Why is this chapter necessary? Since we’re talking about art and markets, it’s important to point out the contradiction between the idea of art and the idea of a market. The following graphic is based on the theory of Hostile Worlds by sociologist Viviana Zelizer. According to Zelizer, the relationship between art and market is inherently problematic, because art and market are two different spheres with different values.
There is art, and there is the art market. Dealing with the art market requires constant ethical adjustment. Art is not inherently about money. Nevertheless, art market exists, and artworks are changing owners for significant amounts of money sometimes. We believe that it is possible to approach art with the appropriate respect, while participating in the financial market.
While the relationship between art and money is a delicate matter, economy and culture have found a way to coexist. In case of music industry, for example, there seems to be a great deal of acceptance towards the monetary factors involved. It’s therefore important to point out that:
A) Artists are selling art. The career of an artist depends largely on their economic practice.
B) Economic practice is common in other cultural branches, such as music.
C) Economic practice is even common with religious institutions.
This goes to show that the initial perception of a great contradiction between economy and culture is just that — perception. In reality, all of these spheres coexist in the same world. By combining expertise from different fields, we aim to maintain a balance that is appropriate to every agent of the scene: the artist, the art dealer, the art collector, the gallerist as well as the banker.
Art is not about money. Money can be about art.
Our logic doesn’t follow a predefined path. We’re not into dogmas. We address people who are interested in art, and who are open to new investment opportunities. We do not target conventional art collectors, but people who want experiences instead of accumulating property/estate.
By uniting competence in different areas, we bundle all the excellence we can find to pursue a clear goal that a single expert wouldn’t be able to achieve.
We encourage a new, healthy art market ecosystem.
We’re breaking new ground, which by definition sets us apart from our competitors and the rest of the market. In terms of investment banking, our idea could be the first of its kind.
Some argue that money and finance should be kept separately from anything intimate, sacred or otherwise important. According to the “hostile worlds” view, by sociologist Viviana Zelizer, money can corrupt the meaning of art.
Based on what we’ve seen on the high-end art market in Brussels, Maastricht, London and other places, agents of the art market have different view on the relationship between art and money.
Generally speaking, the perception of incompatibility between art and money has a performative effect.