Alexey Kondakov stretches the notion that art is timeless. In his uncanny Art History in Contemporary Life series (previously), Kondakov plucks figures from neoclassical and romantic paintings and places them into modern settings, blurring era, style, and medium.

Kondakov primarily works with backgrounds he’s photographed throughout his native Kyiv and other European cities including Berlin, Milan, and Naples. Often laden with graffiti and modern conveniences like electric stovetops and vehicles, the harsh, urban settings counter the soft, angelic characteristics of the Old Masters. In one work, the spirited trio in Ferdinand Leeke’s “Fleeing Nymphs” dashes across a misty street, while another depicts Alexandre Cabanel’s “Desdemona” sitting unamused with two empty cocktails on the table in front of her.

Given Russia’s ongoing war within his home country, the artist has been working more slowly the last few years, although he released a book collecting his pieces titled An Imaginary Adventure in 2021. “After the Russian invasion of Ukraine began, it took about half of the year to bring myself back to work, and it took about a year to return to a normal working flow. Now I am full of hopes and ideas,” he says.

Prints and a few copies of An Imaginary Adventure are available in Kondakov’s shop. Find more of his art historical juxtapositions on Instagram.

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Wall art is frequently utilised in homes and museums as a decorative element.

Wall Art Market Report Overview:

Wall Art Market was valued at USD 48.02 billion in 2023. Global Wall Art Market size is estimated to grow at a CAGR of 5.8 % over the forecast period.

For the years 2021 to 2029, sales and revenue projections for the worldwide wall art market have been created, segmented by kind, application, and region. The raw material supply chain, distributors, leading suppliers, market share, and fluctuating pricing patterns are all highlighted in the Wall Art market analysis. Throughout the forecast period, a considerable expansion of the global wall art market is anticipated. The market is anticipated to increase over the projected period, similar to how it did in 2020, as top organizations embrace new strategies. Businesses that conduct a Wall Art market analysis can have a comprehensive understanding of the features of the international industry.

Get a Free Sample:www.stellarmr.com/report/…Market/972

Wall Art Market Scope and Research Methodology

The exploration of the wall art market involves a comprehensive analysis of various factors shaping its growth and dynamics. The research methodology begins with extensive secondary research, including the review of industry reports, market databases, and academic literature, to establish a foundational understanding of the market landscape, trends, and key players.

Subsequently, primary research methodologies are employed, such as surveys, interviews, and discussions with key stakeholders including wall art manufacturers, artists, distributors, retailers, and consumers.

This primary research aids in understanding consumer preferences, trends, and perceptions of different types of wall art, including paintings, prints, photographs, and sculptures.

The scope of the study encompasses examining market size, segmentation by art style, material, distribution channel, and geographic region. Additionally, the research identifies key drivers, challenges, and opportunities in the wall art market, including factors such as changing consumer lifestyles, increasing disposable incomes, and growing interest in home décor.

Wall Art Market Segmentation:

By Type, Different product types, including abstract, modern, fine, and others, can be used to analyze the global wall art market. When creating fine art, artists primarily need knowledge of perspective, anatomy, lighting, and proportion. These works of art are typically more expensive. Due to these products’ higher pricing, the fine sector commands a considerable market share. Aside from scholastic advantages, fine arts also foster self-esteem, aesthetic awareness, motivation, and creativity. This boosts the use of fine wall arts, fueling the rise of the fine category.

To Get More Information about this Report:www.stellarmr.com/report/…Market/972

Wall Art Market Key Players:

Saatchi Art (California, U.S.)
Artfinder (London, U.K.)
Minted LLC. (California, U.S.)
Artspace LLC (New York, U.S.)
Artsy (New York, U.S.)
Art.com (New York, U.S.)
Zatista LLC (Yardley, U.S.)
The Tellenge Store (Bengaluru, India)
Artisera (Bengaluru, India)

Wall Art Market Regional Analysis:

The wall art market demonstrates diverse regional trends influenced by cultural preferences, economic factors, artistic traditions, and consumer behaviors across different parts of the world.

In North America, the wall art market is characterized by a diverse range of styles, including contemporary, modern, and traditional art forms. Consumers in this region often seek personalized and unique pieces to decorate their homes and office spaces. The popularity of online marketplaces and home décor retailers further drives the demand for wall art, offering a wide selection of artworks catering to various tastes and budgets. Additionally, trends such as gallery walls and DIY art projects contribute to the growth of the wall art market in North America.

