The Chinese art and antiques market is to a large extent influenced by nationalism. In contrast to other governments, the Chinese government is not very successful in the repatriation of Chinese...Show moreThe Chinese art and antiques market is to a large extent influenced by nationalism. In contrast to other governments, the Chinese government is not very successful in the repatriation of Chinese cultural heritage. Therefore, it supports individuals to do so by rewarding those who step in. Nationalism nowadays is a very important value in Chinese society encouraged by the government. Part of that is also to encourage people to show their nationalism by means of buying art. Donors are also encouraged by the rewards they get for their donations. When an object that has been stolen from China comes up for sale it always attracts a lot of attention in China. This is especially the case when it originates from the Yuanmingyuan, a place connected to the humiliation of China. Many think the sale of stolen objects should be forbidden and if the government does not succeed in stopping the sale, people will try to buy it in order to repatriate it to China. Which can result in a bidding war in which the price reaches unrealistic heights. Individuals outside of mainland have used antiques to construct their Chinese identity and to strengthen their ties with China by among others donating stolen art. This is a way for them to show they support Chinese nationalism. Something that has had an influence on the buying behaviour of the overseas on the Chinese art and antique market. Since the beginning of the 2000s buyers from mainland China with the same purpose have entered the market. This has had an enormous influence on the Chinese art and antiques market. Thus, the Chinese art and antique market is to a large extent influenced by nationalism.Show less
This thesis revisits the 1988 Sotheby’s auction in Moscow, an event that catalyzed the commercialization of the Soviet art market. For the first time in history, unofficial art, previously outlawed...Show moreThis thesis revisits the 1988 Sotheby’s auction in Moscow, an event that catalyzed the commercialization of the Soviet art market. For the first time in history, unofficial art, previously outlawed by the Soviet state, was auctioned off to predominantly Western buyers. While scholars have assessed the role of the auction in transforming the Soviet art market, none have contemplated the perceptions of commercialization from the perspective of the media. Additionally, pre-existing literature lacks application of cultural theory. Therefore, this thesis departs from previous works by assessing Western and Soviet news coverage of the event. Based on the conclusions drawn from this analysis, Pierre Bourdieu’s theory of symbolic capital is applied in order to understand the ‘re-shuffling of artistic hierarchies.’ By drawing on media- and theory-focused lenses, this thesis aims to contribute to the discussion on the nature of commercialization in the Soviet Union prior to its collapse, as well as invite a more careful reading on the effects of commercialization on Soviet artistic production.Show less
The present research is an attempt to explore the presented and hidden narratives, or non-disclosed behaviors, of the galleries of two art hubs located in Beijing: Caochangdi art village and 798...Show moreThe present research is an attempt to explore the presented and hidden narratives, or non-disclosed behaviors, of the galleries of two art hubs located in Beijing: Caochangdi art village and 798 art district. These two districts are perceived as radically different from each other: 798 is considered by many workers of the field as commercialized, whereas Caochangdi is deemed to be "about art." However, is there an actual difference between the galleries of the two art hubs? Thus the research question was easily defined: “What are the narratives the two Beijing’s Contemporary art district’s galleries use to present themselves and do the districts differ in it or are they similar? In which way would they be similar?” This research aims at answering this question through a series of interviews. These interviews were based on theory drawn from secondary sources and are aimed at defining commercial (innovative) or non-commercial (inventive) behaviors in the sample galleries.Show less
