The 2014 Budget for the art market sees a great explosion of modern and contemporary art with the consequent interest of new investments from various markets, all international. Squares like New York, Hong Kong, London, record records never seen before both for artist and for work. Auction houses like Christie's e Sotheby's they vibrate with successes with all more than positive balance sheets. In the last six months of the year there has been a further consolidation of certain artistic periods, better if accompanied by "consecrated" works with equally "consecrated" authors with decidedly unthinkable awards. But while contemporary art flies above every atmosphere, both because we are registering a radical change in economic and social processes, and because of the opening of new markets with great purchasing power, which regardless of their historical tradition, even they refrain from entering that world where the collecting of works of art is a "symptom" of a strong economic and competitive well-being.
In all this it seems that the other arts or periods are almost out of the game or rather out of fashion, unless we are dealing with "extremely" historicized works, "extremely" belonging to important collectors, "extremely" experienced in exhibitions, and "extremely" requested by business attorneys in charge of looking for extraordinary and exclusive works to enter the "corpus" of new private museums under construction. A real gold rush, where the main activity is to sift through any place where the desired Work can be found… involving dealers, merchants, galleries, curators, art advisors, all committed to looking for the most fruitful gold vein.
Today, we are all aware that the world has radically changed with a model that we are still unable to define, and in this scheme we are also aware that styles, interests, social and personal values such as that of the home and living in it have radically changed , therefore also that meaning of having works of art hung on the walls for pleasure, for collecting, to demonstrate a bourgeois status.
With contemporary and modern art and impressionism, art has come to be considered as an investment and a power of exchange with markets where a less controlled collecting is emerging, sometimes exasperated by the European concept, but much less, indeed not at all, for the Chinese, Middle Easterns, Indians, and who knows even less for other inhabitants of countries that are starting this way of exchanging art.
But we must also hope that the value is not limited to the "known" and think of investing in new and emerging figures, we have confirmation of this from Miami Basel, which has just ended where there has been great interest in those galleries exhibiting new artists in the area sine qua non that they have already gained excellent artistic experience and with a quid capable of interesting even a younger collector, who without false pretensions wants to approach art with a concept of art to be experienced, to be exchanged and to be relocated in the medium-short term with a revaluation that allows for a new purchase with a higher value…points in % to be earned to increase the experience of entering the collecting format.
MiamiBasel thus closes the events of 2014 with a decidedly proactive exhibition ... well over 73 visitors and over 300 galleries present. Not to mention the "traffic" recorded in the events and exhibitions outside the Exhibition Fair. Now all the spotlights are on the Hong Kong edition which will be held from 15 to 17 March 2015, where it is already clear that people will arrive, curious, enthusiasts, collectors and investors from all over the world, a trend that is already the participants in the "bids" of the auction houses present in Hong Kong.
With this analysis we can only think that 2015 can only be the consecration of a by now evident trend in art, contemporaneity that travels beyond the same modernity inherent in that new model of life of which we have not yet understood what its rules or his future.
