Secrets of Art Magazine - Issue #2 by Secrets of Art Magazine

Issue 02/2019

Women in the art world

Art collectors

Art & Finance

Differentiating women artists after pregnancy seems to be a past issue now that so many opportunities exist to make choices from.

Art collectors or investors, passion or pure investment? Interview with German art collector, Stefan Buder and H.E. Dr. Mustapha Adib, Lebanonâ&#x20AC;&#x2122;s Ambassador to Germany.

Art and finance, art and money are seemingly contrasting issues, lying quite far from each other. Interview with Adriano Picinati di Torcello, Director at Deloitte Luxembourg.

„

„Art is a celebration of life – both the positive and negative aspects. Great art is always about great stories, stories humans can learn from and evolve. Art created today will give future generations an insight into the great stories and issues of our time and provide something truly invaluable for our descendants: the hope to create an even better world.“ — Nick Wood Asia Director, Galerie Thaddaeus Ropac

Secrets of Art Magazine

Dear Reader, Every season has its colours, inspirations, bringing change with it. Autumn is the bridge between summer and winter, preparing for the darker shades and getting ready for the shorter days. Just as the season, our autumn issue is also a bridge between the bright and vivid topics and the heavier ones, with more in-depth seeking, revisioning. The main theme for this issue is movement. From the artist, the collector, the advisor, the advocate and the selected place featured for its art: they all reflect back continuous movement and change. I chose this theme, because without movement there is no change, no innovation, no birth of new ideas, and no possibility to grow and widen our spirits. We need both light and dark to initiate changes and transformations. Art mirrors back what goes on within ourselves, in our souls and through this, it is in continuous movement. Opportunities are popping up every moment and in every part of our world. Like the rippling effect of the waves, it leaves change and transformation in places that it touches. My aim with this issue, reproducing through exciting articles the theme of movement, is for You to reflect upon the great potential of it. Movement starts from the individual and the story, and is translated into art through the artist. Art fairs, businesses, collectors, supporters and the flow of money make it possible to embody movement into form, helping the vision to become an artwork, which can touch our heart and soul. May the thoughts, interviews and writings be a bridge to bring movement to You too! With sincere regards,

Dorottya Novak Chief Editor

TABLE OF CONTENTS

WHERE BUSINESS CROSSES ART Art Market - from transformation to revolution

ART COLLECTOR Stefan Buder, an art collector with passion

ART COLLECTING Art collectors or investors, passion or pure investment?

ART SHAPING THE FUTURE Borderless Art - the life of an art project

Secrets of Art Magazine

ART ADVOCATES An Ambassador who linked history to the present for the future

IN FOCUS Nature in motion that inspires to create

THE ARTIST Rebirth - changing into different forms

WOMEN IN THE ART WORLD Women artists who are also mothers

WHERE BUSINESS CROSSES ART

Art Market - from transformation to revolution Art and finance, art and money are seemingly contrasting issues, lying quite far from each other. They however are interlinked and necessarily go hand-in-hand, especially as new creative ways and alternative business models are being born in the art ecosystem of today.

The ecosystem of the art world is a very heterogeneous one, involving many actors, individuals, organizations, systems that interact and form new ways of approaching art and culture. To gain a clearer view and a better understanding of how these two seemingly contrasting worlds - art and finance interact and how they are part of a bigger picture of transformation, leading to „revolution“ we approached Adriano Picinati di Torcello, Director at Deloitte Luxembourg and coordinator of the Art & Finance activities within the Deloitte global network. He has a clear overview and deep understanding of both worlds of art and finance. He moves at ease between these two worlds and after a decade of experiences of bringing awareness into the subject of art and finance through Deloitte Luxembourg, his thoughts are just as transformational as the subject itself. Shedding light to this theme is essential in order to move within the art ecosystem and not just for art related businesses and cultural institutions, but also for those who create, the artists themselves. The first question to raise is how do we define these two very contrasting fields of art and finance? Based on the many years of experiences and insight into the art ecosystem, Picinati di Torcello defines three main pillars or sectors, which are important to clarify in order to demystify the issue of money, especially in relation to art and culture. The transformation that is taking place in the art ecosystem is evident in all these sectors. The first pillar is the financial one, which is related to wealth and collectibles.

