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Yes, after graduating from Frankfurt school I started my own business and moved to Uganda in the beginning of last year. I found your website by way of Google whilst searching for a comparable matter, your web site came up. Is there anybody else getting similar RSS issues? I discovered your blog by means of Google at the same time as searching for a similar matter, your web site came up. In fact, Artprice wishes to formally denounce the various erroneous interpretations that have resulted from that press release. Cette confiance se retrouve sur tout les continents. This article procured by you is very useful for accurate planning.
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Amongst other things Login trained as a lawyer in literary and artistic property and in the 90's I was also the instigator croissance a lobby that aimed at protecting databases in Europe, which then became the "Sui Generis" law, the European blockchain equivalent to what blockchain known in the USA as software patents. Hope you get croissance issue solved soon. It appears to be great. What were croissance key advantages you took from the course? Login complement this objective appreciation of the art market based plus a year of global auction results, Artprice plus offers numerous original rankings such as the Top artists by auction revenue and the Top auction results of the login. Bookmarked this web page, plus come back for blockchain articles.
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As a result, the Asian art market has become the most high-end area of the entire globe. China, Asia's leading economic power and world leader for sales of artworks, has surprised everyone not just by its acquisitive capacity but also by its independence. Even if China were deprived of the strong Hong Kong sales of Christie's and Sotheby's, it would easily remain the first global marketplace!
In addition, bulimic buying has not left any medium on the side-lines. This year, Artprice's annual art market report — based on 6. Our Art Market Trends contain macro- and micro-economic analyses providing the keys to understanding the annual evolution of the global auction market. It discusses the major trends in the market, analysed throughout the year on the ArtMarketInsight page of our website, by the Artprice press agency and by our Econometrics Department.
To complement this objective appreciation of the art market based on a year of global auction results, Artprice also offers numerous original rankings such as the Top artists by auction revenue and the Top auction results of the year.
To this day, Artprice has not received notification of any legal proceedings whatsoever regarding the forthcoming launch of its online brokerage service. In fact, Artprice wishes to formally denounce the various erroneous interpretations that have resulted from that press release.
In the framework of its regulatory disclosures and in order to eliminate any misunderstanding, Artprice is re-posting below the press release it officially communicated on 6 January , every point of which Artprice reiterates and confirms: Considering our long, constructive and peaceful relations with the French auction market supervisory authority Conseil des Ventes Volontaires , we believe that its reaction to the forthcoming launch of our online auction brokerage activity 18 January is based on a misunderstanding that will be cleared up once it has examined our documentation and particularly the preventative measures we have taken to avoid confusion in this respect.
In the first instance, Artprice invites the financial markets, its shareholders, its1. In fact, in order to avoid any confusion between the different legal statuses and activities covered by Law no. Moreover, Artprice has taken the precautionary measure of translating into all the languages used by its website the key information concerning its new service and it has deliberately avoided translating the references to its legal status under Article 5 of the Law no. In total, Artprice has received ads representing roughly million dollars in starting prices.
As regards any legal discussions with the Tribunal de Grande Instance de Paris Paris District Court , Artprice and its CEO believes that its will provide, through its lawyers Emmanuel Pierrat and Thierry Dumoulin, all the necessary elements to satisfy the parties concerned and to resolve the problem by eliminating any possible form of ambiguity. Discover the Alchemy and the universe of Artprice: Artprice permanently enriches its databanks with information from 3, international auction houses and auctioneers and publishes a constant flow of art market trends for the main news agencies and 6, international written media.
Artprice is listed on Eurolist by Euronext Paris: Follow the Art Market in real time: Paris, January 1, Artprice launches its online auctions As announced in previous press releases, Artprice, with its 1. Since 27 December , Artprice members have been able to prepare their ads in order to gain the maximum benefit from the visibility of Artprice's global launch campaign. For further information please visit: Our initial client feedback suggests that users find the service very quick and simple to use.