In Europe, the wall art market is influenced by a rich cultural heritage and a strong appreciation for art and design. Countries like Italy, France, and the United Kingdom have a long tradition of producing and showcasing fine art, attracting both local and international artists and collectors. European consumers value craftsmanship and quality, often opting for handcrafted and artisanal wall art pieces that reflect their individual style and aesthetic preferences. Moreover, the growing trend of art tourism and cultural events further stimulates the demand for wall art in Europe.

Key Questions answered in the Wall Art Market Report are:

• What are the market segments?
• Which production technology is utilized for the Wall Art?
• What trends are driving the market growth?
• Who are the global key players in the Wall Art market?
• What is the global market status of the Wall Art market?
• What was volume, manufacturing value, price, and revenue of the Wall Art market?

In a bid to protect its multimillion-dollar art market, Morocco is formulating strategies to combat the menace of art forgeries. The country’s chief prosecutor is spearheading a series of discussions with the Ministry of Culture and the National Foundation of Museums to develop enhanced policing strategies and detection methods for counterfeit artworks.

Introduction of New Laws and Stricter Penalties

Key among the proposed measures is the introduction of new laws and the imposition of more severe penalties for art forgery crimes. This move is in response to the growing need to safeguard the integrity of Morocco’s art market, which is valued at approximately $2.5 million and is gaining increasing recognition across the Middle East. The proposed laws aim to deter potential forgers, thereby protecting the authenticity of Moroccan artworks.

Tightened Oversight Over Auction Houses

The focus on regulation also extends to auction houses, which will face more stringent oversight. The rationale behind this is to ensure that these platforms do not become conduits for the sale and purchase of counterfeit artworks. By enforcing stricter rules, the government aims to preserve the credibility of these auction platforms and by extension, the wider art market.

Aligning with Global Efforts

In taking these steps, Morocco is aligning with global efforts to combat art forgeries. This includes the United States, where the Federal Bureau of Investigation’s (FBI) art crime team has been increasingly active in pursuing forgeries. Morocco’s efforts are not just about preserving the economic value of its art market, but also about maintaining the cultural heritage and artistic integrity of the nation.

Lush layers of flora and fauna sprout in alcoves and crawl across gallery walls in the works of Clare Celeste Börsch (previously). The Berlin-based artist continues her ecological studies as she entangles paper cutouts into immersive ecosystems in which butterflies, birds, plants, and fungi coexist.

Börsch’s most recent work, “Phoenix,” takes its name from the mythological bird at its center. Emerging from an explosive volcano, the creature signals rebirth, a symbol that emerged following the trauma of the last few years and her own health issues. “In a world marked by change and uncertainty, we can find solace in the cycles of nature,” the artist says. “It is my hope that ‘Phoenix’ serves as a visual metaphor for our shared capacity to rise anew.”

If you’re in Berlin, you can see the piece as part of a pop-up exhibition through February 15, along with the artist’s “Biodiversity” installation starting February 13 at the Mexican Embassy and a new work within a cell at the former Köpenick Prison this spring. Otherwise, head to Instagram for more of her collaged environments.

Detail of “Phoenix” (2024)

Detail of “Phoenix” (2024)

For Scope Art Fair (2023)

Detail of an installation for Scope Art Fair (2023)

“Under Garden” (2022)

Detail of “Under Garden” (2022)

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“I have spent over 40 years bearing witness to the ways in which modern civilization has dramatically transformed our planet,” says the renowned photographer Edward Burtynsky (previously). From the salt ponds of Spain to the eerie tunnels of Russia’s potash mines, Burtynsky has traveled the globe for the last four decades documenting the indelible impacts of industry.

Opening this month at Saatchi Gallery in London is Extraction/Abstraction, the largest survey of his work to date. Comprising 94 images and 13 large-scale murals, the exhibition showcases the disastrous effects of human consumption from distant, often aerial perspectives that at first glance, appear as alluring, colorful compositions. A closer study reveals the horrific nature of many of the photos as they capture a brilliant orange river of nickel waste or concentric trenches etched into the Turkish landscape to mitigate erosion.

Despite the scale of the subject matter, Burtynsky chronicles the profound magnitude of consumption that can be difficult to comprehend through facts and figures alone. By pairing photos of environmental destruction with those of immense natural beauty, he also emphasizes the threat of loss and reminds us how much we collectively rely on the planet for survival.

