Let&#39;s expect more in 2023, even if we don&#39;t know exactly how it will play out.

2022 closes with the trend of booming <a href="https://www.lofficielibiza.com/culture/crypto-island-ibiza-faces-the-metaverse" target="_blank" rel="noopener">art exhibitions</a>, exhibitors, people who bring art into events. It is easy to see the trend that works of art will become the new lubricant to elevate the lifestyle of many affluent and beginning privileged households.
However, not every consumer is awake enough to see the art in the work when money obscures the view. Events add a little art to make a place for photos to be posted on Facebook, making <a href="https://www.lofficielibiza.com/categories/art" target="_blank" rel="noopener">art</a> in 2022 more like a decoration.
In that spirit, Martin Herbert's article, translated and edited below, will summarize some of the main trends of the past year and the psychology of the participants in it. From documenta community art, auction house art, to <a href="https://www.lofficielibiza.com/fashion/givenchy-launches-a-capsule-collection-street-swear-associated-with-nfts" target="_blank" rel="noopener">NFT</a> and AI, each group has its own set of struggles but ultimately involves a lot of money.

Martin Herbert, "Tell Them I Said No" (2016) Martin Herbert is an author and critic living and working in Berlin, Germany.Photo source: Artbook at Hauser & Wirth Los Angeles

Vietnam is currently in the group that only has a little money but only dares to buy each other&#39;s paintings. From the &#39;non-governmental charity aesthetic&#39;&#39; and the &#39;Ok-looking&#39; painting to the increasingly blurred lines between culture and luxury lifestyles: the art world in 2022 To abuse Édouard Glissant&#39;s most famous metaphor, the contemporary art scene in 2022 could be said to be like an archipelago. In which each island has a unique style that has little to do with each other. For example, “Moneyless Island” – home to the documenta’s “non-governmental-charity NGO aesthetic” is cluttered with problematic ruangrupa, including museum projects steeped in community care. Far from “Island With Nothing But Money”, aka auction houses.

These days, $100-150 million for a painting is being normalized (if you buy a Warhol Marilyn at Christie's this May, it's $195 million), and hardly anyone. in these &ldquo;gilded sales&rdquo; rooms peer into the loud, upright paintings that outraged protesters on &ldquo;Moneyless Island&rdquo; &ndash; with their opposition to goods and their love of limited time events, music, food, etc.
The main way art rallies and expensive art have connected this year &ndash; aside from the ongoing fundraising for Ukraine, where seven <a href="https://www.instagram.com/banksy/?hl=en" target="_blank" rel="noopener">Banksy</a> murals have also appeared recently, or Pussy Riot is self-funding by performing at Art Basel Miami Beach, but also through its virality thanks to Just Stop Oil's Gen-Z activists. This dissonance, with going viral by pouring food on glass-wrapped artworks, has created the most visible aesthetic innovation on the works of 2022, at least internally. The showroom: synthetics.

Samara Golden, "Under a Skin Roof", installation at Art Basel Miami Beach 2022, Night Gallery, Los Angeles. Photo taken by Nik Massey. Source: news.artnet.com