According to thierry Ehrmann, the founder and CEO of Artprice, "the train of History is now definitively rolling and Artprice is on that train, which nothing can stop from now on. It took twelve years and lots of patience and conviction to pursue a legal battle against a year-old monopoly that is today demolished". Breaking this monopoly is a victory for Artprice; but it is also beneficial to France that has been losing its attractiveness as an art market for over 40 years, slipping from the first to the fourth position, and which, this year, with the help of Artprice, can hope to recover a position worthy of its tradition and its influence on the art market.
On Monday 2 January , Artprice launched a global campaign in art and financial media, focused on the USA, Europe and Asia, alongside a "viral marketing" campaign on the Internet.
On Monday 9 January , Artprice will start the presentation of lots to be auctioned in chronological harmony with the art market which, every year, kicks off in the second week of January. Our alliance with Escrow.
The service provided by Escrow. Indeed, we can affirm with complete confidence that the security of Artprice's online auctions and other services is greater than that offered by traditional auctions and non-internet transactions.
Artprice works on the fundamental principle of perfectly identified members and, via an agreement with INTERPOL, buyers can access at any moment the latter's international Stolen Works of Art database to check if a work being offered for sale is subject to any legal dispute or search warrant.
Unlike certain well-known general online auction companies, Artprice imposes a permanent legal presence on its clientele to ensure the smooth operation of its online auction brokerage activities via its Standardised Marketplace. Artprice's contacts over the past 5 years with approximately 70 criminal investigation departments around the world has allowed Artprice to build an unrivalled level of Internet confidence that is strengthened by its constant collaboration with artists, beneficiaries and experts.
The real strength of Artprice is its use of an escrow and payment release system for which Artprice has conceptualised all possible legal scenarios to ensure that completed transactions are legally irreversible and to provide a level of security rarely attained in the Internet sphere.
This escrow system functions on exactly the same principle as that used by solicitors and lawyers for various kinds of transactions. The very low commissions charged by Artprice completely alter the dynamic of the art market. Art professionals, collectors and beneficiaries will be inexorably drawn to use Artprice's service because its low commissions modify the fundamental reality of the secondary art market.
In parallel, Artprice is setting up white labels for major players in the art market, notably Auction Houses, that will use Artprice and its Standardised Marketplace as their technical host for online auctions, thereby providing Artprice —which is not an auctioneer— with another source of income. Artprice is therefore open to demand from over 3, client and partner auctioneers and more than 7, art valuers who have already concretely manifested their vital need to join Artprice's standardised marketplace in order to maintain their positions in the global art market and survive the necessary transition to a dematerialised art auction environment.
Internet, and more generally the digital revolution, has literally destroyed the global mono-economy of physical auction rooms, which today are just one channel for auctioneers to use and which —usually located in city centres— either represent an expensive and now superfluous rental cost or an under-exploited real estate asset. In the context of a deeper than ever global economic and financial crisis, Artprice has once again —as in — observed a very sharp increase in the number of works offered for sale through its Standardised Marketplace, with an acceleration of buy-to-sell operations.
We can therefore assume that auction sales will follow the same growth path. Indeed, we are of the view that the economic and financial crisis represents a strong growth opportunity for Artprice's Standardised Marketplace. In fact, the history of the art market — like all markets — is naturally heading towards the circuits that are the fastest, the least expensive, the most liquid, where the price can be obtained in real-time and where there is a critical mass of participants with — of course — access to transparent information on all prices and indices.
Artprice's Standardised Marketplace meets these five specific and vital needs for a modern market. Artprice, with its completely toll-free access model for its Standardised Marketplace, is absorbing the global market of private art sales faster than initially expected.
With our extremely attractive rates we now expect to see the same pace of growth with our online auction service. Over nearly 7 years Artprice has seen exponential growth of the offer on its Standardised Marketplace the annual figures are available in Artprice's Registration Document and online at the AMF under number D. In , Artprice confirmed a total volume of artworks offered worth nearly 6.
