作者/Mike Collett-White 编辑/Paul Casciato 编译/顾灵
10月12日，伦敦市中心摄政王花园（Regents Park）弗瑞兹艺博会现场，一名参观者正在拍摄翠西·艾敏（Tracey Emin）的作品“我说了我爱你”（And I said I love you）。REUTERS/Andrew Winning.
另一名参观者Paul Chaves在Gerhard Richter的标志性条纹画前自拍。REUTERS/Andrew Winning.
弗瑞兹联合创办人Matthew Slotover说今年有大量画廊申请“框架”（Frame）单元，该单元旨在展示年轻画廊的新兴艺术家，从而最终参展的作品质量比往年来得优秀。其中来自Helena Almeida, Melanie Smith, Alina Szapocznikow的作品已被泰特收藏（Tate Collection），该收藏由弗瑞兹基金会（The Outset /Frieze Art Fair Fund）支持。
这一年度收藏委员会的成员包括：泰特总监Nicholas Serota, 泰特策展团队Ann Gallagher, Frances Morris与Tanya Barson。每年，两位国际性的重要策展人将受邀与泰特策展团队一起从是年的弗瑞兹艺博会中甄选作品加入泰特收藏。今年的两位特邀成员是“传真费城——印刷图像艺术节”（Philagrafika 2010）的艺术总监José Roca，与巴塞尔美术馆总监Adam Szymczyk。
Helena Almeida, 出生于1934, 葡萄牙人
Drawing (with pigment), 1995-1999
纸上水墨，钢笔和颜料, 38 parts
29.4 x 20.8cm
代理画廊: Galeria Helga de Alvear
Melanie Smith, 出生于1965, 常驻墨西哥的英国艺术家
单通道录像, 16:9 竖向投影,彩色,有声, 24:40 min, 循环播放
Ed. of 4 (+ 2 AP)
代理画廊: Galerie Peter Kilchmann
Alina Szapocznikow, 1926 – 1973, 波兰
13 x 22 x 18 cm
代理画廊: Broadway 1602
专家们越来越经常将市场的高端部分与中端部分区分开：那些家喻户晓的大师级作品很少在市场上露面，而中级市场的价格区间基本在$100,000到$500,000。艺术数据分析网站ArtTactic 就设立了艺术投资者面向艺术市场不同层面的信心指数，总监Anders Petterson说10月份的中级市场信息指数从90%急跌至30%。同期相比，针对价值百万美金朝上的作品，其信心指数依然维持在90%的水平。
手中藏着大有来头的顶尖作品的藏家近期似乎再逐渐出售，如Andy Warhol、Roy Lichtenstein和Francis Bacon的作品在拍卖行中频频露面。但亚洲超级富豪们的收藏欲望如饥似渴，是所有拍卖场次的万灵药。几年前，俄罗斯寡头们席卷了全球最昂贵的艺术品，如今中国则是聚光灯下的“当代美第奇”。
LONDON (REUTERS).- Will Chinese buyers ride to the rescue? Will the super-rich decide painting and sculpture is a better investment than volatile stocks or risky debt?
Those are the big questions on the art world’s lips as hundreds of galleries and collectors descend on London for the annual post-war and contemporary frenzy centered around the October 13-16 Frieze Art Fair in Regent’s Park.
The annual event held in a giant marquee has quickly become a key date for anyone wanting to acquire top works by modern and living painters.
It has spawned a merry-go-round of auctions, rival fairs like the Pavilion of Art & Design (PAD), major exhibitions, gallery openings including a new White Cube space and, of course, endless glitzy, champagne-fueled parties.
But after two years of strong growth in prices, particularly for top artists, global financial turmoil once again threatens to bring the chill of uncertainty to the week as it did in the wake of the 2008 Lehman Brothers collapse.
Matthew Slotover, co-founder of Frieze who is considered one of the art world’s most powerful figures, conceded that concerns over slow economic growth and Europe’s debt crisis could weigh on the fair.
But he, like many others, argued that investors may prefer to put their money into a painting than a paper asset.
“It is something tangible and real,” he told Reuters in a recent interview, stressing that personally he would not treat art as a financial investment alone.
“In an age where people are losing faith in paper money, in currencies and in equities, it’s one of those assets that people feel, well, at least I’ve got this actual thing.”
More and more frequently experts draw a distinction between the top end of the market — works by household names that rarely come to market — and mid-range art priced, say, between $100,000 and $500,000.