The common sign of all of the above is extreme, along the financial and emotional vectors. As always, there are some great solo exhibitions; but this is not a top 10 list because individual shows cannot specify trends, or create trends. On the contrary, it is clear that if you venture into any art fairs this year without regard to ethnographic issues, the commercial scene (aka “Nothing But Island”) Money) is still mostly fascinated with &quot;looks Ok&quot; painting. In an upgrade in the last few years, the market has increasingly favored both “OK paintings”, figurative and abstract, like in Thuy Nga, they sing both bolero and dance music. Plus, the market is leaning more towards the younger and towards laid-back figures featured in fashion magazines, with galleries increasingly keen to chivalrously rescue young adepts like Anna Weyant, Louise Giovanelli and Jadé Fadojutimi, from spending time languishing in the “poor and wolf-filled” region after graduation. In museums too, and to a commendable extent, representation continues to improve for women and artists of color. Black women won the Turner Prize and the Golden Lion at Venice this year. Even so, according to Burns Halperin&#39;s latest report on the geography of art establishments&#39; acquisitions, this does not increase museum acquisitions, the permanence and visibility they represent. Moving on, fly over the flashy, recently formed “NFT Island”. At least, as a market, it&#39;s almost sunk in this year&#39;s crypto crash, as the value of Novelty Tulips (I get it right?) has dropped over 60% in the span of the span. the 2nd to 3rd quarter. However, the separation between technology and pure speculation in this case may not be such a bad thing. The NFT itself seems likely to exist as a format and evolve as artists treat them less as static objects, like silly cartoon images, and more as virtual assets that come with physical assets or as dynamic processes. For example, Ian Cheng&#39;s recent work &quot;3FACE&quot; (2022), a separate self-portrait that will adjust itself based on the content stored in the buyer&#39;s crypto wallet. (Collective artwork based on affluent audiences who like to flaunt their wealth, is a microtrend this year: see MSCHF ATM Rankings by Brooklyn Art Collective (2022), at Art Basel Miami Beach, cash machine transcripts of visitor account balances.)

Ian Cheng, production drawing “3FACE”, 2022. Photo source: outland.art/ian-cheng

A link of creative arts like Cheng's - which has been around for decades - with the decentralized economy of the NFT, although nascent, is like a more prominent use of the technology. was the somewhat ludicrous and heavily criticized launch of the Hilma af Klint NFT from the collaboration between Accuate Art and <a href="https://www.instagram.com/pharrell/?hl=en" target="_blank" rel="noopener">Pharrell Williams</a>' digital art gallery, GODA. Technology is also driving another emerging story: democratizing image creation, thanks to easy-to-use new AI software like Dall-E 2, Midjourney and the like. Artists themselves are using such software: in the case of Jon Rafman's recent work, filled with suggestive sections to find new territories in the monstrous and grotesque. But everyone else seems to be using and spreading the resulting image as well, which is starting to lead to similar shiny pictures that look counterintuitively familiar.

NFT from the "Paintings for the Temple" series (cut) by the late Swedish abstract artist, Hilma af Klint. Photo: GODA. Source: decrypt.co

In terms of infrastructure, earlier this year there were unconfirmed rumors that luxury brand LMVH was buying or extending a line of credit to Gagosian (since LVMH is a major Gagosian customer). The consensus is that even if that doesn&#39;t happen, it is inferred, even logical: Gagosian is also a high-end and highly collectivist brand, its customers also customers. of LVMH – owner Bernard Arnault is currently the richest man in the world. And art is in any case increasingly drawn into other aspects of the high-end lifestyle as ostentatious proof of wealth. (Hauser &amp; Wirth&#39;s artful luxury hotels in the Scottish Highlands, a short distance from Balmoral, plus their restaurants, pubs and membership clubs; Amanda Sharp and Toklas in London of the founders of Frieze and the newly opened Slotover hotel in Margate.)

Bernard Arnault with Jean-Michel Basquiat's 1983 work, "Napoleonic Stereotype Circa 44". The work is owned by Fondation Louis Vuitton. Photo: Jamie Hawkesworth, for Wsj. Magazine  © Jean-Michel Basquiat, Licensed by Artestar, New York. Source: wsj.com

Of course, when art itself is just a trinket in the lifestyle, qualities such as recognition and physical attractiveness become more important than anything else, which makes people things become pale for anyone who sees art as a challenge. The super-rich looting and depriving themselves of everything of value is the story of the 21st century and has yet to be reversed. So let&#39;s expect more of that in 2023, even if we don&#39;t know exactly how it will play out. But another thing that does not change is that art is always reacting to itself, transforming on itself. And if you don&#39;t like this island, then go to another island.

[Our Voice]: When art becomes a luxury

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