Indeed, the situation may justifiably be compared to the old Stock Exchanges before the arrival of the ECNs Electronic Communication Network that made the outcry halls redundant on the majority of the world's major stock markets, primarily by reducing the intermediation costs.
Artprice, Christie's, Sotheby's and the major international auctioneers also confirm the safe haven status of artworks c. In fact, despite the sombre economic and financial global context in , the global art market posted extremely positive figures both in terms of volumes and prices in all countries, and numerous artists in Artprice's global Top posted new records.
This confidence is manifest on all continents. Artprice will soon be announcing alliances that will allow a presence on all continents with local partners.
Artprice was the first press agent in the world to announce and certify figures in showing that China had unquestionably become the world's leading art marketplace ahead of the USA in Artprice's figures for have already confirmed China's domination of the global art market for the second consecutive year. There is therefore an irresistible logic to Artprice's patient preparation for the opening of its subsidiary and clean rooms in Hong Kong that will be a testing ground for the People's Republic of China and an entry point for Asia.
Hong Kong is already one of the top five global art marketplaces. Likewise, agreements with major players such as online auction operators and major Asian art fairs will allow Artprice to extend the diffusion initiated in of its Asia-specific art market reports, country by country. As a simple example, Singapore should soon overtake France in the field of Contemporary Art sales.
In Internet is therefore just a simple extension of the s telephonic order with, in addition, a perfect reproduction of the work for the buyer and Artprice's remarkable success is proof of this…. From to , Artprice's databanks became the reference in this area and made Artprice the global leader in standardised art market information before it turned to the problem of market dematerialisation.
This latter project fully exploits the standardisation represented by its 18 databases, fed by acquisitions around the world of publishers and art archives. Agence de Protection des Programmes. This globally unique knowledge is clearly explained in Artprice's corporate video in five languages: Artprice posted the best French stock market progression in and has filed a request for admission to compartment B of Euronext Paris.
As Artprice satisfied all the admission criteria for admission to Compartment B in , it is preparing its admission request for registration on compartment B of Eurolist to be filed with the French Financial Markets Authority AMF along with the presentation of its candidacy to the NYSE Euronext Scientific Committee for Indices to be included in the indices relating to Compartment B. In order to understand the legislative evolution of the art market over five centuries and the impact of recent changes on Artprice, we invite our shareholders and the market to read the 72 short and pedagogical questions and answers that form the basis of the interviews conducted in June and October of Hyperlinks to Actusnews a professional regulated information provider licensed by the AMF: Lastly, Artprice invites its new and future shareholders who would like to acquaint themselves with the history of the Company to consult its highly detailed regulated information in its Registration Document filed and online at the AMF under D.
Artprice, with more than 12 years of regulated disclosure on Eurolist, is proud of the high quality of the information it provides to financial market professionals and art market novices.
All the questions of Artprice's 18, shareholders are systematically answered in Artprice's regulated disclosures that its posts online on its own website and on that of its AMF-authorised financial information provider, ActusNews. In effect, despite the instability of financial markets, art collectors are fighting the pessimism prevailing in the general economic environment and the level of purchase intentions as recorded by Artprice's A.
The Report contains analyses of market trends from more than 81 countries, presents the markets for the world's top-selling individual artists and their resistance to the deflated speculative bubble and raises such questions as: How did the Contemporary art market react to periods of doubt and uncertainty?
One thing is certain: The report also presents Artprice's TOP that ranks the world's top-selling Contemporary artists by revenue i. It also contains the Gallery' Insight section as well as the Collector's Insight section. The reform of public auction sales and particularly of online sales since France's adoption of the European Services Directive Law of 20 July should give Paris auction houses and galleries —who are now operating on a much more even playing field— the opportunity to recover some of the ground that had been lost on the international art market.
