribute through financial donations or art objects to the collections of the museums. The taste, the personal collection and the financial support form a system of interests connecting selected galleries with museums (private collections fuel public museum collections).
selling works of art also means promotion. The gallery marks the fields of production and the fields of consumption and seeks and finds an audience that reacts to the artistic product. The gallery creates a critical mass of small and medium collectors allowing the artist to continue his career and feeding private collections.
The art dealer

Art dealers are like capital markets brokers, they are people who have contacts and knowledge of the specific market. They may represent different interests (galleries, collectors, private museums). Art dealers do not invest in cultural promotion and are aware of the economic capital, not the cultural one. For them, finding artistic products is done by systems similar to head-hunters. The traded artists pool is higher than that of a gallery, and involvement in promoting art is reduced.
The Agency-Gallery
The gallery is the agency that commissions artistic values and guarantees them by associating them with its own brand, which it seeks to strengthen and impose on permanent basis. The gallery works with a portfolio of artists organizing exhibitions and transactions. For most of the galleries,
Art fairs
By increasing standards, art fairs were positioned at the level of the luxury goods industry. Sets of conditions and filters allow
DEBATE
access only to certain galleries and networks of galleries in order to show and sell the production and the artistic portfolios. The transactions in the art fairs, like those of auction houses, aim to maximize profit (increasing economic and cultural capital by circulation and recognition). When a campaign for an exhibition is activated, the main target of reporting is, as in any other branch of industry, the financial one. To this there are added other types of indicators: cultural, educational, media, etc. In quantifying a marketized public, the amount (rather than the quality) of participation in artistic consumption becomes more important. Art consumption is stimulated by large scale events, such as Biennales, art projects in the public space, mammoth museum productions etc. The total visual spectacle, within the tested parameters of the Hollywood model, receives artistic declensions at the level of the budgets. Basically, the entertainment coordinate is one that manages to achieve ambitious targets for tens of thousands of spectators, consumers of artistic events. in order to turn him into a registered and controlled brand on the consumer market. This success requires a team specialized in all branches of the main and related activities: production of works, control of works, organizing exhibitions and events with internal and external logistics, monitoring, legislation on contracts and copyright, national and international quotations, presentation in spaces with closed circuit and open circuit, lobbying for awards and scholarships, advertising, media lobbying, the use of public sales tools, fundraising, attracting capital, constant communication with collectors and investors, making productions for the book industry (books, albums, catalogues) and gadgets for the secondary entertainment industry. At the same time, the power of dissemination and rapid embrace of the patterns by direct imitation shows us the folk component of contemporary art reduced to the industrial control of the artists brand. The transaction price of a work must ensure the costs of the team and of all these activities. Without this whole package of services, which must be financially supported, the artist does not become known and is traded at a lower price, often close to the price of the materials used. The material can also be a factor in assessing the final selling price. It is known that during the Quattrocento art works costs were quantified in the amount (ounce) of color used, the most expensive being gold, silver and ultramarine blue. Similarly, contemporary art works in precious metals remain the favorite investments in the arts. (For the Love of God, Damien Hirst, 2007, platinum and diamonds worth 19 million euros, was traded with 75 million euros).
Auction houses
Auction houses make up the secondary market segment in which art is sold as it exits the gallery circuit (considered as primary market). The mechanisms of auction houses form, by public sale, the art market quota system. Indexed art market quotas are processed and provide financial tools as the performance of artists and of art works (see www. artprice.com). The works can get to auction houses through private sale, expropriation, transformation into liquidity etc. The houses do not sell under the market price and seek a significant appreciation per unit traded. Thus, successive resale results in maximizations of the economic and cultural capital. This increase is favored by a closed environment, achieved through careful selection of the works and batch control.
The artist
The success of a contemporary artist is the concentrated work of the production field around him,
Investment funds and their returns
The collective financial mechanisms of investment management provide a framework for forming and strengthening the artistic value. Each fund has a growth capacity ensured by the strength of the liquidity of art works in a limited period of time (maximizing economic capital through storage and resale at the best moment)..
Photo: DAMIENHIRST.COM
The public
The public of the twenty-first is regarded as a target to be achieved.
For the Love of God, Damien Hirst, 2007, platinum and diamonds worth 19 million euros, was traded with 75 million euros
VIII. The competition of art market giants
he global crisis of values with all its derivatives echoes in the global art scene and market. The accelerated capitalization of the art market and the industrialization of artistic production are effects of the economic crises of searches for other units of measurement for capital investment, gold or real estate being no longer sufficient in this currency reporting crisis. The recent interest accelerated by investments in art made possible artistic productions which were gigantic in terms of budget, size and logistics. One may notice that the contemporary culture follows the general structure of the distribution of wealth in the capitalist world, where 3-5% of the participants have control over and dispose of 70-80% of resources (material and immaterial labor, production budgets, state subsidies etc.)7. Just as in the case of other spheres of human activity, art and culture are dominated by fierce competition principles, forcing the majority to be subject to a struggle for subsistence. Museum networks are among the largest supporters and beneficiaries of such artistic productions, together with networks of top international galleries. The phenomenon of contemporary art biennale is extended globally (from Ukraine to South Africa). In times of crisis, these budgets
present an impressive increase nourished by the competition of art market giants. The capitalized art market is a good alternative to financial investments in times of crisis. Also, speculation of this economic dimension of art brings new indicators and hierarchies of values similar to those in the sports world. Hyper-productivity ensures huge artistic productions that guarantee emotional shock, in huge events as Biennales, Documenta or Manifesta. The aesthetic and conceptual value extracted by Duchamp and Warhol outside the scope of the art object breaks the couple art object - artistic value. This separation made it possible to integrate the creation in one of the most financially speculated forms in
Over one hundred biennial organizations operate around the globe. They often share similar objectives, practices and considerations, from curatorial and artistic strategies to political and economic agendas. Biennial map provided by Biennial Foundation
Media participation, PR and marketing are budgeted tools integrated in the artistic production that ensures the curiosity of the public and media interest.
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Photo: WWW.BIENNIALFOUNDATION.ORG
the history of art. The circulation of contemporary art works shows strong financial ties between all participants in the field of production: art producers, art dealers, gallery, art fair, collector, art critic, auction house, museum, publications, etc. Media publications are also financially related to the artistic values promoted in the art market. The art freed from the object crafted by the artist can be speculated with amazing speed globally, making it a financial vehicle of the rich. The exorbitant prices of contemporary art works such as those of Jeff Koons, Damien Hirst, and Takasi Murakami became inaccessible even for the nouveau riche. The financial value of art has become the attribute of Forbes billionaires and is measured in production budgets and teams constantly engaged in the artists studio. The circulation of money in art shows how many of these artistic values are exploited in order to bring direct profit to investors and indirect profit of those involved in supporting the entire circuit. The talent is estimated in the artistic quota indexed in specialized publications that calculate with mathematical algorithms expressing the yield per square centimeter in public transactions.
DEBATE
IX. Corrupt art
ne of the observed effects of the industrialization of contemporary art is that art markets can corrupt the artistic act, in different ways. The forms and genres of art are financially distorted by the art market. Banksy is the model of such corruptions, by capitalization the pop success of an anonymous street art phenomenon. Behind the name transformed into a successful brand of the anti attitude there is most likely already a team of artists, PR and communication monitoring transactions and media effects. The huge amounts at which a stencil or graffiti are traded show the anomalies developed by an art market controlled by capital and less by aesthetic values [Banksys record in a public sale is over 1.5 million euros, Keep it Spotless (Defaced Hirst), 2007]. Most times, the ethics of financial systems does not distinguish between money according to their origin. Likewise, the contracts in the art world maintain the confidentiality of customers, routes and sources of money in order not to provoke issues. Black money gets into the world of contemporary art and is a source of deposits. Complex systems generate profits and create values by spectacular sales, lobby for awards,
Banksys record in a public sale is over 1.5 million euros, Keep it Spotless (Defaced Hirst), 2007
Photo: ARRESTEDMOTION.COM
exhibitions and residencies, donations of collections, rebuying works of art in auctions etc. The art market not subject to taxation seems to be safer in relation to the fiscalized financial mechanisms of the giants of the art industry. The abuses and corruption of cultural managers are new networked phenomena that pervade private and public institutions. Other workers in the creative industries only benefit from the financial results of their work in a small degree and enjoy the audience points which are not controlled by them, but by the abovementioned systems. Opacity in the art world can be a sign of corruption or of speculative construction oriented towards financial profit. Contemporary art is produced, financed and designed for
accumulation of surplus - called economic growth. Transforming art into private ownership and profit makes it a product of the elites (i.e. an aristocratic art). Contemporary art forms are thus sophisticated types of social discrimination. In the same way as other products of the luxury industry, huge or eccentric productions of contemporary art have broken the ecological balance with the environment, with responsible consumption and with the ethics of the transaction values. Hito Steyerl is more radical: Contemporary art feeds on the crumbs of a massive redistribution of wealth widely, from the poor to the rich, accomplished through a class struggle under way. Guggenheim Global is a cultural refinery for a set of post-democratic oligarchies, as numerous international biennales are responsible for the upgrading and reeducation of the growing population. Thus, art facilitates the development of a new multi-polar geopolitical distribution through the engagement of often ruined economies, fueled by internal unrest, by class conflict, by radical shock and policies of awe. Thus, contemporary art not only reflects but actively intervenes in the transition to a new world post - Cold War. It is a major player in the unequal promotion of pseudo capitalism (...).6
X. Alternative systems to the main markets for contemporary art
Emerging markets in Eastern Europe

