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[2009.11.26][Suspended animation假死]
The art market has suffered from the recession, but globalisation should help it recover, say Fiammetta Rocco (interviewed here) and Sarah Thornton
艺术市场已经因为经济萧条的影响而萎缩，但全球化可以帮助它恢复过来，Fiammetta Rocco和Sarah Thornton说。
THE longest bull run in a century of art-market history ended on a dramatic note with a sale of 56 works by Damien Hirst, “Beautiful Inside My Head Forever”, at Sotheby’s in London on September 15th 2008 (see picture). All but two pieces sold, fetching more than ￡70m, a record for a sale by a single artist. It was a last hurrah. As the auctioneer called out bids, in New York one of the oldest banks on Wall Street, Lehman Brothers, filed for bankruptcy.
随着2008年9月15日在伦敦苏富比拍卖行举行的“我内心的美丽永存”拍卖会上Damien Hirst的56件作品的出售，艺术市场一个世纪以来最长的一次顶峰划上一个戏剧性的终结。除了两件作品其他都卖出了，创造了动人的七千万美元的销售佳绩，也是单个艺术家来说一个销售的记录。那是最后一次欢呼。随着拍卖商大声地喊出出价，在纽约华尔街的一家最具历史的银行里，雷曼兄弟，申请破产。
The world art market had already been losing momentum for a while after rising vertiginously since 2003. At its peak in 2007 it was worth some $65 billion, reckons Clare McAndrew, founder of Arts Economics, a research firm—double the figure five years earlier. Since then it may have come down to $50 billion. But the market generates interest far beyond its size because it brings together great wealth, enormous egos, greed, passion and controversy in a way matched by few other industries.
在从2003年的快速发展之后，世界的艺术市场已经有一段时间失去了它的发展势头。在2007年它最顶峰的时候它值大概650亿，作为艺术经济的载体的一个研究公司的创始人Clare McAndrew估计，而在五年前，他们估计的数据是双倍的。从那时开始艺术市场的价值就开始下滑至500亿。但是这个市场产生的利益远远超出它本身因为它通过其他非常少的行业就可以把巨大的财富，膨胀的自负，贪婪，激情和争议结合在一个相配的地方上。
In the weeks and months that followed Mr Hirst’s sale, spending of any sort became deeply unfashionable, especially in New Y** the bail-out of the banks coincided with the loss of thousands of jobs and the financial demise of many art-buying investors. In the art world that meant collectors stayed away from galleries and salerooms. Sales of contemporary art fell by two-thirds, and in the most overheated sector—for Chinese contemporary art—they were down by nearly 90% in the year to November 2008. Within weeks the world’s two biggest auction houses, Sotheby’s and Christie’s, had to pay out nearly $200m in guarantees to clients who had placed works for sale with them.
在Hirst先生的销售之后的日子里，任何形式的开销都显得非常冷门，特别在纽约，那里银行的保释碰巧遇上数以千计就业机会的丧失和许多艺术投资者的财经消亡。在艺术市场中这意味着收藏家远离了画廊和销售店。当代艺术的销售下降了三分之二，在最过热的中国当代艺术领域，到2008年的十一月它下降了接近百分之九十。数周之内世界上两个最大的拍卖行，Sotheby 和 Christie，必须支付接近两亿美元去担保那些在他们那里进行销售的客户。
The current downturn in the art market is the worst since the Japanese stopped buying Impressionists at the end of 1989, a move that started the most serious contraction in the market since the second world war. This time experts reckon that prices are about 40% down on their peak on average, though some have been far more volatile. But Edward Dolman, Christie’s chief executive, says: “I’m pretty confident we’re at the bottom.”
当前低迷的艺术品市场是自从1989年末日本停止购买印象派作品以来最糟糕的一次，是自从第二次世界大战以来最严重的一次市场收缩。这一次专家认为价格已经低于他们平均高点的百分之四十，即使有些还是非常不稳定。但 Edward Dolman，Christie的首席执行官说：“我很有信心现在我们正在处于谷底。”
What makes this slump different from the last, he says, is that there are still buyers in the market, whereas in the early 1990s, when interest rates were high, there was no demand even though many collectors wanted to sell. Christie’s revenues in the first half of 2009 were still higher than in the first half of 2006. Almost everyone who was interviewed for this special report said that the biggest problem at the moment is not a lack of demand but a lack of good work to sell. The three Ds—death, debt and divorce—still deliver works of art to the market. But anyone who does not have to sell is keeping away, waiting for confidence to return.