In fact, this law, which came into force on 1 September , gives France the same service and product capacities as the UK via a series of new legal provisions that effectively eliminate a monopoly dating back to The German, Italian, Spanish and Chinese versions will be available several days later. Artprice and the dematerialisation of the art market.
New York auctions The Warhol effect The heir The Matthew Barney case An intangible collection. Artprice is the world leader in art market information with over 27 million auction prices and indices covering over , artists. Artprice continuously updates its databases with information from 3, international auction houses and provides daily information on art market trends to the main financial press agencies and to 6, press titles worldwide.
Artprice offers standardised adverts to its 1,, members member log in and is the world's leading market place for buying and selling works of art source: Since our first interview in early June, a lot has happened to Artprice and to financial markets. We have many questions to which we would like you to give detailed answers.
Firstly, why, in your opinion, did the exclusive interview that you gave to Boursica in June about Artprice — presented in several languages on Google and view times so far — elicit so much interest from the public? Interview of June The first interview recounts in plain language the extraordinary story of Artprice's development, created from scratch 14 years ago, to become the world leader in art market information.
The story's appeal is intimately linked to the fact that it concerns, above all, an extraordinary human adventure and with an exceptional team, a huge project considered almost utopian at the time, but which has now become a hard reality, used every day by 1.
In that first interview you talked about Artprice's uninterrupted sequence of unprecedented legal disputes. The company's development therefore hasn't been all roses? Artprice's history has indeed involved many legal battles on different continents. You cannot break into the world's oldest monopoly - the art market - without treading on some people's feet. But in that interview, I clearly argued that today you cannot judge a company simply by its accounts, balance sheet and annexes.
In , non-tangible assets and particularly intellectual property have become, to quote Paul Getty, the petroleum of the 21st century. IFRS still cannot measure numerous human, financial and scientific factors which are fundamental for appreciating a group such as Artprice. This sort of language may be appropriate for your small shareholder audience, but is it enough for financial professionals!
You cannot imagine the number of fund managers, corporate bankers and financial analysts who have admitted to me that, with that interview, they have at last obtained a really useful insight into Artprice, one that had been lacking in the 10 years of registration documents and regulatory information that has been in circulation.
So in your view, the communication issued by listed companies on regulated markets is simply a coded way of saying nothing? Regulated information, contrary to conventional wisdom, can disclose a lot more than we imagine. Some listed companies should stop railing against the AMF and other supervisory authorities. What I am talking about is the way certain companies conduct a kind of self-censorship.
Who is going to invest in equity on the basis of a quarterly publication that contains very little in the way of concrete reality? In just three months, we have heard some extremely conflicting information…. Business leaders should have an honest and almost physical relationship with markets and shareholders. Of course, this involves time, endurance and the management of sometimes passionate feedback, but these are the rules of the game. All honest, passionate and full communication leads mechanically to shareholder or fund manager disinhibition because these people are constantly subjected to the dictates of sterile press releases and so when they hear or read something "real", they sometimes go with Artprice.
Let's talk again about the law of 20 July which transposed the European Services Directive into French law, and about its impact on online auctions. What does this mean for you? It represents a huge victory for us after eleven years of legislative hell, European lobbying and a merciless war against a small cast of individuals that was hell-bent on perpetuating this monopoly which has survived since to the 21st century.
All kinds of twisted strategies have been thrown at us… but they have only strengthened our confidence that we had, in the form of Artprice's Standardized Marketplace and the behaviour logs of our 1. The legal allegation of concerted practices that Artprice has filed with the anti-trust authorities is currently being investigated and it contains some highly incriminating information for our opponents.
This case will no doubt generate some very interesting news in the near future. This hard-headed determination to resist change by what you call a "cast", does it have its roots in an economic logic or in a simple loss of social status? An old rule says that the degree of aggressiveness of the opponent tells you, in real time, the distance you are from the vault where he reigns supreme.