Emerging art markets of Eastern Europe still face the historical bottlenecks of the lack of free markets during the communist period, in which the State was the sole sponsor and purchaser of artistic productions. The art trade was restricted to some antique art shops and ranked as prohibitive because it belonged to the bourgeois social class. The communist period left long-lasting marks by denying the commercial role of the artistic product, understood with a pejorative role, and without aesthetic value. The lack of economic value of the art object made it available to be loaded with historical value, with a propaganda or counter-propaganda role. Thus, the contemporary art of the Eastern Europe is profoundly marked historically but has a disastrous financial report.
Activists
There are activist groups such as ArtLeaks7 that make the
purpose of contemporary art to expose the myth that there is no alternative to the global capitalist system and that critical thinking is corrupt. They reconsider the world without the domination of profit and exploitation, from the micropolitical and micro-economic level in the analysis of relations and human creation. The economic, political, intellectual and creative empowerment should not be linked to capitalist or communist political structures. People freed from faith in religion trust science and various disciplines which analyze the world critically. The specialization in the capitalist society places knowledge in the service of the dominant social classes, say the people from ArtLeaks. Individual research serves private interests; therefore research based on critical discourse is not institutionally supported. In principle, critical knowledge should not be comfortable and should be distributed in institutionalized educational systems. Social classes are not structured as bourgeoisie and proletariat. As it evolved,
this couple may be reexamined in the antagonism labor and capital. Transforming society reconfigured the productive powers which now require a critical rethinking of strategies and objectives. Contemporary art is a creative space without geographical spatial identity. However, it is taken into account when it is produced by the world powers or super-powers: the art created in the twenty-first century in Kyrgyzstan or in other countries that do not have pavilions at the Venice Biennale, for example, is not an active part in the global history of contemporary art. One may note that only mature markets and art scenes can financially lift creative persons to impose themselves to a wide audience and to a specialized one, of professionals. The options to improve this model can come from within it, by anarchic forms such as strikes, criticism, deinstitutionalization, piracy, etc. (not encouraged) or from the outside, from areas not yet exploited by civilization and cultural industrialization (Eastern
DEBATE
Europe, Central Asia, emerging countries etc.). economy and the social economy. Guri proposes a provider art in which artists work under employment contracts and collaborate with society. These types of events developed by artists in a collaborative way are defined by the Director of the Biennale de Paris as invisual artistic practices. These practices develop creative services and not art objects. And the effects of art are actually the end product of the artistic act. According to Alexandre Guri, artists must participate in meetings in public and private institutions and companies that need restructuring, providing views and solutions different from those of experts in the field. The Biennale de Paris is an example in the reverse direction, meaning that the artist is the one who recovers an institution; the institution does not recover the artist, as it usually happens. It is a biennale with no imposed theme, no curator, and no spectator. Art institutions can be reformulated based on artistic practice that questions the foundations of art. Art should not be institutionalized by the Ministry of Culture, a legatee, a regulating factor in the arts and the infrastructures of the cultural arts systems. The terminology of art is associated to the practices of the Biennale de Paris to reopen the investigation of new terms to redefine the new artistic practices. An example of a redefined artistic activity is the artist Elisa Bollazzi, concerned with the development of an artistic exhibition project consisting of micro-collections of broken fragments that belonged to famous art objects. These physical fragments of other works of art are thoroughly indexed and stocked beginning from the time they were (at the limit of legality) decomposed and taken from museums or public spaces. By mixing these fragments, she makes up her own work of art, after an original concept.
Deinstitutionalized institutions
Economy of sharing, collaborative consumption, Fair Trade