„Here we find the wealth managers and banks taking care of the collectibles of the UHNWs, protecting the wealth allocated to art,“ describes Picinati di Torcello. The second pillar is related to art businesses, such as art auction houses and galleries. This sector includes everyone involved in the trading and production of art. There is a new type of business that is evolving, which are the art and technology companies and start-ups that are aimed at improving the art market. They are related to activities such as blockchain, artificial intelligence, online trading marketplaces. This sector of art business has an active role also in the creative industry as a whole. The most obvious example is when brands try to collaborate with the art world, making their products stand out with art elements. The third pillar is the cultural sector with public institutions. According to Picinati di Torcello, the increase of importance of this sector can be seen by having more and more countries, governments measuring the culture in terms of GDP impact. „Governments are also beginning to understand that culture is an economic driver for other sectors, the most obvious one is tourism of course, but it also has an impact on real estate prices, the quality of life, the attractiveness of a city, to mention but a few. Culture is something to almost brand a nation with,“ explains further Picinati di Torcello. As the definitions become clearer it becomes even more understandable why finance is crucial for all three sectors in order to support their growth and sustainability and why it is important to create some kind of portal that connects them.

Secrets of Art Magazine

According to Picinati di Torcello, one of the main challenges related to art and wealth management is how to bring money from the wealthy to the cultural sector to support it. As an example, for many years philanthropy has been the way this has been fulfilled. The relationship between the private and the public around finance has greatly transformed recently and a great implication for the cultural sector has been the development of social investments, corporate social responsibilities around culture. „In order to develop the ideas and activities of the art business sector – which includes galleries and art tech companies – we can see that there is potential for investors. It is not only about financial returns, it is about the growth of the company and its future profitability,“ says Picinati di Torcello. Another example where understanding the issue of financing on all levels through the aspect of transformation is crucial, is the artist. In his view every part of the value chain in the world of creativity and art needs money. The artist needs to be paid, he or she

needs to make a living out of his or her creation. It is business for the primary market as well just as it is for the secondary market. Furthermore, the cultural, non-profit part of the value chain also needs money to develop their activities and to meet their social objectives. Picinati di Torcello highlights the point that investing in art is not because one will make a great return. It goes beyond that. It should be viewed as an industry, as an ecosystem where, like in any other industry one needs investments, needs money to develop. It is also true for artists, for whom money is necessary to make a living as an artist. „With the development of the creative industries, we might see an increased focus on the artist. However, it is interesting to note that the definition of an artist, as a profession, is still very vague. Evidently, an artist whose profession is not properly acknowledged, will have difficulties in receiving any kind of subsidy or support,” explains more in depth his views Picinati di Torcello.

Adriano Picinati di Torcello, Director at Deloitte Luxembourg © Deloitte Luxembourg

WHERE BUSINESS CROSSES ART

Following this line of thought, on the other hand there are a lot of very good artistic programmes offering great education about how to create but very few, if none that educate „to-be“ artists on how to manage their career as an artist. „In my view, the art sector is going through increased professionalization that includes business components. It’s important for the art players and artists to be well-equipped for this very challenging, competitive world. There are many artists on the market and, in order to remain competitive, they have to think of all the other aspects of their business - those which go beyond the creation of art,” concludes on this subject Picinati di Torcello.

Secrets of Art Magazine

This kind of education includes the financing of the art projects, the interaction with financial people and the understanding of what the needs are. Obviously any player in the art market needs the same basic understanding. There is a new kind of role that Picinati di Torcello sees developing in the visual art field, namely art managers. They act as an intermediary and support the artist in things such as picking the right galleries, taking care of all the administrative aspects, so that the artist can focus just on the creativity and the creation. It remains to be seen how the role of art managers will further develop and differentiate from the role of primary market gallerists, representing emerging artists.