Extraction/Abstraction is on view from February 14 to May 6. Burtynsky will also open an exhibition of new works on February 28 at Flowers Gallery in London. Until then, find more of his photos on Instagram.

Thjorsá River #1, Iceland (2012). Image courtesy of Flowers Gallery, London

Erosion Control #2, Yesilhisar, of Central Anatolia, Türkiye, (2022)

Nickel Tailings #34, Sudbury, Ontario, Canada (1996). Image courtesy of Flowers Gallery, London

Erosion #3, Nallıhan, Ankara of Province, Türkiye, (2022)

Coal Terminal #1, Kooragang of Coal Terminal, Newcastle, New South Wales, Australia, (2022)

Cathedral Grove #1, Vancouver Island, British Columbia, Canada (2017)

Uralkali Potash Mine #1, Berezniki, Russia (2017). Image courtesy of Flowers Gallery, London

Salt Lakes #2, North-East Tuz Lake, Gölyazı, Konya, Türkiye, (2022)

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Spanning Four Decades, Edward Burtynsky’s Photos Document the Devastating Impacts of Industry appeared first on Colossal.

A Paris studio doubles as the mysterious planet of MRCX. Populated with adorable specimens with stone-like bodies and two or three short legs, the imaginary universe is the site of rigorous scientific study for the artist known as Monsieur Cailloux, who’s pioneered a fantastical world of blobby ceramic creatures.

“I spend most of my time on planet MRCX, which is as surprising in its beauty and imperfection as ever,” he tells Colossal. “As I explore ceramics, I discover more and more about the different areas of the planet and its inhabitants.” Some of these findings—which he shares as animated reports on Instagram—include tree-like rings that reveal the creatures’ age, an average “locomotion speed” of 50 meters per minute, and that sometimes, when discovered deep in a cave, the specimens even glow in the dark.

There are several opportunities to meet the characters this month, including at both YTF Gallery in New Taipei City and Nahcotta Gallery in Portsmouth, New Hampshire. You can always find the creatures at Club Sensible in Paris. To dive deeper into the thinking behind MRCX, pick up a copy of the forthcoming Ceramic Artists on Creative Processes, in which Monsieur Cailloux shares insight into his work.

Made in collaboration with Philip Kupferschmidt

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“The buzz and energy felt like it was a step up,” says Art SG co-founder Magnus Renfrew, noting both sales and fair attendance were better than in 2023. “As time goes on, people are increasingly recognising the importance of Singapore.”

In terms of sales, regional galleries did particularly well at the fair with works at prices below US$50,000.

Singapore’s art scene is making a big comeback. But is it really changing?

Some international galleries also reported sales at higher price points. Among the top pieces was an Anselm Kiefer painting which sold for about €1.1 million (US$1.2 million) at Thaddaeus Ropac’s booth and a US$680,000 Barry Flanagan sculpture sold by London-based gallery Waddington Custot. White Cube also reported a total of £1.6 million (US$2 million) in sales.

These figures need to be seen in context.

“We did fairly well last year so we returned,” says Jacob Twyford, senior director at Waddington Custot, who sees growing potential in Southeast Asia. “This time there were fewer galleries bringing blue-chip masterpieces to the fair and more emerging names but that also presented us with more opportunities.”

Like others, however, he notes that the actual size of the collecting base in Singapore itself is relatively small. “I wouldn’t say it’s growing in numbers but it is maturing.”

One sign of this maturation is the growing number of private exhibitions and permanent art spaces initiated by collectors this year.

“In Singapore, for some reason, most of our serious art collectors are very shy, so somehow that part of the ecosystem has been lacking,” says collector Ning Chong, who has been running a private art space called the Culture Story with her collector father Chong Huai-seng since 2017.

“It’s amazing that we now have this assembly of different stakeholders contributing to the art scene.”

The largest private space to open this month was Beijing collector Li Fan’s Whale Museum in the industrial building Tanjong Pagar District Park, which also houses the Singapore Art Museum (SAM) as well as a handful of galleries.

Will AI boost or break Singapore’s art scene amid ‘wild west’ scenario?

The large museum, with tall ceilings and a sleek industrial interior, opened with a vibrant exhibition of paintings by Chinese artists Huang Yuxing and Ouyang Chun.

On a smaller scale, Hong Kong collectors Alan and Yenn Lo converted their narrow office space in an old shop house in the River Valley residential district into an experimental art venue.