Contemporary art, exploited and absorbed by the financial systems can still search for its resources in other concepts such as the economy of sharing, collaborative consumption or fair trade, whose essential feature is the trust between individuals. These new social and economic phenomena refer to markets built on contributory participation among individuals: peer-topeer markets (already known and commonly used concepts such as ZipCar, Airbnb, CouchSurfing or eBay). -------------------------------------This material is used as a starting point for discussions on the current system of contemporary art. The recording of debates in various cultural areas will add to this material to create a subsequent book. Thank you for all comments, live or at cosmin@cosminnasui. com. Cosmin Nsui, Oana Nsui, August 2012 --------------------------------------
One of the institutions pirated and deinstitutionalized offering the power of example and a case study is the Biennale de Paris (http://biennaledeparis.org/). It is an unusual biennale: after being founded by Andre Malraux in 1959 and abandoned by the French public institutions, its brand was registered and relaunched in 2000 by a team of artistic activists. The Biennale de Paris has kept its name and develops a set of artistic processes, which do not have the cyclical rhythm of a biennale, are not organized as a unique curatorial project, do not have a national space or targeted and fixed audiences. The biennale records various artistic processes (political, economic and ideological), of non-institutional type, in the very place where they are made - anywhere in the world, and communicates them in its publications, which are also irregular. The efforts of the biennale are to deinstitutionalize art and to reject the use of the art object, believed to have become alienated because of the art market. The biennale attempts to redefine art by using criteria reluctant to the idea of an artist in its traditional form (by the manufacturer in the market, surrounded by its field of production). The Biennale de Paris refuses to participate in what is conventional in the art world today. Blending genres, exploring the boundaries and practicing the redistribution of roles, the Biennale de Paris allows art to arise with accuracy especially where it is not expected. Alexandre Guri, the director of the Biennale de Paris, defines the art market as a primitive, barbaric market, centered on the art trade. In his opinion, the art market should be centered on the services
Notes: Ana B obirca, Alina Draghici, Sorin Dumitrescu, Measuring Creative Economy Case study: Romania, Romanian Economic Journal, 2009 2 DCMS (2001), Creative Industries Mapping Document 2001 (2 ed.), London, UK: Department of Culture, Media and Sport 3 Florin Colceag, http://austega.com/florin/ 4 Pierre B ourdieu, The Rules of Art, Art Publishing House, 2012 5 Michel Maffesoli, Robert D. Putnam, web sourse http://en.wikipedia.org/wiki/Neotribalism 6 Hito Steyerl, Politics of Art: Contemporary Art and the Transition to Post-Democracy, 2010 7 Art leaks, web source http://art-leaks.org
1
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Nsui Private Collection & Gallery | 23
CURATORIAL CONCEPT
Colouring the Grey State of Body

The state of body represents a more profound and deeper approach of the corporal, visceral identity, specific to Eastern Europe.
BY COSMIN NSUI
omanian contemporary art has been conissues. State of Mind identified a nostalgia expericerned with body representation, since the ence mixed with a certain adaptability complex, a sort 1980s, often with usage of it as a method of de-individualization. This last part closes the equaof introspection. This approach was the tion, revealing an appetite for the material as well as perfect substitute for the mainstream reality reprefor different forms of body representation. Alienated sentation, highly ideologically converted. Thus, representations or (non)human mutations are favored forms of irony, sometimes of protest and different by the usage of new materials (backlit, steel, foam formulas of displaying the concept of individuality support painting, synthetic resin sculptures, polymer found the perfect support in it, compounds, artificial leather) and during that present time of social by the keenness for experiments About Colouring the classes uniformity strategies. inspired by science and medicine. Consequently, the body became a Grey curatorial project refuge for a reality ideologically Seven artists bring their internot converted and the corporeality pretations of body, material and Nasui private collection&gallery, gathered the present generations concept to the Colouring the Grey Bucharest, Romania presents the project interest for a specific form of mateexhibit. Colouring the Grey within the Indepenriality. The supermarket shapes other dents Liverpool Biennial 2012, between types of corporal relationships and September 21 and October 21, 2012 in St. Georges Hall, Gladstone and Dickens For the 80s generation, it is the specific physical desires, studied Galleries. material that gives meaning and by Francisc Chiuariu in his recent Colouring the Grey curatorial project painting series Forever Ikea. significance to the artwork. Most has opened a series of three exhibitimes, it is it that generates work Bogdan Raa introduces water tions, by bringing forward the Romanian and, very often, breeds the idea volumetry among the new mateemergent artists in international cultural itself. Rough figurative art, opporials already used in his postspaces, in 2011-2012. site to the official reality, testifies genetic sculpture. New forms of The concept illustrates an overview on the East-European identity in tranthe artists intervention through apparently anatomical, organic, sition. gesture, touch, cut, paint, line etc. yet inanimate constructions are The first was presented within made by Felix Deac from synthetic Special Projects section of the Moscow Post 2000 Eastern Europe geneleather, in a hyper-realistic style. Biennale of Contemporary Art 2011, ration returns to this legacy, dating Tranzit and perishability repreunder the name The Second Wave before the fall of the Iron Curtain sent the states of the body in of Romanian Emerging Contemporary and reinstitutes interesting links Drago Burlacus new paintings. Artists (September 2011). over time. Rediscovering corporal Humanism hidden in techno Second exhibition was presented in Artists House Tel Aviv, the oldest cultufiguration in realistic key is a sfumatto has been the recent ral location in Israel (1934), developping common interest of young artists concern of Aurel Tar. Chiaroscuro the concept of State of Mind (Novemfrom Eastern Europe. technique is an artistic effect based ber-December 2011). upon identity researches, present The third and last part of the series The first part of the curatoin the paintings of Radu Belcin and is called State of Body and is exporial project, The Second Wave..., Flavia Piti and rebuilds, through sed within the Independents Liverpool Biennial 2012. opened the series by reviewing body language, an European idensome Eastern European identity tity.
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WWW.INDEPENDENTSBIENNIAL.ORG
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Radu Belcin, Untold things, 2012, oil on canvas, 100 x 80cm

Radu Belcin, Self Improvement, 2012, oil on canvas, 120 x 100 cm
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Drago Burlacu, Study V, 2012, 40 x 30 cm, oil on glossy sheet
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Drago Burlacu, Waiting crowd, 2012, 30 x 66 cm, oil on stainless steel sheet
Drago Burlacu, Study IV, 2012, 40 x 30 cm, oil on glossy sheet