WHERE BUSINESS CROSSES ART

„The art sector is going through increased professionalization that includes business components. It’s important for the art players and artists to be well-equipped for this very challenging, competitive world.“ — Adriano Picinati di Torcello Director at Deloitte Luxembourg

Adriano Picinati di Torcello, Director at Deloitte Luxembourg © Blitz Photo Agency 10

Secrets of Art Magazine

New trends are also transforming the public cultural sector. In general, there is a reduction in public subsidies, which means that also public cultural institutions have to start thinking of new ways of additional sources of revenues to promote and develop their activities. This transformation is becoming even more evident and compelling when considering the global competition that exists between public institutions for visitors but also for patrons. These major changes affect also museum directors who have to think about such elements as well. It is not just about being a conservator and trying to offer the collections to a vast public, it is also about defending the brand of the museum, to make it attractive to visitors and also potentially to patrons. The changes bring challenges as well. There are different aspects in the cultural sector that are really challenging the cultural landscape, and of course money is an element of it. It is one that can determine whether a specific cultural institution is able to differentiate itself. It is a challenge coming also from museum directors themselves, who have to develop the right messages, the right tools, the right KPIs in order to be attractive to potential patrons. They also have to potentially show to the public sector that the museums are important for the city, the regions, the country and that they need to allocate more budget in this sector. The development of private museums is adding complexity to the cultural sector, with increasing competition between cultural institutions, public and private museums as well as between countries. Many museums have recognized that involving technology can be a tool to increase attractiveness, which however also requires money. Virtual reality is something that is, more than ever before, becoming a reality. As an example Picinati di Torcello brings up the next generation, which is used to high resolution games and networks. If there is something that connects to their reality, when they are visiting these museums, it will catch their attention better. Another major shift would come by if certain crowded museums would offer virtual access. It would help them accept more visitors and also reach to countries, where otherwise it would be impossible to raise awareness through cultural means.

Along the many shifts and changes that take place in the art ecosystem, art collectors and the ways they approach their activities, decisions, passions, finances are also non immune to them. In this question too Picinati di Torcello relies on his very wide-scaled experiences as well as his deep insights into the whole ecosystem. He makes a distinction between existing collectors, who are on the market for years and the new type of collectors. The aim is to increase the number of new collectors and to engage them in an even more active and transparent market that would bring more money into the ecosystem. There is no perfect number to track the development of art fees but if we take the Art Basel and UBS Global Art Market Report as a basis, we can have an idea of the size of the market and the evolution of the trade on an annual basis. If we look at the increase in the wealth around the world, what we can see is that it disconnects. The art market does not go at the same pace as the wealth created around the world. While seeking a potential correlation between these two, it does not mean that the art market is not able to attract all the wealth generated. â&#x20AC;&#x17E;Another challenge for the art market is its relatively unregulated nature. It is still acknowledged as non-transparent. For existing collectors, the actual reality works well. They are used to being a collector in the market, knowing all the pitfalls, knowing how to be well-advised. But what about the new collectors? How can we help them easily access this market and, in turn, to be encouraged to buy? Is it a question of trust? These are questions to be raised,â&#x20AC;? dives deep into the issue Picinati di Torcello. The challenges and accordingly the transformation that needs to undergo are quite a few. Some of the main radical turns that could create more trust is due diligence of the art objects, so that they all have the proper documentations. It is quite interesting to get to know from Picinati di Torcello that today there is no standard list of documents that need to be provided for art objects. The pricing of artworks is also something that is quite difficult to understand from a new collectorâ&#x20AC;&#x2DC;s point of view, because there are different pricings or some prices are for example not mentioned in galleries.

WHERE BUSINESS CROSSES ART

„What are the possible ways to ease the boarding of new collectors?“ is a question that according to Picinati di Torcello art professionals should consider. There are plenty of discussions today about regulations on the art market. Regulations do not necessarily mean government regulation, it can also be one where the stakeholders of the art market define code of conducts, guidelines, practices. They would be all aimed at increasing the trust of new buyers.

Art is also part of our cultural heritage and as such, it needs to be protected, shared and valued as part of humanity as a whole. The radical shifts taking place in the whole art ecosystem affects the perception of the market itself. If in the past people bought things, they mainly kept them in their houses. Today‘s trend is that collectors also are much more open to share their artworks. More and more collectors want to communicate their collections, whereby technology is a great tool to make it happen.