与对上一次大萧条不一样的是，他指出，是在于现在市场上还存在买家。而在1990年代早期，当利率很高的时候，尽管许多收藏家愿意卖出艺术品但市场上却没有需求。Christie在2009年上半年的收入仍高于2006年上半年。几乎每个接受这个特别报道访问的人都说现在这个时期最大的问题在于不是没有需求而是没有好的作品去销售。三维技术的死亡，债务和分离，却依然为市场提供艺术作品。但那些不一定要去卖作品的人就一直远离着市场，等待归来的信心。
The best that can be said about the market at the moment is that it is holding its breath. But this special report will argue that it will bounce back, and that the key to its recovery lies in globalisation. The supply of the best works of art will always be limited, but in the longer run demand is bound to rise as wealth is spreading ever more widely across the globe.
对于现在的艺术市场最好的说法就是现在它已经停止下跌。但这篇特别报道认为它将会反弹，而反弹的关键在于全球化。对于最好的艺术作品的供应总是有限的，但从长远的需求来说它是与财富捆绑在一起的，它们将比以往任何时候都更广阔地传遍全球。
The World Wealth Report, published by Capgemini and Merrill Lynch, charts the spending habits of the rich the world over. It includes art as one of a range of luxury items they like to buy. According to the report, in 2007 there were over 10m people with investible assets of $1m or more. Last year that number dropped to 8.6m and many rich people scaled back their “investments of passion”—yachts, jets, cars, jewellery and so on. But the proportion of all luxury spending that went on art increased as investors looked for assets that would hold their value in the longer term.
由 Capgemini 和 Merrill Lynch 发表的世界财富报告，其中的图表显示了世界范围内富人的消费习惯。其中包括了他们喜欢去购买的奢侈品之一的艺术品。根据报告显示，在2007年世界上超过一千万人拥有一百万或更多的可投资资金。去年这个数字跌至八百六十万人，而许多富人都把他们的“购买的激情”的范围缩小——游艇，喷气式飞机，名车，珠宝首饰和其他。但从长远来说，就像投资者寻求他们的资产一样，在所有奢侈品消费里面艺术品所占的比例将会保持它们的价值。
The regional spread of buyers also changed significantly as some parts of the world became relatively richer. During the boom the number of wealthy people in Russia, India, China and the Middle East rose rapidly. In 2003 Sotheby’s biggest buyers—those who purchased lots costing at least $500,000—came from 36 countries. By 2007 they were spread over 58 countries and their total number had tripled.
随着世界上某些地区变得相对富裕起来，买家的区域分布也发生了显著的变化。在这轮发展浪潮中俄罗斯，印度，中国和中东地区的富人们的数量急剧上升。在2003年Sotheby最大的买家，那些买了许多至少五十万的商品的人，来至36个国家。到了2007年这些人变成来至超过58个国家并且他们的数量是之前的三倍。
That upward trend is still continuing, and many of the new buyers take a particular interest in the art of their own place and time. Last year China overtook France as the world’s third-biggest art market after America and Britain (see chart 1), and some 25% by value of the 100,000-plus works of art sold by Christie’s went to buyers from Russia, Asia and the Middle East.
那个上升的趋势还在继续，一些新的买家们对于他们自己地区和时代的艺术作品具有独特的兴趣。去年中国取代了法国成为世界第三大艺术品市场，紧随着美国和英国。Christie所卖出的十多万个作品中有百分之二十五的作品的买家来自俄罗斯，亚洲和中东。
Auction records remain dominated by Impressionist and modern works (see table 2), but the biggest expansion in recent years has been in contemporary art. Prices of older works keep going up as more people have money to spend, but few such works become available because both collectors and museums tend to hold on to what they have. Old Master paintings, for example, have stuck at around 5% of both Sotheby’s and Christie’s sales for many years. By contrast, contemporary art, which in the early 1990s accounted for less than 10% of Sotheby’s revenues, grew to nearly 30% of greatly increased revenues by last year. Dealers and auction houses now sell more post-war and contemporary art than anything else. This report will concentrate on that part of the market, which accounts for about half the world’s art trade and most of the excitement.
