What are the differences between the art market at home and abroad
It is certain that the domestic art market is not as mature as abroad. Because maturity is largely dependent on time. There are some things we can learn, like how auction houses work. Some things can not be learned, such as the mentality and taste of collectors. This determines that the Chinese art market is destined to be very immature. In this immaturity, many problems arise. In identifying the problem, I suggest that the subject should still distinguish between "can learn" and "can't learn" to see whether the problem arises from "want to do" or "can do but not willing to do". This will give a clearer understanding of the pros and cons of China's art market compared to those of foreign countries. For example, today's galleries rarely produce artists, yes. There are similar galleries abroad, such as gagosian and pace, which mostly represent big-name artists who have established their own audiences. These "super" galleries abroad do not need to be nurtured, as do carnivores, because there are lower galleries that train artists for them. These small galleries do not have the money to represent such expensive works, so they have to choose relatively cheap and unknown artists, in a place where rents are relatively cheap, expecting big collectors and galleries to "hunt" for them. In China, since galleries and auction houses started almost at the same time, and only about 20 years in total, this situation is equivalent to bringing smaller galleries and well-capitalized auction companies into the same competition. As a result, it is difficult for galleries to develop in this situation. What if auction houses overfish for works of art and have no galleries to nurture them? The auction house decided to take matters into its own hands. This from the auction house in recent years efforts to develop "fine arts graduates auction" can be seen. This is actually a market adaptation. If in a foreign country, auction company also does so, be equal to want to kill medium and small gallery, the somebody else must desperately not. A gallery in China? China has too few small and medium-sized galleries to resist auction houses. As for the cultural level of the collection group, this can be said to be both a problem and an opportunity. A market for high-class collectibles such as "I just want a snow scene painted by pissarro in his later years, with houses, trees, people and footprints" is not necessarily more conducive to China's development than a market for investors such as "I want to be able to add value to anything else". As long as you can get more and more, "I don't like painting I will auto houses" people gradually turned into "although I don't understand, but if the money to buy bought" investors, then wait for their son that generation, if haven't sent, it could become a "dad these things I don't understand, but seems quite valuable, I will look at" the primary collectors. In the process of selling his inventory, he might become interested and use the money from the sale to buy works he likes. This process of "cultivating people for a hundred years" is what I said we could not learn from the west, but it is very important. Therefore, the current domestic art market all kinds of chaos, in fact, are in the trial and error. We are a young market, not afraid of trial and error, the key is through trial and error can move on. When sotheby's and Christie's in London became the world's leading auction houses, they had few people telling them how to run a global, multicultural auction house. If they can find a way out of thin air, so can we, and it is unlikely that the next generation will lose to them. I hope you have confidence in China's art market. For example, the art securitization, the text exchange for two years found not too mature, big deal not to do it. I met Art tactics founder Anders last year and he commented on the Chinese market: "I envy you for having a strong government. You can experiment boldly with the market, if not, the government will come down with a red flag to rescue the market. But in a free market, if you mess up, you're screwed. In this case, other practitioners will do their best to prevent innovation to keep themselves safe. In this sense, Europe has lost the incentive to transform the art market. So maybe you can take a completely different path from the European art market."