Anders Petterson, head of ArtTactic which tracks investor confidence in different sectors of the art market, saw his mid-range indicator slump from nearly 90 percent in June to less than 30 percent in October.
Over the same period the indicator for works valued at $1 million or above slipped slightly but remained over 90 percent.
CHINESE THE NEW MEDICIS?
Anthony McNerney, head of contemporary art at Bonhams, summed up the mood among the auction houses.
“It seems that rich people quite often will always stay rich,” he told Reuters.
“Obviously there is a lot of nervousness that it (market contraction) will happen again as it did three years ago. I think we’ve got to carry on as best we can, and if you’ve got great quality fresh to the market, it really doesn’t matter.”
The focus on the very best art with strong provenance has seen a narrowing in the art that owners are prepared to sell, with the likes of Andy Warhol, Roy Lichtenstein and Francis Bacon taking up a larger share of auctions.
One “wild card” this week could be demand from Asia’s growing number of ultra-wealthy collectors.
A few years ago it was Russian oligarchs who were snapping up much of the world’s most expensive art. Now the focus is firmly on China as the land of the “modern-day Medicis.”
Recent sales at Sotheby’s in Hong Kong gave a mixed picture of Chinese demand for art and luxury goods.
The auctions raised $411 million in spite of difficult conditions on financial markets, yet the total was down from April and of the works on sale, contemporary art struggled most with more than a fifth of lots unsold.
Petterson wrote recently that the kind of “fashionable, cutting-edge contemporary art” typically on show at Frieze could be vulnerable to another downturn.
“Even the top end of the art market might not be quite as safe as investors would like to think if the economic crisis escalates further,” he said.
“As research from the last crisis shows, when investor confidence evaporates, all assets start to correlate, something many art market insiders like to forget.”
Auction houses will offer works valued at over 100 million pounds ($160 million) this week, and the art displayed at Frieze is estimated by insurer Hiscox to be worth $350 million compared with $375 million last year.
The top lot could be Gerhard Richter’s “Candle,” estimated by Christie’s at 6-9 million pounds, a figure the German artist said last week was “impossible to understand” and “daft.”
In fact, talking about art in the same breath as its commercial value is often frowned upon in a world where polite conversation focuses on a painting’s aesthetic appeal and meaning and not its price.
But as one video installation featured in this year’s Frieze Art Fair catalog states bluntly: “The ART WORLD is dependant (sic) on commerce for its existence.”
(Reporting by Mike Collett-White, editing by Paul Casciato)
This year’s Frieze Art Fair has opened its doors to thousands of visitors. The event attracts collectors and gallery directors who are hoping to discover a new artist or an interesting work to add to their collection. More than 60,000 people are expected to attend the event, which is held in London’s Regent’s Park.
The fair features art from more than 170 galleries around the world. It also includes specially commissioned artists’ projects and talks. Organisers are hoping the success of the event will not be damaged by the current economic downturn.
German artist Christian Jankowski is selling a speedboat. You can buy it new for 500,000 euro (£436,000) or as a “sculpture”, featuring his signature for 625,000 euro (£545,500). “I was very interested in having this luxurious object competing with art,” he told the BBC. “A normal vessel would lose value over the years, but with art it’s the opposite. I hope the collector will stay in dialogue with me and create some journeys into the art world with that boat.”
High profile collectors and celebrities, such as Russian entrepreneur Evgeny Lebedev and model Elle Macpherson, attended the VIP day. There is a more vibrant feel to many of this year’s artworks, which may have been a deliberate ploy to cheer up visitors amid the economic gloom.
Pierre Huyghe’s aquarium is a live ecosystem that will host a “specific narrative created for the fair”. Particular seawater creatures are selected as the players in Huyghe’s aquatic performance. Organisers said the aquarium will “create an intimate psychological world that will form a point of contrast with the atmosphere throughout the rest of the fair”.
Frieze co-founder Matthew Slotover said more galleries than ever before applied this year and the “Frame” section, which is dedicated to young galleries that display solo artists, is much more extensive than in previous years. Several works have already been acquired as gifts to the Tate Collection, thanks to The Outset /Frieze Art Fair Fund to benefit the Tate Collection.
Frieze Art Fair 2011 Stand Prize: Winner Announced
The Frieze Art Fair Stand Prize sponsored by Champagne Pommery has been awarded to Gavin Brown’s enterprise.
The judges agreed that the stand articulated a long-term commitment to and understanding of the artists represented.