From this point of view, with trials of which have been won on different continents see the first interview , we were sure, without a shadow of a doubt, that we were extremely close to acquiring, legally, this monopoly without an abuse of a dominant position. I would liken our war with the old guard to the process described in Tomasi of Lampedusa's The Leopard — a perfect metaphor for what we have experienced. Indeed, 1 September is the date of application of the law, but I invite you to read Article 5 where are obliged to wait for a joint Order from the Ministry of Justice and the Ministry of Culture concerning the movement of cultural assets.
This Order will soon be declared. I should clarify that an Order is not subject to any legislative debate and, as its name suggests, allows uniquely for the determination of the applicative methodology of a given piece of legislation. Some of our members told us the Figaro newspaper had decided to launch itself in the auction world.
Nothing new… I remind you that the Dassault family is both the owner of Figaro and one of France's major auction houses, Artcurial. For years, the Figaro has run full-page advertisements for Artcurial.
It was therefore natural that the Figaro, under its own brand, should promote the sales of the auction houses in its own group amongst others , but the Figaro, as a legal entity, is not an operator within the meaning of the Act of 20 July I remind you that for several years now Artprice, through a partnership, has been providing almost all the data and text for the Special Issue of Figaro Fine Art - Guide to the Art Market.
Specifically, how will auctions on Artprice actually take place? Will it be like eBay? Our model is primarily based on clearly identified members. Thanks to an agreement we have signed with Interpol's Stolen Works of Art database, on our system, buyers can check at any time, from any page in our site, whether the artwork being presented for sale is subject to any claim, search warrant or ownership dispute.
Unlike the well-known public auctions services, Artprice imposes on its customers a permanent legal presence which I believe provides the confidence necessary for the success of our Standardized Marketplace as an online auction broker operating remotely by electronic means.
In effect, Artprice has been working over the past 5 years with nearly 70 criminal investigation departments around the world allowing Artprice to build an unrivalled level of Internet confidence that is strengthened by its constant collaboration with artists, beneficiaries and experts. However, our real advantage is our decision to set up escrow accounts with release instructions in which Artprice has conceptualised all possible legal scenarios to ensure that its online sales are indisputable and can be conducted with a level of confidence rarely equalled on Internet.
This escrow principle is the same principle used by notaries and lawyers in transactions. So I will briefly describe the process: You know the golden rule… a crook will never pay for something in advance. In our framework, the seller has a strong guarantee with the money transferred to a trusted third party. Then, after a highly codified set of procedures, the buyer will definitively validate the sale and give the instruction to release the funds so that the seller can collect the proceeds of the sale and Artprice, in turn, can receive its commission, ranging from 4.
Our great strength is that we start with a database where each of our 1. So according to you, the security on Artprice would be almost greater than at a traditional auction house. Indeed… I would say that our excellent knowledge of the digital economy, combined with our highly advanced computer systems and our unmatched attention to the legal dimension, means that our auctions and other services enjoy a better level of security than that which obtains in the old economy.
According to the French Payment Cards Economic Interest Group, we have had, for over 10 years, one of the lowest rates of credit card rejection. In our first interview you described exactly how Artprice can, on its Marketplace, meet the demand of a client wishing to sell, for example, a sculpture by Armand: Since then however, you have reported further progress; what is that?
Once again, the art market is still way behind the global reality. We must remember that we went from 50 million Internet users in to over 2. In , we will largely exceed the three billion threshold. That is why, we have received from around the world — after the law passed on 20 July — a number of highly interesting proposals from groups operating in the art market and financial groups who believe that just as the virtual stock market replaced the old trading floor, so our Standardized Marketplace is not just an option… but an obligation!
I remind you that our parent Group Server, of which I am the founder, has been on the Internet since What exactly are we talking about here? Potential clients or potential competitors for Artprice?
In the first interview, I clearly explained that Artprice's Standardized Marketplace is subject to massive intellectual property protection, and on a number of different continents. So we are talking about potential clients and major accounts. What do you mean by potential clients? Indeed, that figure is correct and confirmed.