Drago Burlacu, Beyond reflection, 96 x 66 cm, oil on stainless steel sheet
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Drago Burlacu, Beyond reflection, 96 x 66 cm, oil on stainless steel sheet
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Francisc Chiuariu, Outdoor summer 6, 2011, oil & ink on backlit, 80 x 120 cm
Francisc Chiuariu, Outdoor spring 2, 2011, oil & ink on backlit, 80 x 120 cm
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Francisc Chiuariu, Forever Ikea IV, 2011, oil on canvas, 80 x 120 cm
Francisc Chiuariu, Forever Ikea V, 2012, oil on canvas, 80 x 120 cm
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Felix Deac, Eidetic 2, 2010, silicon, poly rubber, make-up, mixed media, 322218 cm
Felix Deac, Agglomeration, 2011, silicon, poly rubber, make-up, mixed media, 54030 cm
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Felix Deac, Eidetic 1, 2011, silicon, poly rubber, make-up, mixed media, 18 x 13 x 15 cm
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Flavia Piti, Overpassing the past, 2012, oil on canvas, 80 x 100cm
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Flavia Piti, Soul learning to live II, 2012, oil on canvas, 120x100cm
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Aurel Tar, Tempelhof Necklace 2, 2012 acrylic on canvas, 120 x 120 cm Aurel Tar, Luise red kissBerlinicus series, 2012 acrylic on canvas, 120 x 120 cm
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Aurel Tar, Wonderful collapse, 2012, 4 pannels, each 80 x 150 cm, modular painting
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Bogdan Raa, Trying to Keep Life, 2012, polyester, synthetic resin, fibre, paint, metal, water, 153 x 36,5 x 17 cm
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Photo OXANA TORNOREANU
2012-2013
Bogdan Raa, Trying to Keep Life, 2012, polyester, synthetic resin, fibre, paint, metal, water, 153 x 36,5 x 17 cm
2012-2013
Photo OXANA TORNOREANU
Bogdan Raa Round and Round, 2012, polyester, synthetic resin, fibre, paint, metal, 105 x 86 x 41 cm
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Felix Deac Artificial Life 01, 2011, silicon, poly rubber, make-up, mixed media, 150 170 70 cm, page 46 - details
Felix Deac Dead Pillow, 2011, silicon, poly rubber, make-up, mixed media, 18 x 38 x 38 cm page 49 - details
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Cristian Todie, Volume 2D, 2012, folded paper
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WWW.ART-THEORIQUE.COM
FOCUS
Introducing Theoretical Art

My theoretical art concentrates on the aesthetics of theory and on its artistic potential.
BY CRISTIAN TODIE
ccording to Leonardo da Vinci, art must be based on a theoretical knowledge of nature. That is also the case for me, but it is essential to remember that theoretical and mathematical values are perishable. My theoretical art concentrates on the aesthetics of theory and on its artistic potential. Building a personal creative universe is essential to the authenticity of works of art. In 1977, it became clear to me that having a vision based on the three existing dimensions and the singular dimension of time would prevent me from developing a truly new and original work. To tie the world of general relativity to the quantum universe, physics theories add new dimensions to the four existing dimensions in order to open new horizons. In search of new artistic matter, I adopted the opposite method, that of reducing the number of dimensions. The industrial process Folding Volume 2D proposed in February 2012 as well as the Volume 2D patent obtained 10 years ago exist as theoretical art that, in addition to their originality and novelty essential to their patentability, are
based on the idea that a geometric space with memory, with parameters that differ from the metric nature of objects in the printing world, is the ideal universe for experimentation. The image reproduced on a stack of sheets appears projected trapped in the mass of paper. One can imagine in reference to this spatial volume that each of the parallel levels memorizes the whole of the volumetric and chromatic values that pass through it and that the intervals between these images from one level to another contain a space-time value that reveals the direction of the movement. In the hopes of going back to the origins of these forms and volumes, the mathematical memory of this mass provides for experimental manipulations that, through spatial fractures, projects the original object into another space, that of a parallel reality. This medium, provided by the printing industry, once intelligently folded or sliced, allows for the image and original forms to reappear in refractions, reflections and volumetric anamorphoses. The works resulting from this process help spectators become accustomed to a new mathematic vision.
MY CREATIVE UNIVERSE CONTAINS:
2 SPATIAL DIMENSIONS & 1 SPACE-TIME

DIMENSION
MY ARTISTIC ACT IS
A FRACTURE OF SPACE-TIME,
THE OPENING OF AN ESCAPE HATCH FROM OUR CURRENT REALITY
MY WORKS MEDIUM IS
MATHEMATICAL MEMORY
Cristian Todie
SCULPTOR, PAINTER, INVENTOR LIVES AND WORKS IN PARIS, SINCE 1978. HE IS THE PROMOTER OF THEORETICAL ART.
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Cristian Todie, Volume 2D, 2012, simulation

Cristian Todie, Volume 2D, 2012, folded paper

Cristian Todie, Volume 2D, 2012
2012-2013
Cristian Todie, Volume 2D, 1999-2002

ARTISTS SELECTED BIO
Drago Burlacu
Drago Burlacu balances in wide rage of styles and painting techniques, from new expressionism to bad art and realism. Burlacu perfected a manner of visual rendition, by which he simplifies narration and figurativeness in order to capture the emotion of the characters relationships. Drago Burlacu removes the details of portraits in Royal Couple, Erasing Light, Unknown or The Colour is in the Shadow so he would not divert the focus from the outlined beauty of the relationships intimately creating themselves beyond the physical presence of the characters.
Bogdan Raa
Bogdan Raa is a sculptor from the young generation of the artists. His new hybrid realism is finding new genetic forms of human anatomy in search of a new posthumanism. Raa multiplies human parts (fingers, ears, and so on) and combines them into new life forms. The newborn creatures seem to result from strange experiments with the human body in an esthetics lab. Raas works forge a contextual change of the anatomic detail through its obsessive multiplication. The materials used, and the resulting industrial look, question the assault on individual personality in a climate of commercial branding uniformity.
1978 born in Bacau, RO
2010 Why the black is not

white, Actionfields Gallery, Bruxelles, BE
1984- born in Baia Mare, RO

teaches at the West University of Timisoara, Romania, Faculty of Arts and Design, Sculpture Department
EDUCATION
1997-2002 B.A., Luceafarul
Art Academy, Bucharest
Cadot Gallery, Paris, FR 2010 Al treilea 6, Little Yellow Studio, Bucharest, RO
2009 Young Romanian Art #
2006-2008 M.A., National

E((O
University of Art, Bucharest, RO
7 Romanian Institute for Culture and Humanistic Research, Venice, IT, curator Mircea Nicolae
EDUCATION
2012 Ph. D. , West University of
Timisoara, RO
2010 Buy What You Love, Rema