“After spending more time in Singapore over the last few years, I felt the ecosystem was a bit top-heavy,” Alan Lo says. “Compared to Hong Kong it seemed to be missing private and/or artist-driven initiatives and non-profits, so I thought maybe there was something we could do to help make the scene more interesting.”

The couple, who formed the Yenn and Alan Lo Foundation, inaugurated their space by inviting local gallery Yeo Workshop to mount a small exhibition of works by emerging Singapore-based artist Priyageetha Dia and Indonesian artist Maryanto.

Going forward, the Hong Kong couple are considering using the space to host artist residencies or for single-artist presentations centred on Asian artists and the larger diaspora.

In 2023, they also committed US$75,000 to a new art fund initiated by the SEA Focus art fair and the SAM dedicated to acquiring works in the fair for the museum collection.

The foundation was formerly based in Shanghai and now plans to set up a base in Singapore.

Fronted by its director Zong Han, the foundation has been raising its profile in the region. It recently donated a sculpture by Thai artist Tawatchai Puntusawasdi to the SAM.

This year it is commissioning Singaporean artist Heman Chong to create a work which will be shown in UCCA Dune in Beijing and in the UK before being displayed in Singapore.

“It took 10 years for both Hong Kong and Shanghai’s art scenes to be where they are today,” Zong says. “Arts SG is only in its second year. Everything here is still developing.

“State institutions and public grants are never enough. Private foundations can support more experimental, avant-garde, forward-looking projects and offer different possibilities.”

During Singapore Art Week, a few collectors mounted impressive pop-up exhibitions, such as French philanthropist Pierre Lorinet, who again took over a space in Gillman Barracks, the former army barracks turned gallery hub.

“I think as a collector, sharing your works is important for both the arts community and broader community to get educated about different artists and practices,” says Lorinet, who staged a similar exhibition to coincide with Art SG in 2023.

The show, which was co-curated by Zoé Whitley and Clara Che Wei-peh, brought together some 100 works from leading artists in Africa, Asia and their diasporas.

Teoh says the exhibition was two years in the making and is part of the organisation’s larger vision to create internationally minded projects which expand the horizons of the local art scene.

Indian collectors Vir and Simran Kotak, who founded The Eight Foundation, are opening a permanent art space in Singapore later this year.

The couple, who initially began collecting works by South Asian artists, have broadened their remit to buy the work of Southeast Asian names such as emerging Singaporean artist Alvin Ong.

These amazing clay works will crumble right in front of your eyes

Their future space will sit atop Simran Kotak’s modern Indian restaurant Ahara, which is in a shophouse on bustling Keong Saik Road.

“The goal is to add another layer to the ecosystem,” says Vir Kotak, who envisions working with young curators and artists. “It’s not a museum space or a commercial gallery. It will allow us to support practices and works which may not have found the right platform to be shown.”

Aaron Cezar, the founding director of London-based non-profit organisation Delfina Foundation, notes that supporting up-and-coming artists is essential.

“Very often when you see philanthropic initiatives come into the fold, they’re focused on more established talent, which is important, but we also need people to take risks on younger artists and help to generate talent in Singapore,” he says, noting there is only a handful in the city doing this.

Singaporean creatives forced home rediscover the Lion City

“Supporting that pipeline is crucial because without it you can’t sustain larger initiatives.”

While many see the growing number of private initiatives as a sign that Singapore’s art ecosystem is evolving, there is still a way to go.

“Finally, after many years, the art scene has come into its own and has traction,” Chong says. “It’s not just Art SG. We’ve been having Singapore Art Week for 12 years now.

“If Singapore plays its cards well it could be a major hub for art, but it has to happen organically and all the relevant stakeholders have to rally together.”

Meticulous incisions and methodical folding allow scenes to arise from aged books and color swatches in Thomas Allen’s paper cutouts. Having loved pop-up books and shoebox dioramas since childhood, the artist cultivates a passion for “manufactured realities.”

“The vintage paperback work happened by complete accident,” Allen shares. “I was cutting into a pulp novel one afternoon with the intent of removing the illustration completely when I noticed that if I left some areas attached, folded the parts carefully, and looked at them from a single vantage point so that everything aligned, they created the illusion of 3D pop-ups. Everything snowballed from there.”

By photocopying pages he intends to use, the Coloma-based artist can make test cutouts of potential compositions before moving on to the final product. He then photographs each iteration while considering light and angle.