拍卖的销售记录一直被印象派和现代作品所占据着，但近年来最大的扩张来自于当代艺术。年代久远的作品的销售之所以能持续上升因为人们有能力去购买它们，但很少这样的艺术品可以被购买到因为收藏家和艺术馆都倾向于保留他们所拥有的。举例来说，古老的大师级的绘画作品，许多年来在Sotheby 和 Christie的销售中都徘徊在百分之五左右。相对的是，在1990年代早期只占Scotheby销售额的不到百分之十的当代艺术，在去年销售额增长了接近百分之三十。经销商和拍卖行现在比其它任何类型都销售更多的战后和当代的艺术作品。这个报道会关注在那一块市场，那里占据着约世界艺术贸易一半的席位和绝大多数使人兴奋的时刻。
Part of the extra demand has come from a large increase in the number of museums. Over the past 25 years more than 100 have been built, not only in America and Europe but also in the sheikhdoms of the Persian Gulf and the fast-growing cities in Asia; sometimes in partnership with Western institutions, such as the Guggenheim or the Louvre, sometimes on their own. Many of these institutions have made their mark by buying contemporary art.
额外需求的部分原因来自于博物馆数量的大量增加。在过去的25年里超过一百家博物馆建立，不仅在美国和欧洲地区，也在波斯湾的酋长国和亚洲快速发展的城市；有些是西方机构的合作伙伴，例如Guggenheim或者Louvre，有些则是他们自己建立的。许多这些机构都已经通过购买当代艺术的作品获得成功。
Over the same period the number of wealthy private collectors has also increased many times over, and so has their diversity. The record price for one of Andy Warhol’s giant faces of Chairman Mao was $17.4m, paid by Joseph Lau, a Hong Kong property developer. It was the first major Warhol to go to the Far East. A month later the Qatar royal family bought a Hirst pill cabinet, entitled “Lullaby Spring”, for ￡9.7m, the first major Hirst bound for the Middle East. Everyone wants an iconic work, which helps explain the global demand for artists such as Warhol, Jeff Koons and Mr Hirst—and the eye-watering prices such work can command.
与此同时那些富有的私人收藏家的数量也增加了好几倍，同样增长是他们的多元化趋势。一个销售价格记录的保持者来自于Andy Warhol的一张毛主席的特写被香港的一个地产商Joseph Lau以一千七百四十万购得。这是Warhol在遥远的东方做的第一笔重要的买卖。一个月之后卡塔尔皇室以九百七十万购买了赫斯特的名为“催眠春天”的药片橱窗，这是赫斯特第一次把作品销往中东地区。每个人都希望拥有一件标志性的作品，这种现象很好的解释了对于例如Warhol，JeffKoons和Hirst之类的艺术家和那些艺术作品能创作出来的令人惊呆的价格的全球化需求。
Masters of the art universe
艺术领域里的大师
Straddling all areas of the art market is a handful of individuals who have emerged as the key figures in the art world in recent years. Chief among them is Fran?ois Pinault, a luxury-goods billionaire who is also a noted collector of contemporary art and the owner of Christie’s. Philippe Ségalot, his French-born adviser, was behind one of the biggest deals involving a single work of art, the private sale of Warhol’s 1963 painting, “Eight Elvises”, to an anonymous buyer for over $100m.
最近几年，横跨艺术市场所有领域的是一批以关键人物的姿态出现在艺术世界里的人。其中为首的便是Fran?ois Pinault，一个做奢侈品生意的亿万富翁，同时也是一个著名的当代艺术作品收藏家和Christie的拥有者。Philippe Ségalot，他的在法国出生的顾问，参与了一宗最大的单件艺术品的交易——私人销售Warhol在1963年的绘画作品“Eight Elvises”，以一亿美元售给一个匿名的购买者。
Mr Ségalot is also believed to be advising the royal family of Qatar, which in the past two years has spent large sums buying modern art at auction, including record-breaking works by Mark Rothko and Mr Hirst. Steven Cohen, an American hedge-fund billionaire, also owns works by Warhol, Mr Hirst and Mr Koons. Mr Cohen used to be a sizeable shareholder of Sotheby’s and is still an important provider of liquidity to art buyers.
