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BERLIN AND ITS ARTISTS
There are 80 artists per 10.000 inhabitants in Berlin. According to the artists' social security fund there are approximately 28.000 artists registered in Berlin alone.
The number of galleries in Berlin varies at a relatively constant rate between
400 and 600. Of those only 60-80 galleries are commercially feasible in the long run. While many small galleries are withdrawing themselves from Berlin-Mitte, there is a viable trend that rich private art collectors like Boros open showrooms there.
There are only very few other cities in the world where as many private collectors have their works of art on public display. For many of them works of art are speculative goods, which might eventually yield a higher return than comparable alternative investments. Naturally, this only works if an informal network of gallery owners and curators pushes the publicity of the works of art of certain artists into the pertinent scene of collectors. In this context the respective merchandise may well have a playful, flashy and brash character.
However, often enough one gets the impression that the protagonists of the art market themselves do not quite know what is supposed to be art and what not. Whether purposely or not the public is also part of this game.
There are 80 artists per 10.000 inhabitants in Berlin. According to the artists' social security fund there are approximately 28.000 artists registered in Berlin alone.
The number of galleries in Berlin varies at a relatively constant rate between
400 and 600. Of those only 60-80 galleries are commercially feasible in the long run. While many small galleries are withdrawing themselves from Berlin-Mitte, there is a viable trend that rich private art collectors like Boros open showrooms there.
There are only very few other cities in the world where as many private collectors have their works of art on public display. For many of them works of art are speculative goods, which might eventually yield a higher return than comparable alternative investments. Naturally, this only works if an informal network of gallery owners and curators pushes the publicity of the works of art of certain artists into the pertinent scene of collectors. In this context the respective merchandise may well have a playful, flashy and brash character.
However, often enough one gets the impression that the protagonists of the art market themselves do not quite know what is supposed to be art and what not. Whether purposely or not the public is also part of this game.
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