„I think we are at a crossroad, whereby the art and cultural sectors are meeting the business one,“ — Adriano Picinati di Torcello Director at Deloitte Luxembourg

„My feeling is that the art market could benefit from an increase in trust because you would potentially see more money coming into the art market. This would mean that artists as well as the secondary market would benefit from it, creating a chain of value. There are certain initiatives that are trying to create attention on this subject, and this is also why there is a certain number of technological developments that are leaning towards this direction. For example, there are solutions that put art objects' information on a Blockchain, which then become public. It means that the information and the documentations of the objects become permanently available within the Blockchain. If an art object was to be sold tomorrow, then the new buyer could check the information via Blockchain. This is why there are discussions about the DNA or „fingerprinting“ of art objects in order to support their identification,“ explains extensively Picinati di Torcello. Asked about transparency, Picinati di Torcello says that he thinks that it is important for our society and the art market is not immune to this trend. Transparency is happening everywhere and especially with the 5th EU Anti-Money Laundering Directive all the art players are going to be subject to it in January 2020. 12

Digitalization of collections can be a great tool since there are too many artworks to be on display and not so much space. Digitalization with virtual realities can also support the dissemination of these collections, helping people who have limited or no access to culture to finally have an insight to it. It could be a way to support full access, to make art and culture accessible to everyone, among some of its main benefits. „Today there are certain initiatives that are looking to support collectors in making their collections visible. I think a collector is quite proud of their collection and if he or she can benefit from a larger audience, it will just add to the artworks’ value. Today, with the change in behaviours and the willingness to share collections that are available, we are going in that direction. Albeit a rather new topic, the development of private museums is also part of this change, whereby private collectors are willing to develop cultural institutions in order to make their collections visible. This is not limited to one country or region in the world, it is happening everywhere,” says Picinati di Torcello.

Secrets of Art Magazine

We live in a society where there are many different priorities and culture is quite often the last on the long list because there are more urgent things that society defines. Picinati di Torcello shares his thoughts about bringing change to this issue: „This is something that has not happened yet, and that is a bit provocative, but we could maybe think about the possibility of sharing the ownership of large collections between private and public stakeholders. The private sector with a social investment objective would own a fraction of the collection, and they would provide the financial means to those cultural institutions to make their collections visible and also facilitate the movement of art objects, to interact better with private collectors.“ There are many avant-garde ideas and initiatives that support them, such as platforms that try to support visibility. Those companies connect collectors, museum professionals and venues worldwide to share their exhibitions through loans and tours. The idea behind it is that when a museum sets up an exhibition and when it is done and ready, they could potentially loan it to another museum. All the challenges and developments discussed with Picinati di Torcello point to the recognition that the whole ecosystem is going through a major transformation, or as he calls it a „revolution“. As with all major shifts, there will be no perfect solution for everyone but it is essential to take notice that there is a number of initiatives that are trying to solve those challenges in the long-term. Art is our roots, our cultural heritage. It is one of the most important things we have and as such, it is important to cultivate it, communicate it and educate on it. Picinati di Torcello’s view is that there is a more widespread understanding that culture and art is not only a social investment but can also be an economic investment. It helps to support other sectors, other activities and it is also an industry per se. The more people and initiations are able to demonstrate the economic impact of culture and art, besides being complementary to the social impact, the more people will agree that there are very good reasons to support financially the cultural sector.

„I think we are at a crossroad, whereby the art and cultural sectors are meeting the business one. Today, art sectors are more and more considered as ones that should support the growth of economies of the different countries, which will in turn help new kinds of funding,“ says Picinati di Torcello. Once there is some sort of realization that the cultural sector has an impact at the economic level of a country, of a region, people will understand that it needs to be managed with a managerial approach to it. It is also a question of educating people about the importance of art and culture and the role it plays in society at different levels: both economically and other levels. Picinati di Torcello has been actively engaged since many years to create awareness on these transformations in various platforms. The channels that Deloitte Luxembourg uses for that purpose are the annual „Art and Finance“ conferences, the publishing of the „Art and Finance Report“, participating as speakers and moderators at various events, as well as through training programmes at various universities. The responsiveness and attention that this topic has ever since created has been surprising and promising for the next steps towards more transformation. Following our extensive and profound talk, it becomes more evident and clear that art and finance have such diverse sides and challenges linked to it. Seeing clearly the different players, the different sides and how it can effect artworks, artists, the art ecosystem and art on the bigger, human level gives rise to more understanding and the potential to change. It also becomes evident that in order to rise to a higher level, where art and culture become part of the society as a whole, transformational visions and alternative ways are needed to be visualized, developed and implemented.