Hort Mann Foundation, Jack Shainman Gallery, New York, USA Gallery, New York, USA Timisoara, RO
1999 Founder of the group
2009 Capturing Gil-Gulim II, Slag 2009 About Bodies, Jecza Gallery, 2009 Atelier in tranzitie, AlbNegru, The Night of the Galleries, Bucharest, RO
2009 7 actual size, Visual

Arts Center, Bucharest, RO Bucharest, RO Bacau, RO
2008 MA , National University of 2006 BA, West University of
SOLO EXHIBITIONS
2009 Understanding History,
Carturesti, Bucharest, RO Gallery, Bacau, RO
2008 Colonia, Apollo Gallery, 2008 Sapte Frunzetti Gallery, 2008 Five daily views, Veroniki Gallery, Bucharest, RO Gallery, Iasi, RO
Arts, Bucharest, Romania, Sculpture Department Timisoara, RO, Faculty of Arts and Design, Sculpture Department
2008 Gloria pictura, Frunzetti 2006 Insomnia II, Museum of

Contemporary Art George Apostu, Bacau, RO
SOLO SHOWS
2012 rupTrup, with Mihai Zgondoiu,
Atelier 030202, The Night of the Galleries, Bucharest, RO
2009 Panorama de lart roumain,

Drouot- Montaigne, Paris, FR lery, New York, USA
2008 Zoomorphic Eleussis 2007 New Identities in pain-
2008 Against All Odds, Slag Gal2008 International Experimental

Engraving Biennale, Palatele Brancovenesti, Mogooaia, RO
2004 1234, Velea Gallery,

Bacau, RO
2012 Artists of the Month, with 2011 1990 Project: Hand Gun,
2003 Insomnia, Apollo Gallery, Bucharest, RO 2002 Trafic, Arta Gallery, Bacau, RO
ting and sculpture in Romania after 1990, Dana Gallery, Iasi, RO
Francisc Chiuariu, National Museum of Contemporary Art, Bucharest, RO Piata Pesei Libere, Bucharest, RO
2006 36 young artists, ING &

Hart Gallery, catalogue presented at MNAC, Bucharest, RO
2007 Visual Eurobarometer, Veci-
2010 In/Out ( Penitenciary), Mulhouse 010 Biennale, FR 2010 God Bless Me, Slag Gallery, New York, USA
nity, National Museum of Contemporary Art, Gallery, Bucharest, RO
GROUP EXHIBITIONS
2012 Romania in Paris,
American Center for the Arts, Dorothys Gallery, Paris, FR
2005 Colonia, Apollo Gallery,

Bucharest, RO
AWARDS
2011 Prize for Sculpture of The
Union of Romania Plastic Artists, offered at The Arad Biennale of Art, Meeting Point, RO 2007 Ex-aequo Prize, Visual Eurobarometer, Vecinity, offered by the Intenational Center of Contemporary Arts, RO
2004 Identities and Visual Co-
2011 Colouring the Grey
State of Mind, The Artists House, Tel Aviv, IL (book)
des: Images of Violence / Violence of Images, Biennale of Young Artists, Bucharest, RO (catalogue)
2010 Minimal Feelings, Jecza

Gallery, Timisoara, RO rest, RO
2008 Gene , UNA Gallery, Bucha-
2003 Docu-fiction video
2011- Colouring the Grey, Special Projects section, 4th Moscow Biennale of Contemporary Art, Artplay Design Centre, Moscow, RU (book)
project Bucharest, curator Alina Serban, RO
GROUP SHOWS
2001 Colouring the Grey, State of
Mind, Artists House, Tel Aviv, IL
2003 Beyond photography,
painting, Galeria Noua, Bucharest, curator Aurora Kiraly, RO
2011 Post Humanism, V-Art

Gallery, Moscow, RU cial Project at The Fourt Moscow Biennale of Contemporary Art, Moscow, RU
2011 I am Romanian Ben
Gurion University of Negev, BeerSheeva, IL (catalogue)
2002 Graduation exhibition,
Romanian Parliament Gallery Constantin Brancusi, Bucharest, RO
2011 Colouring the Grey, Spe-
2010 Detaliile ncep pind, 2010 Ich kenne drei Farben
Iqonique Class Studio, Bucharest, RO (catalogue) auf Erden / Trei culori cunosc pe lume, Nassauischer Kunstverein, Wiesbaden, DE (catalogue)
AWARDS
2008 Award for A35, Union
of Visual Artists from Romania
2011 Figure IN/OUT, LC Foundation, Bucharest, RO
2002 Prize of the Culture
2011 Corpul Supravegheat, Victoria Art Center, Bucharest, Romania
Ministry of Romania, Moldavian Art Salons, RO
2010 Un Regarde Autre... , Farideh
2012-2013
FIND MORE ABOUT THE NEXT CURATORIAL PROJECT FUTURE NOW, WORKING TITLE ON WWW.COSMINNASUI.COM
Aurel Tar
Aurel Tar is a post-pop visual artist, interested in the subtle mix of the cultural aspects of globalisation. Both the local identity and the multi-culturalism form the substance underlying Tars artistic statement. In his recent series Wonderful Outskirts, the frame is expanded and the works confront different cultural, geographical and historical identities by means of overlaying and juxtaposition. The innovative results are an equal match to those from the series of unexpected encounters of a sewing-machine and an umbrella on an operating table. In Tars case, the encounters are between Titian, Pre-Raphaelites and a Boeing aircraft.
Francisc Chiuariu
Francisc Chiuarius latest series revolutionises the space of the painting, decomposing it in different layers: on the front oils, on the back typographic inks. The Outdoor project of Francisc Chiuariu selects a series of individuals captured in their daily journey. The street scene as recorded by Francisc Chiuariu represents the common collective space and the way it is assumed and used by pedestrians. Francisc Chiurariu draws attention upon the postmodern process of individual disintegration within the collective space.
1973 born in Sebes, Alba, RO 1999 member of Romanian

Visual Artists Union
ITSCH & ROU, The Practice Leo Burnett Group, Bucharest, RO
1966 born in Sibiu, RO
Cosmin Nsui, V-Art Gallery, Moscow, RU
2006 Group Exhibition, Roll Up

Art, Bucharest, RO
EDUCATION
1997-1998 M.A. study of
University of Art and Design, ClujNapoca, RO
EDUCATION
1993, B.A., National University
of Art, Painting department, Bucharest, RO TEACHING: 1993-2000, National University of Art, Painting department, Bucharest, RO
2011- Colouring the Grey, curator