Ségalot先生也被认为指导了卡塔尔皇室，该皇室在过去两年里花费巨额在拍卖行购买了大量的当代艺术作品，包括打破纪录的作品如Mark Rothko和Hirst先生的。Steven Choen，一位美国对冲基金的亿万富翁，同时也拥有着Warhol，Hirst先生和Koons先生的作品。Cohen先生过去曾被认为是Sotheby的大股东，即使是现在他还是一位提供买家流动资金的重要的人。
The popularity of blockbuster art exhibitions and the emergence of buyers with a different cultural history have helped change tastes. Artists such as Edvard Munch and Vasily Kandinsky rose sharply after solo shows in London and New York. Alexei von Jawlensky and Emil Nolde were regarded as specialist interests until Russian collectors began seeking them out. Zhao Wuji used to be just another Chinese painter-in-exile; now he is recognised as an Abstract Expressionist master influenced by Paul Klee and praised by both Joan Miró and Pablo Picasso.
份量重大的艺术展览和不同文化历史的买家的市场介入的兴起都帮助了人们口味的改变。例如Edvard Munch和 Vasily Kandinsky在经过了伦敦和纽约的个人展览之后异军突起。Alexei von Jawlensky 和 Emil Nolde 直到俄罗斯的收藏家们开始去挖掘他们才成为在公众看来的最特别的赢利点。ZhaoWuji曾经只是一个中国的流浪画家；现在他已经被认为是抽象表现主义的大师，深受Paul Klee的影响，并且受到Joan Miró和PabloPicasso的赞许。
How to sell it
如何去销售
One of the biggest changes since the market last peaked in 1989 has been the expansion of the auction houses and the change in the nature of the dealer business. Twenty years ago auction houses sold to dealers, and dealers sold to private customers. Today many collectors are advised by auctioneers, both at sales and privately.
自从艺术市场上一个在1989年的顶峰时期以来，最大的改变在于拍卖行的扩张和买卖交易本质的变化。二十年前是由拍卖行卖给经销商，然后再从经销商卖给私人的顾客。如今许多收藏家都已经受到拍卖人的启发，包括在销售和私人交易两个方面。
Rising costs brought trouble to many old-fashioned fine-art dealer emporiums. In London Christopher Gibbs has sold his stock and Partridge is in administration. In Paris Galerie Segoura has closed, as has Salvatore Romano in Florence. Many dealers now prefer to take art works on consignment, matching sellers to buyers for a commission rather than investing in stocks of art.
成本的上升给一些传统的艺术交易商场带来困难。在伦敦Christopher Gibbs已经卖出了他的存货并由Partridge担任主管。在巴黎Galerie Segoura倒闭了，在弗洛伦萨的Salvatore Romano也一样。许多经销商现在都更倾向于把艺术品进行托运，通过卖家和买家的配对赚取佣金比投资在实在的艺术品存货上要划算很多。
About half the market’s business, reckons Ms McAndrew of Arts Economics, is conducted at public auctions, with Christie’s and Sotheby’s taking the lion’s share. Smaller houses include Drouot in Paris, Bonhams, which is based in London but has several offices abroad, and Doyle in New York. The other half is generated by private dealers and galleries that are notoriously secretive. One of the biggest private deals in recent years came to light only because the details were disclosed in an American court following the Bernard Madoff scandal. Last July ten paintings by Rothko and two sculptures by Alberto Giacometti were sold by a New York financier to help repay Mr Madoff’s investors. A mystery buyer spent $310m on the works. Two dealers earned $37.5m in fees.
约有半数的艺术市场上的生意，艺术经济的McAndrew女士推断说，随着Christie 和 Sotheby购买了Lion的股份，这些市场上半数的生意都被公共拍卖行指导着。小一点的行商包括巴黎的Drouot或者以伦敦为根据的Bonhams都有许多海外的办公室，还有纽约的Doyle。另外一半的生意是众所周知地在私人经销商和艺术馆之间秘密进行。近年来最大的一宗私人交易被曝光只是因为其中的一些细节在美国法庭追踪Bernard Madoff的丑闻案时被同时揭发出来。去年七月十幅Rothko的绘画和两具Alberto Giacometti的雕塑作品被一个纽约财经人士售出以此来偿还Madoff先生的投资者。一个神秘的买家在这宗交易里花费了三亿一千万。两位经销商赚取了三千七百五十万的费用。
By comparison with that private world, Sotheby’s and Christie’s auction business looks like a model of transparency. Although buyers and sellers are rarely named, the auction price is public. Yet even here there are dark corners. The leading auctioneers offer inducements such as guaranteed prices to persuade sellers to part with their treasures, and generous terms of payment for buyers.
