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Let’s go! … to the exhibition …

What is your main motivation for visiting an art exhibition? What motivates you to collect works of art? The politicization of art? Raising the new art marketing paradigm at the exhibition art venues?

When publishing materials about exhibitions, the viewpoint of an artist about art sites often remains unspoken.

What are we thinking about? Why is everything not so good in the culture of the post-Soviet space, or is it theater, pop music or visual art, a museum, an art gallery?

Exhibitions of visual art turned into art parties – art parties.

The tendency of low attendance of galleries is associated with the intensity of the tradition of the spectacle, and the work of the gallery owner with the artists. Constant dictates on the part of gallery owners pushes artists up, against dictatorship and to the demonstration of a personal art look.

And the artist is confronted with the first thing – the inability to show a high level of an art show forces the artist to look for an alternative to traditional art sites.

In recent decades, quite a few private galleries and art spaces have been created. The world of galleries is limited by the views of its owner or art manager, the circulation of the exhibited art objects, all in an exceptionally dosed format.

It is about creating shortages and costs by limiting access to the artist, the buyer. A large shortage of representation, which can provide the market as an art objects, and price.

The Internet has destroyed traditional business models and retained the desire of art managers to look into the eyes of the artist, but no one asked the artist if he wanted to look into his eyes. The artist is ready to talk about what pushed him to create an art project or limit himself to a duty replica … what about tru-la-la, saw the floating clouds and was excited, la-la … and know …

In other words, traditional exhibitions in galleries did not require explanations, no instructions, but simply ignite a visual image, mental and emotional arousal through its natural ability to create internal dialogue through color, scale and abstract form …

The desire to open your own gallery is the ultimate goal for most gallery owners, and the artist is largely overlooked. The exhibition policy of galleries is often simply not clear and consistent. She raises unanswered questions. Or something naive and childish sounds: “… I will give you an answer in my Ph.D. thesis …” Abstract situation: gallery owners complain about the absence of the art market and buyers, while they themselves do nothing and do not offer to change this situation.

For example, an abstract artist in greater intensity uses color and form to charge his paintings so that they are self-sufficient. And where is the self-sufficiency of art spaces?

The Internet has opened a lot of information about how the art sites are arranged in different countries. Why did it not happen that the most successful models were not launched, at least in pilot projects in the post-Soviet space?

The essence of art and the importance of creative expression has not changed, it is only beginning to expand and become more accessible and more democratic. The political component of art, or socially engaged art (social engineering), remains as important as before, both in America, Europe and in the post-Soviet space. Examples of this; 2013-2014 revolution in Ukraine (a large number of Ukrainian artists were directly involved in it and displayed in the works, both during the events and the following year). Elections in 2016, the President of the United States Donald Trump – a large number of preference, caricatures and installations, in Russia there are single shares of preference.

In these two examples, one can trace the difference in the representations of events: Ukrainian artists – more traditional visual images (the so-called fixation), American artists – more sympathetic art projects that involve action.

And this is a very important fact in understanding why models of art markets do not work in the post-Soviet space. And the main thing is participation and movement.

The interdependence of the movement, founded by Professor Benjamin Barber, is a network of citizens without borders, including artists, teachers, students, politicians, entrepreneurs, public and religious figures and other activists who recognize the interdependent nature of our world and the promotion of new forms of constructive interdependence. They seek to solve several transboundary problems in the field of economics, ecology, technology, war, disease and crime that we face. They do this by imagining, creating and practicing new, fair, useful, human, social, economic, cultural and managerial relations, and the strategic management of our common art-climate.

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