Cosmin Nsui, Special Projects section, 4th Moscow Biennale of Contemporary Art, Artplay Design Centre, Moscow, RU (book)
2005 Group Exhibition, Le SaintEx, Itaewon-Dong, Seoul, KR
2005 Group exhibition, EUROPE

IN ART HVB Group, Bucharest, Romania, Warsaw, Poland, Hamburg, GE
2011 Pour femme, The Ark,
1991-1997 B.A. The University 1995 Scholarship Nantes, FR
of Art and Design, Cluj-Napoca, RO
EXHIBITIONS
2012 Romania in Paris, American Center for the Arts, Dorothys Gallery, Paris, FR
2004 Personal exhibition, NIK

Gallery, Seoul, South Korea
Bucharest, RO (catalogue) 2011 The other body, Victoria Art Center, RO (catalogue)
SOLO EXHIBITIONS
2012 Shadows, AnnArt Gallery,
Bucharest, RO (book)
2011 Perceptio, Atelier 030202,

Bucharest, RO (catalogue)
2003 Personal exhibition, German Evangelical Church, Nairobi, KE
2010 Detaliile ncep pind,
2011 Colouring the Grey State of Mind, The Artists House, Tel Aviv, IL (book) 2011- Colouring the Grey, Special Projects section, 4th Moscow Biennale of Contemporary Art, Artplay Design Centre, Moscow, RU (book)
2003 Group exhibition, World

Trade Center, Bucharest, RO Trade Center, Bucharest, RO
2012 Outdoor, Cultural Center
Palatele Brancovenesti Mogosoaia, RO (book)
Iconique Class Studio, Bucharest; Maison Maitresse Store, Cluj, RO (catalogue)
2002 Group exhibition, World 2002 Exhibition cooperation

with HVB Bank Bucharest, RO 2001 Bad Kissingen, DE
2012 January, National Museum of Contemporary Art, (MNAC), Bucharest, RO
2010 4 generations under the
same roof, Hotel Capital, Bucharest, RO (catalogue)
2010 Networks, Atelier
2010 Comaruri contemporane,

curator Olivia Nii, Atelier 030202, Bucharest, RO
2001 Group exhibition, Visionen 2001 Exhibition cooperation

with U Art gallery/Uzinexport Bucharest, RO
030202, Bucharest, RO (catalogue)
2011 Group Exhibition, Percepncep pind, Bucharest/ ClujNapoca, RO
2007 Obsession, Quasar Gallery, Bucharest, RO (catalogue) RO 2001 Hanul cu Tei Gallery, Bucharest, RO Bucharest, RO Bucharest, RO RO
2010 10 for the decade X,

Bucharest City Gallery, RO
tio, Atelier 030202, Bucharest, RO
2010 Group Exhibition, Detaliile 2010 GIBRALTAR ultraperiferic art corner itinerant project, Sebes/ Copsa Mica/ Bucharest, RO 2009 Group Exhibition, East/
West. 20 Exit and Transfer Information, Atelier 030202, Bucharest, RO
2002 Art Jazz Club, Bucharest,
2000 Group exhibition, UAP
CRINUL GROUP
1999 Bancorex, RO 1998 Galeria Cuhnia Cultural Center Palatele Brancovenesti Mogosoaia, RO 1997 Casa Enescu, RO 1996 Curtea Veche, RO
2009 Personal exhibition, EUROCENTRIC CIRCUS MAXIMUS, Unicredit Tiriac Bank, Bucharest, RO 2008 Personal exhibition,
DOITSCH Proiekt- RO, Automobile Bavaria, Bucharest, RO
2008 Personal exhibition, DO2007 Personal exhibition, DO-
ITSCH Proiekt - JP, ArtSenzafine & Soakedi Classic Cars, Tokyo, Japan
gallery, Cluj-Napoca, RO 2000 Group exhibition, TIAV, Bucharest, RO 2000 Personal exhibition Ambient abstract, BCR.-Sebes, Alba, RO 1999 Exhibition cooperation with Bank Austria, Creditanstalt Bucharest, RO 1997 Group exhibition, UAP gallery, Cluj-Napoca, RO 1996 Group exhibition, UAP gallery, Cluj-Napoca, RO 1996 Group exhibition, The Art Museum, Piatra Neamt, RO 1996 Academy 70, UAP gallery, Cluj-Napoca, RO 1995 75 anniversary years of Ioan Andreescu Institute, UAP gallery, Cluj-Napoca, RO
2001 Caminul Artei Gallery, 1998 Hungarian Cultural Center, 1993 Galeria Noua, Bucharest, 1992 Art Museum, Roman, RO
GROUP EXHIBITIONS
2012 Romania in Paris, American Center for the Arts, Dorothys Gallery, Paris, FR
2011 Colouring the Grey State

of Mind, curator Cosmin Nsui, The Artists House, Tel Aviv, IL (book)
2011 Post Humanism, curator
2012-2013
ARTISTS SELECTED BIO
Radu Belcin
Radu Belcin catches attention by new associations of characters, or objects, in a chiaroscuro-painted atmosphere. Starting the quest from the expression of reality study, Belcin explore the identities of the individual and of the present. Radu Belcin crops the image of faces in Its Cold beneath the Moon, A Hand Full of Hands, removes the elements of portrait in Illusion of a Day, The Wish, hides the faces in Evening Never Comes, Blowing, Hope Maker, Impossible Dreamland, and Full of Ideas. The faces of the depicted characters cannot be seen; therefore not only they remain anonymous, but they also introduce a surreal sense through the surrounding elements.
Flavia Piti
Flavia Pitis art explores issues of identity and isolation. Her painting does not have the function to represent reality, but to make present what is missing in reality. Most times, Flavia Piti realizes this by isolating the subject and his confrontation with the loneliness of the chiaroscuro. Darkness introduces the immaterial, but sensitive forms of expecting something indefinable and outlines the aura of a mysterious presence. The universe of Flavia Piti's actions unfolds in rooms without natural light. Painted by using the chiaroscuro technique, these works present actions that seem to be condemned by being made in the dark.
1978 born in Braov, RO
EDUCATION
2002-2003 postgraduate
studies, professor tefan Clia, National University of Art Nicolae Grigorescu, Bucharest, RO
Grove, Olivepress Art Factory, Dromonero, Crete, GR (catalogue)
1978 born in Fgra, RO
Societe Generale, Paris, FR
2009 Normandia Center,

Brasov, RO
2012 Romania in Paris,
EDUCATION
1997-2002 National University
of Fine Arts Nicolae Grigorescu, Bucharest, RO
American Center for the Arts, Dorothys Gallery, Paris, FR
2008 artMart, Kunstlerhause,