与那个私人的世界不同的是，Sotheby和Christie的拍卖行似乎是一个透明经营的典范。虽然买家和卖家都很少留名，但拍卖行的价格是公开的。即使这样但还是存在暗角。领导的拍卖人会提供各种诱惑例如向销售人保证售出的价格好让他们卖出他们的宝贝，也如向买家提供各种宽厚的付款条件。
One thing that differentiates the two auction houses is their ownership structure. Sotheby’s is a quoted company whereas Christie’s, once listed, was taken private in 1999 by its current owner, Mr Pinault. Christie’s business has since expanded hugely, partly thanks to Mr Pinault’s pivotal position in the international art world. Even though the company can pick and choose what information it wants to reveal, it has in fact become more open over the past ten years.
两间拍卖行之间存在一种差异就是他们的所有权结构。Sotheby的是一间上市公司然而Christie，一旦上市，在1999年就被它现在的拥有者Pinault先生买下。Christie的生意从那时开始便突飞猛进，一部分得感谢Pinault先生在国际艺术世界的关键性地位。即使这间公司可以选择他们愿意公开的信息去公布，但实际上它在过去十年来是越来越开放了。
Sotheby’s, for its part, is still smarting from the public beating it received in America nearly a decade ago when its chairman, Alfred Taubman, and its chief executive, Diana Brooks, were found guilty of conspiring with Christie’s to fix commissions. Mr Taubman served ten months of a one-year prison sentence; Mrs Brooks was given six months’ house arrest, a $350,000 fine and 1,000 hours of community service. No one was charged at Christie’s, which had blown the whistle on the commission-fixing. Sotheby’s lives in fear of the regulators and discloses only as much financial information as it has to.
对于Sotheby来说，差不多十年前当它的主席Alfred Taubman和它的首席执行官Diana Brooks因为谋取Christie固定佣金而被判有罪，至今它一直忍受着来自美国公众打击的刺痛。Taubman先生被判一年监禁，服刑十个月；Brooks夫人被判六个月软禁，三十五万罚款和一千小时社区服务。在Christie没有人受指控，他们揭发了固定佣金的事件。Sotheby生活在管理部门的阴影下并且只是透露了它必要透露的一部分财经信息。
In the decade since the scandal both auction houses have concentrated on expansion. Sotheby’s was the first auctioneer to become interested in Russia and remains bigger there than its rival. Christie’s, which has long been especially strong in the Far East, has put a lot of effort into China. Foreigners are not allowed to own auction houses there, but Christie’s has got around that by signing a licensing agreement with a leading Chinese auctioneer. Both houses have their eye on the Middle East. Christie’s holds regular auctions in Dubai, of which its art and jewellery sales are the most successful. Sotheby’s has opened an office in Qatar which is important for its relationship with the Qatar royal family, one of its biggest clients.
在那一桩丑闻的那个十年里，两家拍卖行都已经集中于经营扩张。Sotheby是首家拍卖行开始关注于俄罗斯并且相比它的对手保持更大的该市场的份额。Christie这个长期以来在远东地区有特别强实力的拍卖行，开始在中国进行努力。外国人是不可以在当地拥有拍卖行的，但Christie已经通过与中国最重要的拍卖人签订许可证拥有了众多拍卖行。两间拍卖行都关注与中东市场。Christie在迪拜有常规的拍卖，那里是艺术品和珠宝类销售最成功的地方。Sotheby已经在卡塔尔开设了办公室，这对他们与卡塔尔皇室——他们最大的客户之一，的关系非常重要。
The response of both auction houses to the current slump has been broadly similar: staff cuts, unpaid leave, a squeeze on salaries, slashed marketing and travel budgets, and an edict that the glossy auction catalogues, which in the boom cost each of them £25m a year to produce, were no longer to be handed out like chocolate drops.
