Territorialisation d’un marché de l’art émergent : le cas d’Istanbul

Molho, Jérémie

doi:10.4000/belgeo.13223

Cited by 7 publications

(13 citation statements)

References 23 publications

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“…The spatial configurations of art spaces in post-socialist cities remain an underresearched topic (e.g., study of project spaces in West and East Berlin-Marguin 2015; there was more interest in spatial dynamics of music venues, e.g., in Prague- Pixová 2013and in Warsaw-Wojnar 2017) when compared with numerous accounts from Western European or North American metropolises (e.g., Wedd et al 2001;Molotch and Treskon 2009;Zukin and Braslow 2011;Rius Ulldemolins 2012;Schuetz 2013Schuetz , 2014Jansson 2014;Phillips 2014;Schuetz and Green 2014;Valli 2021). This paper makes a contribution to filling this gap by adding another case study (see Ithurbide 2014;Molho 2014) going beyond the dominant Western perspective and representing semi-peripheries of the global art system.…”

Section: Literature Review-independent Art Spaces In the Urban Spacementioning

confidence: 99%

“…Thus, they are usually situated in marginal places within the city. They may adopt a strategy to occupy niches with low physical visibility (in side streets, on higher floors, in cellars and attics) in established art districts dominated by more recognised commercial galleries (that is, a central location in the urban structure, but a marginal one within the built environment), or they may become pioneers in more liminal spaces not associated with artistic activities where they may benefit from greater physical visibility from the street level (on ground floors, with storefronts, in main streets or squares) (Molotch and Treskon 2009;Rius Ulldemolins 2012;Molho 2014). In the latter case, they could play a role of catalyst of gentrification, or at least be regarded as a sign of ongoing or future social and functional transformation (Vivant and Charmes 2008;Schuetz 2013;Phillips 2014;Vickery 2014;Valli 2021), which is often cyclically reproduced in different parts of the city and progressing as a frontier of urban change (Gray and Mooney 2011;Zukin and Braslow 2011;Colomb 2012;Valli 2021).…”

Section: Literature Review-independent Art Spaces In the Urban Spacementioning

confidence: 99%

“…In Barcelona, the historical neighbourhood of El Raval developed into a bohemian district housing a number of independent art spaces (Rius Ulldemolins 2012). Similarly, in Istanbul, the derelict district of Beyoglu gained the most popularity, but art spaces were also using post-industrial sites in the Karaköy district (Molho 2014;Molho and Sagot-Duvauroux 2017). In Mumbai, non-profit artistrun initiatives are concentrated in Bandra West, located on the border between the city and its suburbs.…”

Section: Literature Review-independent Art Spaces In the Urban Spacementioning

confidence: 99%

See 2 more Smart Citations

A Spatial History of Independent Art Spaces in Krakow from the 1970s to 2019

Działek

2021

Arts

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Independent art spaces not only play an important role in exploring frontiers in the visual arts but are often also pioneers discovering new artistic territories within cities. Due to their subordinate position in the field of art, they often occupy marginal spaces in terms of their location within the urban structure and/or in terms of their physical visibility within the built environment. Their location outside the established artistic cores reflects, at the same time, their weaker economic standing and wish to distinguish themselves from previous generations of cultural producers. Post-socialist cities offer the opportunity to study the spatial history of independent art spaces under different political and economic systems. In this paper, I have used a detailed database of private art galleries in the period from the 1970s to 2019 and content analysis of press and internet texts about them to uncover the stages of development of independent art venues in Krakow, Poland, an example of a post-socialist city with a rich cultural heritage. They included periods of dispersion within the wider inner-city followed by cycles of concentration in rather neglected quarters that were emerging as epicentres of alternative artistic life only to dissipate due to unfavourable economic conditions and the appearance of the next generations of artists who wanted to mark their distinctive presence both in the art world and in the urban space. I also discuss how independent art spaces were using their usually marginal, temporary and fluid sites in their artistic practices and the accumulation of symbolic capital in the field of art.

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Section: Literature Review-independent Art Spaces In the Urban Spacementioning

confidence: 99%

Section: Literature Review-independent Art Spaces In the Urban Spacementioning

confidence: 99%

Section: Literature Review-independent Art Spaces In the Urban Spacementioning

confidence: 99%

See 1 more Smart Citation

A Spatial History of Independent Art Spaces in Krakow from the 1970s to 2019

Działek

2021

Arts

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“…In the last two decades, the rapid expansion of art markets beyond North America and Europe has raised new questions (Brones and Moghadam 2016). Recent studies have shown the urban transformations generated by the art market in emerging global cities such as Mumbai, Istanbul, Rio de Janeiro and Dubai (Thurbide 2014;Molho 2014;Brandellero 2015;Sindelar 2016;Nouvel 2020). These works converge in presenting cities' art markets as complex urban ecosystems, which consist of a variety of art market actors, such as galleries, fairs, curators, artists, and urban elites that include policymakers, real-estate actors, and other local interest groups.…”

Section: Hub Cities and The Global Art Marketmentioning

confidence: 99%

Becoming Asia’s Art Market Hub: Comparing Singapore and Hong Kong

Molho

2021

Arts

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The recent emergence of new regions in the global art market has been structured by hub cities that concentrate key actors, such as global auction houses, influential art fairs, and galleries. Both Singapore and Hong Kong have developed explicit strategies aimed at positioning themselves as Asia’s art market hub. This followed the steep rise of the Chinese art market, but also the general perception of Asia as the world’s most dynamic art market. While Hong Kong’s emergence derives from its status as gateway to the Chinese market, and has been driven by key global players, such as the auction houses Christies’ and Sotheby’s, the Art Basel fair, and mega-galleries, Singapore’s strategy has been driven by the state. At the end of the 2000s, the city identified the art market as a new growth sector, and proactively invested, by creating a cluster concentrating international galleries and supporting art fairs, art weeks, and new world-class cultural institutions. Based on comparative fieldwork, and interviews with actors of the Singapore and Hong Kong art markets, this article shows that the two cities’ distinct strategies have generated contrasted models of “cultural hubs”, and that they play complementary roles in the structuration of the region’s art market.

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“…However, growth was largely localised and the Turkish art market remained relatively marginalised in the international market with few external promoters. After 2000, events began to change with the proliferation of institutions and the market price boom (Molho 2014). Recent developments within the Istanbul art scene have been less a consequence of public strategy than the venture initiatives and patronage of important industrial families investing in cultural infrastructure (Şeni 2010).…”

Section: Introductionmentioning

confidence: 99%