Cheapart Gallery, Vienna, AT RO RO
2011 Colouring the Grey
1997-2002 National Univer-
2006 The Art Museum, Brasov, 2005 The Art Museum, Brasov, 2003 National Theatre, Apollo
Gallery, Bucharest, RO RO
State of Mind, The Artists House, Tel Aviv, IL (book)
sity of Art Nicolae Grigorescu, Bucharest, RO, painting department, professors: Florin Ciubotaru, Valeriu Mladin 1993-1997 Arts High School, grafic department, Brasov, RO
OTHER STUDIES
2004 research scholarship on
image theory, Firenze, IT
2011 Europe Gallery, Brasov,

RO
2001 workshop of scenography

and light, Moving Academy for Performing Arts, Amsterdam and Toaca Cultural Foundation Toaca Contemporary Art Studio
OTHER STUDIES
and Light Moving Academy for Performing Arts, Amsterdam NL, 2001 workshop of scenography, Toaca Cultural Foundation Toaca Contemporary Art Studio, Bucharest, RO
2002 The Art Saloon, Bucharest, 2002 The Art House Gallery,
Bucharest, RO
mirror Art Museum, Brasov, RO (with Radu Belcin) Grove, Olivepress Art Factory, Crete, GR Center, Brasov, RO
2010 Kunstlerhaus, Vienna, AT 2010 Looking through the
2009 The Mediterranean Olive 2009 Normandia Business 2008 BP Portrait Award, National Gallery, London, UK
2002 Selfportraits, SKC Cultural Centre, Belgrade, RS rest, RO
2000-2001 classes at the Fa-
culty of Comunication and Public Relations David Ogilvy Bucharest
2002 National Theatre Bucha2002 Antediplom new media

exhibition, UNA Gallery Bucharest, RO
SOLO EXHIBITIONS
2010 Looking through the
mirror, The Art Museum, Brasov, RO (with Flavia Piti.)
SOLO & GROUP EXHIBITIONS

2012 Sacrifice Generation,
2008-2009 BP Portrait Tour
2001 Selfportret installation,

UNA Gallery, Bucharerst, RO
Wolverhampton Art Gallery, Aberdeen Art Gallery, UK, Aberystwyth Arts Center, Wales
2007 Personal exhibition, Kronart Gallery, Brasov, RO
2001 - Accente i Amprente,

Apollo Gallery, Bucharest, RO
2007 The Royal Procession and

other characters, Europe Gallery, Brasov, RO
2006 The world from my
world, The Art Museum, Brasov, RO
and Light Moving Academy for Performing Arts, Amsterdam NL, and Cultural Foundation Toaca The Contemporary Art Studio Toaca, Bucharest, RO
GROUP EXHIBITIONS
2012 Sacrifice Generation,
Societe Generale, Paris, FR
2000 Expo, Atelier 35, The Art

Museum Constana, RO
2000 Selfportret The Romanian Literature Museum, Bucharest, RO tion Museum, Bucharest, RO lui, Bucharest, RO
2012 Romania in Paris, Ame2011 Colouring the Grey
rican Center for the Arts, Dorothys Gallery, Paris, FR State of Mind, The Artists House, Tel Aviv, IL (book)
2000 Europe Days, The Collec1999 Instalation, Sala Palatu1999 Eveniment Van Gogh
performance, National University of Art, Bucharest, RO
2011 Europe Gallery, Brasov, RO 2009 The Mediterranean Olive

2012-2013
Felix Deac
Exceeding materiality and material conditions, I started to play shaping the forms respecting the logic of the living, intending to give each of my work its own life. Details and textures are taken from the living and real world in order to create a non anthropomorphical compositional whole. My intention is to provide aesthetic qualities to objects and shapes which would offer the public an unexplained existence due to the illusion of living that I create. By the works that I have in mind to exhibit to the audience I am trying to flame visceral reactions, and to put into the game a purely sympathetic and powerful relationship between the viewer and the creation. - artist statement
Nsui Private Collection & Gallery @ Preview Berlin 2012 & Berlin Art Week
Nsui private collection&gallery presents carefully selected Romanian contemporary artists and holds the debate The Soft Power of the Art Market (details on www.cosminnasui.com). Radu Belcin catches attention by new associations of characters, or objects, in a chiaroscuro-painted atmosphere. Francisc Chiuarius lattest series revolutionises the space of the painting, decomposing it in different layers: on the front oils, on the back typographic inks. Bogdan Raa is a sculptor in search of new human genetic forms. He uses new materials as polystyrene, industrial paint, plaster, synthetic resin. Aurel Tar is a post-pop visual artist, interested in the subtle mix of the cultural aspects of globalisation. Radu Belcin & Flavia Piti, Faces & Traces - Vellant Publishing House 2012 This book brings together the artworks of two young and emerging artists, offering an inedite perspective of seeing original and simultaneous creations: the artists Radu Belcin and Flavia Piti work and live together (in private, they are husband and wife and have two children). Technical details: hardcover, 176 pages, A4 format, 174 plates, full color Francisc Chiuariu, monograph Vellant Publishing House 2012 The creation of Francisc Chiuariu already covers almost a quarter of a century overlaying the temporal coordinates of the end of the 80es, the decade of the 90es and the years after 2000. Technical details: hardcover, 168 pages, A4 format, 245 plates, full color
1984 - born in Satu Mare, RO
2010 Collective exhibition with

R.I.V.E.R. project artists at The Ark Bucharest, RO
EDUCATION
2009 present - PhD studies 2007 2009 Master studies in
various tehnics
2010 Workshop R.I.V.E.R.

Ancona Rosora, IT Paris, FR
2010 Workshop in Louvre, 2009 solo show Made of...,

Cluj Napoca, RO
2003 2007 Ion Andreescu
University of Arts and Design from Cluj Napoca, RO, Sculpture section, investigation in sculpture and drawing tehnics
2009 National Biennale
1999 2003 Aurel Pop Art

Highschool Satu Mare
Bronze Age/Vrsta de Bronz, Cluj-Napoca Art Museum, Group exhibition, RO
2007 Beginning the Master
SOLO & GROUP EXHIBITIONS

2012 January, Artificial Life,
solo show, Gallery of Visualkontakt art association, Ulm, DE
level studies at the University of Arts and Design of Cluj Napoca, RO
2006 With Erasmus program, 2006 Cluj Napoca Bronze
studying 5 months at University of Fine Arts in Bilbao, ES Age Group exhibition (almost 100 bronze sculptures), RO
2011 December, Artificial Life

solo show, Gallery of Visualkontakt art association, Oradea, RO
2011 October, Youg Art Show 2010 Life, solo show, Laika
Gallery, Cluj Napoca, RO
2004, 2005 Fontana Group 2003 InterArt Satu Mare,