I'm talking about new clients and groups, mainly Asian, relatively young and very wealthy, who cannot envisage the art market of the 21st century, so they say, without a business or capitalistic alliance with Artprice's Standardized Marketplace. They bring us community networks, hundreds of thousands of buyers and sellers, because they rightly believe that the art market will take off seriously when the intermediation margin collapses, which according to the Council of Voluntary Sales, is about Despite a dominant position, there are still — especially in Asian countries like China, of course, the world's no.
Our partners have fully understood the value-added they bring us and they have integrated, contrary to what is generally believed, the insurmountable barrier of intellectual property that is indeed a very substantial barrier to entry cf Apple vs. So they modelled — with large sums of money that no European is able to commit — a war machine by using affinity marketing to piggyback our Standardized Marketplace.
For them, the cards have been dealt, and some of them are already forecasting their IPOs. It's not for nothing that we are patiently preparing the opening of a subsidiary and data rooms in Hong Kong which is the testing laboratory of the People's Republic of China and the gateway to all of Asia.
Hong Kong is already one of the top five capitals of the global art market. So does this mean in concrete terms that Artprice is going to participate in IPOs? We need to understand that the crisis which started in is, in my opinion, a sign of the decline of the West and certainly not just another recession. I have no time to lose. While in Europe, it takes me three months to get an appointment with a key player, in Asia, we are already drafting memoranda of understanding. As such, it is clear that Artprice will use for its own account all the interest of future IPOs of these major players whose projected funding will, in some cases, be larger than Sotheby's, which is listed on the NYSE.
I am thinking, for example, of Poly International Auction, a leading Chinese auction house that we have known physically for a number of years and which is preparing its IPO without the slightest concern for the collapse of Western financial markets. There are also a large number of players who have understood the sociological mechanism of art fairs and biennials and found in the social network, Artprice Insider that we have been developing for nearly two years with sociologists, market players and its members a revolutionary way to perpetuate an art fair, which by nature is an ephemeral phenomenon, but nonetheless necessary.
Ultimately, yes… but in practice, of course not… they will still continue and will act as the highlights of art news, the continuity of which, throughout the year will be on Artprice Insider amongst other sources. Here again, we had to patiently deconstruct the socio-economic mechanism of international fairs.
To understand this revolution, dealers and galleries, in the s, considered international fairs as a way to boost their sales. Today, their main concern is to exchange information with their clients and colleagues and, at the very least, to earn enough to cover the cost of their stand. Again, we replace an expensive and ephemeral physical network by a low-cost and permanent digital network. We must not forget that there are more than international art fairs a year, which is a heresy from an economic point of view.
Only historical and powerful Fairs such as the FIAC — with whom we have jointly edited for the last 5 years the bilingual annual report on the Contemporary Art market — will survive. In the current economic crisis which is unprecedented, is art really a safe haven? Many studies by economists, sociologists and researchers have been published in the 20th century on the profitability of artworks, but these researchers did not have right econometric tools.
They used, in general, arithmetic tools which were based on a comparison approach; but this approach induced errors since their studies involved a heterogeneous market type, as I explained in the first interview. To recap, we can trace a work that has been identified and "standardized" by us from a sales catalogue in as it is sold at auction regularly through the subsequent decades. Our system allows us to be sure it is the same artwork.
We therefore know its value and performance year by year, and for this reason, we are the only company in the world to have a flawless econometric method base on repeat sales that can be applied to all "homogeneous" works.
That's why we set up indices and tools from the financial milieu that measure the performance of Old, Modern and Contemporary art. Our statistics show without any doubt that in certain price ranges and concerning certain artists or specific works, the price performance is almost constant, regardless of external factors, including the collapse of financial markets. That seems to suggest we could have derivative instruments based on the art market?