Allen spends the rest of his time as a township clerk and public lecturer and is looking forward to working with Joseph Bellows Gallery in the coming months. You can find more work and updates on his website and follow him on Instagram.

“Eclipsed”

“Opposition”

“Timber”

“Unrelenting”

“Unstable”

Detail of “Unyielding”

Detail of “Unrelenting”

“Uncontrollable”

“Shipwreck”

Test cutouts in Allen’s studio

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As a thriving democracy, India should do more for contemporary art, as it’s critical and political, said Thomas Girst, global head of cultural engagement at BMW Group. He is in the country for ‘India Art Fair 2024’, in which the auto giant is the principal partner. In a conversation with ET’s Krishnaraj Singh Jasana, he explains why an artist should have a backup plan and why artificial intelligence (AI) will not disrupt art. Edited excerpts:

What does art mean to BMW? Is encouraging art through events like the India Art Fair an extension of sales promotion or marketing?
Frankly, nothing that we do in culture is done for anthropology or for altruistic reasons. It’s done for the image and the reputation of the brand. But, that’s just one part. We’ve been active in arts for 50 years now, with hundreds of initiatives worldwide. Now, they always have to bridge the gap (between commercial and societal responsibilities) because one of the pillars of our engagement is corporate social responsibility. How do you return to a society that you do successful business in?The art market is a $60-billion business every year, and India’s part in it is growing. So, of course, an art fair is a commercial enterprise and we’re here possibly for future customers. So ideally, you have a platform that can cater to both these needs.

So, let’s say we’re working with this young artist Shashikanth Thavudoz. He can employ his practice to create an immersive environment, of which i-7 is a part. As a winner of ‘The Future is Born of Art’ Commission (BMW’s initiative), he gets a monetary compensation (~10,00,000) (rupees); it’s a prize for a young emerging artist. It’s a collaboration that is getting sturdier. So, it’s not a talk-talk but a walk-walk for us.

But the struggle for an artist in India is an everyday affair. What do you make of art in India?

I’ve been regularly coming to the India Art Fair, which is now in its 15th year. When we look at art in India, a lot of it is folk art. A lot of it comes from a rich tradition of craft. So, contemporary art is a very small segment here. But it is growing. You see the success of it when it comes to auction results, with not only foreign collectors interested in contemporary Indian art but also collectors within India.There are many artists now who are known internationally, like Jitish Kallat, Anita Dube, and like those who are working abroad, like Anish Kapoor.But it’s a huge imbalance that for a country of 1.4 billion people; you only have two, three public museums for modern and contemporary art. Any small village in Germany has more than that.

And you have a great, rich story to tell. You have such amazing artists. There needs to be an infrastructure in place. And I don’t see why not. Arts can be critical, political. And, you’re a huge democracy.

You teach on the subject too, back home in Germany. How does one go about it?
In Germany, one out of 100 artists can live of her work. So, I tell my class, look, find another job, as none of you will be able to live from your art. The best poets of the early 20th century in the US were either lawyers or gynaecologists, or anything else. It doesn’t need to be your solitary profession. I always encourage artists to do something entirely different, and then it informs their artistic practice. It’s not good to be in an ivory tower. You have to be relevant. You have to address an audience.

You’ve travelled the world and have been travelling to India for more than a decade now. Has there been a change in how the world looks at the country?
I only travel within the city, so you cannot really fathom the overall situation. I would hope, and I see reading the paper in India and abroad, that India is doing better. The country is definitely on the rise; we believe that at BMW. I mean, we sell 15,000 units per year for a country of 1.4 billion people, so there are possibilities. That’s why we’re here, that’s why we opened a plant in Chennai in 2007. That’s why we engage in the arts. That’s why we spread the dealerships, because we believe in making business, in providing great cars for India’s future. We are cheering on the sidelines for this giant to rise even more.

Finally, with artificial intelligence taking over, will originality in art become a thing of the past?
When it comes to the hype around NFTs — non-fungible tokens – it actually stands for neoliberal futile trash. And that’s what it turned out to be. I think AI is another tool, like a brush. It’s not taking over the arts. It enables the arts. We work with AI.

As Hito Steyrl (German contemporary artist) said, everybody’s talking about artificial intelligence. Why does nobody talk about artificial stupidity?

I think there’s even bigger interest now, the more the digital world is taking over, the more there is an interest in the analogue, at least when it comes to conflict.

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