Group exhibition, RO
*YAS* group exhibition in House of Art, Piestany, SK
Satu Mare Collective yearly exhibition of local artists, RO
You can find us at booth 54:
2012-2013
PARTNERS
St Georges Hall
Colouring the Grey - State of Body presents seven contemporary artists within the Independents Liverpool Biennial 2012 and is proudly hosted in St. Georges Hall, Gladstone and Dickens Galleries.
t Georges Hall is a Grade 1 listed building at the Sayers, PD James and Raymond Chandler and was mentiheart of Liverpools cultural quarter, part of a oned in US crime drama CSI. UNESCO World Heritage Site. Its widely regarThe Hall has held 100s of events through the years, ded as one of the finest neo-classical buildings including Liverpools first motor show, dances, bazaars, in the world and was described by Nickolaus Pevsner as fairs, ice rinks and sporting events such as boxing matches the finest neo-Grecian building in England and one of and squash tournaments. the finest in the world.' Former poet laureate Sir John Famous visitors to the building include Queen Victoria Betjeman listed the building among the 10 he would die for in 1851 who said the building was worthy of ancient and viewed it as the finest secular hall in England. Athens, Charles Dickens who gave a number of public The Hall opened in 1854 as a civic building for the readings in the Concert Room, which he described as being purposes of the law courts of Liverpool and to serve as the most perfect room in the world and Liverpool-born a venue for the towns music festivals and other public 4 times Prime Minister William Gladstone who was given purposes. the Freedom of the City in the Hall in 1892. The Hall is the combination of 2 separate buildings: a St Georges Hall also houses the third largest organ in music venue and a court building that were designed by the UK with 7737 pipes. the same architect, Harvey Lonsdale In 1984, when the law courts of Elmes. Liverpool were moved to the new The exhibition is Elmes laid scale drawings of Queen Elizabeth II Courts in Derby Birminghams New Town Hall and St Square, the Hall was mothballed due accompanied by Pauls Cathedral in London to display to a lack of purpose and funding, and The Soft Power of that St Georges Hall would eclipse fell into a state of disrepair. both in terms of size and design. However, following a 23m restothe Artmarket, a Over the years the Hall played ration project that was completed in debate on systems host to numerous famous court cases 2007, the Hall was reopened on St such as the trial of Florence Maybrick Georges Day that year by another of and mechanisms of (whose husband, James, is a Jack the the contemporary art its admirers, Prince Charles, and has Ripper suspect) and William Wallace: become a grand focal point for cultural, industry. the man from the Pru, who has been community, civic, corporate and written about by the likes of Dorothy performing arts activities once more.
In brief: The visionaries behind the names

DICKENS GALLERY
THE MOST PERFECT ROOM IN THE WORLD Charles Dickens gave a number of public readings in the Concert Room, which he described as being the most perfect room in the world.
Photo: ST GEORGES HALL
GLADSTONE GALLERY
A STATUE OF GLADSTONE STANDS IN THE GREAT HALL Liverpool-born 4 times Prime Minister William Gladstone was given the Freedom of the City in the Hall in 1892. A statue of Gladstone, erected in 1872, stands in the Great Hall of St. George's Hall, Liverpool.
2012-2013
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2012-2013
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2012-2013
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PHOTO: DRAGO B URLACU UNDEFINED STATE, OIL ON STAINLESS STEEL SHEET, 46 X 56 CM
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The Softpower of The Artmarket

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FIRST EDITION DEBATE ON THE CURRENT SYSTEM OF CONTEMPORARY ART

NSUI PRIVATE COLLECTION & GALLERY

THE SOFT POWER OF THE ARTMARKET

NSUI PRIVATE COLLECTION & GALLERY

FOCUS CRISTIAN TODIE

ARTIST SHORT BIO

4 | Nsui Private Collection & Gallery

simulation of artwork structure in the field of production

CULTURAL CAPITAL of the artwork

Western Europe & USA

Eastern Europe & emerging states

Hypotheses: assumptions for this paper and for further discussions

2.3. Contemporary art as entertainment industry

2.5. Art beyond systems and institutions

in the category of bourgeois art and aesthetics.

2.6. Theoretical art

2.8. Artwork addiction to the capital circulation

8 | Nsui Private Collection & Gallery

Photo: CRISTIAN TODIE

I. Post Duchamp & Warhol paradigm: the new folk art

10 | Nsui Private Collection & Gallery

Photo: AUREL TAR

II. Perishability as the common attribute of styles and theories

III. The value of art after the twentieth century

ere is how Pierre Bourdieu explains the value of art4:

AGENTS PRODUCERS OF THE VALUE OF THE WORK

12 | Nsui Private Collection & Gallery

IV. The crisis of present day values

Photo: AUREL TAR

14 | Nsui Private Collection & Gallery

Photo: LUCIAN MUNTEAN

V. Institutionalized art and its role as a soft power

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The economy of cultural and artistic values

VII. Art institutions as agents

The art dealer

Investment funds and their returns

VIII. The competition of art market giants

20 | Nsui Private Collection & Gallery

IX. Corrupt art

X. Alternative systems to the main markets for contemporary art

Emerging markets in Eastern Europe

Economy of sharing, collaborative consumption, Fair Trade

Nsui Private Collection & Gallery | 23

NSUI PRIVATE COLLECTION & GALLERY

Colouring the Grey State of Body

24 | Nsui Private Collection & Gallery

Nsui Private Collection & Gallery | 25

Radu Belcin, Untold things, 2012, oil on canvas, 100 x 80cm

Radu Belcin, Self Improvement, 2012, oil on canvas, 120 x 100 cm

Nsui Private Collection & Gallery | 27

Drago Burlacu, Study V, 2012, 40 x 30 cm, oil on glossy sheet

28 | Nsui Private Collection & Gallery

Drago Burlacu, Study IV, 2012, 40 x 30 cm, oil on glossy sheet

Drago Burlacu, Beyond reflection, 96 x 66 cm, oil on stainless steel sheet

30 | Nsui Private Collection & Gallery

Drago Burlacu, Beyond reflection, 96 x 66 cm, oil on stainless steel sheet

Nsui Private Collection & Gallery | 31

32 | Nsui Private Collection & Gallery

Francisc Chiuariu, Forever Ikea IV, 2011, oil on canvas, 80 x 120 cm

Francisc Chiuariu, Forever Ikea V, 2012, oil on canvas, 80 x 120 cm

Nsui Private Collection & Gallery | 33

34 | Nsui Private Collection & Gallery