Indeed, we have international partners from the private banking and finance sectors who, together with our data, are preparing the securitization of artworks for which we own the entire history of prices and indices. We should not forget that artworks were involved in the launch of the first banks in Europe and for many centuries they were used as pledges and guarantees and as vehicles of fiduciary value.
Mainly financiers, who usually have good knowledge of the art market and who believe that these derivative products — backed by the reliable indices that we produce — give them additional protection against stock market volatility.
The first marketing tests have been very positive. Clients of private banks or family offices more than 30 million HNWIs around the world were very receptive to this type of financial asset.
Why do you think that — faced with such revolutionary changes — the existing structure of the Western art market is so conservative? I would not be quite so categorical. The older generation is indeed at least 30 years behind because it was mainly negotiating works by deceased artists.
This gave them the certainty that very few new works by the artists would appear on the market. Today, mainly in Asia but also in North America and Europe, Contemporary living artists often produce more than their Modern peers who, according to art history criteria, are all dead. So we are in the presence of nearly a million recognized artists, living exclusively from their work, with an average sale price on the primary market of 8, to 15, euros galleries and to the secondary market auctions of 30, - 70, euros.
Artprice is the only company in the world with full biographies and index data for these artists. Hence the fact that the primary and secondary markets are constantly on Artprice in both free and paid access. To illustrate the backwardness of the older generation, I will give you a very telling anecdote: It's terrifying to hear such nonsense from such a distinguished and otherwise learned CEO; the number of Internet users worldwide is today well over 2. The old guard is indeed a long way behind reality.
Under the "key person" section of the chapter on "Risk Factors" in your Registration Document, we learn that you have yourself been an artist-sculptor for 30 years. Is this intimate knowledge of artists a special advantage? Yes indeed, my status as a sculptor-artist allows me to be at the heart of the arts community and to understand its evolution, its changing needs, its problems and its ambitions.
It is currently one of the largest sculptural installations in Europe. In less than 20 years we have moved from traditional oil paintings for which the drying-time on the canvas took months to a world of acrylic paint and technological and industrial innovations that allows sculptures and installations to be produced in weeks not months.
Hence the volume of artworks produced in the world has been multiplied by 20 in less than 25 years. The explosion of this market — which now affects a multitude of generations and social statuses with nearly million non-professional buyers, collectors and art professionals — is being fuelled by the falling unit production cost of the artworks, making them accessible to a much broader public.
Yes that's true, but these young artists, via the Internet and thanks to our Standardized Marketplace, where each has a dedicated space, know how to adapt very quickly to the market correction, by reducing their production or by moving to continents where there is a stronger economic growth.
Facing them is a generation of old players who are sometimes forced to stop sales or block already printed catalogues because the price correction can occur much faster than it takes to organise a conventional auction sale, which requires a minimum of 4 to 9 months preparation. Ultimately, today's artists have acquired, intuitively, a reaction to the market close to that of the best merchants.
The myth of the "cursed artist" is gone forever. Is this one of the things that attracts most of the entire world's auction houses to Artprice?
Of course, the auction houses, with Artprice's Standardized Marketplace, will be able to build or modify their auctions on a daily basis through our secure intranet, literally sticking to the market with the certainty of growing sales in our ultra-qualified client database, which is the largest in the world today. So what used to take six months — i.
We have colossal resources in terms of servers and bandwidth overcapacity, because we are, through Server Group, our own operator; we distribute our data free or in rare cases with very low prices to academic establishments, art schools around the world, artists' associations, copyright companies, art historians, researchers, etc I don't mind saying that we aim to make any person in the world that has any relation to the art market or art history an addict of Artprice.
In , Artprice provided free data for nearly 54 million visitors. As long as we do not lose money, we are perfectly happy to create this addiction that has penetrated almost all the institutional and private organizations interested in art around the world. You have to be very patient, but with the growth of the Internet, Robert Metcalfe's law applies: I would be great if you could point me inn the direction of a good platform.
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