两间拍卖行最近营业的大幅度下滑的反应都大体上一致：裁员，无薪假期，薪金困难，市场和旅游预算的大幅下滑，还有那虚有其表的拍卖目录的布告，在以前的繁盛时期他们每间一年要花费两千五百万去生产的东西，再也不能像巧克力豆一样分发了。
With a hugely expanded international client base, it was only a matter of time before both auctioneers started to muscle in on areas that had previously been the preserve of private dealers, matching buyers and sellers and selling new art rather than items that had already been in the market. Sotheby’s proved to be much the more ruthless of the two. All the lots in Mr Hirst’s September 2008 sale, for example, had been consigned to Sotheby’s directly from the artist’s workshop, which shocked dealers who had not previously thought of the auction houses as direct competitors.
随着国际客户基础的巨大扩张，两间拍卖行开始涉足原来被私人经销商保护的领域只是时间的问题，协调买卖双方，放弃具体的产品而销售新型的艺术早已存在于市场中。Sotheby被证明是这两两间拍卖行中更冷酷无情的那个。举例说，2008年九月Hirst先生的作品销售的全部批次，都直接从艺术家的工作坊那里托运到Sotheby，这一举动震惊了那些之前根本没有想到拍卖行会成为直接竞争者的经销商。
In 2006 Sotheby’s paid $56.5m for Noortman Master Paintings, a leading dealer in Old Masters. Less than a year later Christie’s bought Haunch of Venison, another high-profile dealer set up in 2002, whose founders included a former director of Christie’s contemporary-art department. Noortman gave Sotheby’s an entry into the Maastricht Art Fair, the pre-eminent dealers’ fest, and Haunch of Venison helped make Christie’s Mr Pinault the biggest art trader in the market. Both galleries operate independently of the auction houses, but the relationships are close.
在2006年Sotheby支付了五千六百五十万从Noortman那里购买大师的绘画，Noortman是在传统大师的艺术品方面最重要的经销商。之后一年不到的时间里，Christie购买了鹿腿画廊，另一个在2002年成立的非常著名的经销商，它的创始人包括了前Christie的当代艺术部的主管。Noortman给Sotheby带来了欧洲艺术展Maastricht的入场券，这是一场卓越的经销商的集会。鹿腿画廊则帮助Christie的Pinault先生晋升为该市场里最具影响力的艺术商人。两间画廊都在拍卖行之下独自运作，但彼此的关系紧密。
All things to all men
给所有人的东西
Both auction houses have also put a lot of effort into advising buyers on how to improve their collections. As Jussi Pylkkanen, Christie’s European president, says, “We’re much more than an auction house now.” The recession has made many collectors nervous about offering their treasures at auction, so they are selling them privately. In 2007 Christie’s chalked up private sales of $542m and Sotheby’s of $730m, which means the two auction houses are now among the world’s biggest private dealers. Both often get calls like the one Sotheby’s recently took from a Moscow collector with $2m to spend on an “optimistic” Chagall oil, “not too feminine” and no more than a metre in height. “We put out the word and immediately received several offers from our offices in London, Geneva and New York,” says Mikhail Kamensky, the firm’s head of CIS business.
两间拍卖行都同样致力于建议他们的买家怎样去提高他们的收藏。正如Jussi Pylkkanen，Christie的欧洲区董事，说到：“我们现在已经远不止一间拍卖行那么简单。”经济萧条使得许多收藏者对于他们拍卖行的投资都非常紧张，所以他们都进行私人交易。在2007年Christie以五亿四千二百万刷新了私人销售的记录，Sotheby是七亿三千万，这都说明了两间拍卖行现在都在世界上最大的私人经销商的行列中。两间拍卖行都经常接到类似最近Sotheby的一个电话，电话是那边是莫斯科的一个收藏家愿意用两百万购买一个“乐观的”Chagall oil，“不要太女性化”并且不要高于一米。“我们把消息放出去后马上会收到好几个出价，来自我们在伦敦的办公室，日内瓦还有纽约，”这件公司形象识别系统的领导Mikhail Kamensky说。
In 2007 private deals accounted for 8.7% of Christie’s business. Mr Pylkkanen expects that figure to go up to 20% of its revenue within three years. That should put the wind up private dealers.
在2007年私人销售占了Christie全部生意的百分之八点七。Pylkkanen期望在三年内这个占他们全部收入百分比的数字会增长至百分之二十。这将会使私人销售者们非常紧张。 |
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发表于 2010-1-10 17:55
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