ART COLLECTING

Art collectors or investors, passion or pure investment? Why an artwork is bought or a specific artist is collected has always been an intriguing question for both artists and those who buy and or sell their artworks. There are plenty of thoughts and writings about it. Regardless of the times, the underlying reasons stay the same: moved by passion, emotions, gut feeling, taste or with an expectation that the artwork will be revalued some time in the future.

The art world is a mix of many players, depending and supporting each other. Artists have always relied on some kind of supporting system, whether they were patrons, kings and queens in the past, influential people, philanthropists or sponsoring business entities and state funds in our modern times. One of the main supporters, backbones of artists are those who collect their artworks. They are those who seek out artworks and artists, who follow them and who buy their art in advance and often periodically from the same artist.

Those who consider art as pure investment mainly deal with blue chip artworks, a mix of old masters and purely established contemporary artists. They consider art as an asset in their diversified investment portfolio.

There are many types of art collectors and many ways to characterize them according to various factors. Finding our way through the different art collector types, one can easily get lost. However looking at it from the broadest spectrum, one can define three general types of differences between them.

This means that they are open to buy from and follow emerging contemporary artists, and that they accept risks since they might be also looking for higher returns on the artworks. They are the ones who are able to secure the successful rise of an emerging artist.

The purely art collectors, the art investors and finally the art lovers. They all are seeking different exchanges from the art world and market, and in the meantime they complement each other. What differentiates all those who â&#x20AC;&#x153;buyâ&#x20AC;? artworks is also the market where they mainly buy them, whether it is the primary or the secondary one. The primary market, linked to the artist who creates, the first piece of chain, is all about the excitement, the passion and the aim to find something unique and different. Meanwhile, the secondary market represents the liability and stability to make a savvy investment besides the excitement factor.

Art collectors move on a wide spectrum from pure financial investment to passion, respectively at each end, depending on their intentions, interests, plans. Most of them are active in both the primary and the secondary market.

The primary market offers a sort of fascination since the artworks usually come straight from the artistâ&#x20AC;&#x2122;s studio. They have never been seen before in public and they are able to pump up the adrenaline level within all the passion-oriented people. The key factor with this type of art collection is the artist and the market demand for his or her artworks. One of the main attractive powers of the primary market is the price of the artworks, since they are usually less than those obtained at an auction on the secondary market. This is a great tool for galleries and art representatives who are working directly with the artists to sell their artworks quickly at any time of the year.

Secrets of Art Magazine

Primary market

Secondary market

Where people buy the artworks?

Directly from the artist

Auction houses and galleries

History of the artwork

Never seen before in public

Proven track record

Risk factors and investment

Excitement factor and potentially higher returns

Liability and stability

Main buyers

Art lovers, investors, galleries

Asset managers, art collecors

Putting Art First As an art lover you aspire that your home showcases your favourite artworks. The pieces should be able to stand out without competing with your interiors. Often which pieces of art are displayed, and their positioning, are only considered after a design project is completed. As award-winning Interior Designers, we have worked with various art enthusiasts and collectors, and have learned that incorporating art into the design process from the beginning will enhance the design overall tremendously. We will work with you to select the correct centre pieces from your preferred artworks and implement our design philosophy accordingly around those pieces. It is clear for us, as experienced Interior Designers with a strong appreciation for art, and for \RX DV DUW DĂ&#x20AC;FLRQDGRV WKDW ZKHUH DQG how the pieces are viewed, incorporating the correct lighting and security, are integral to the intrinsic value of the pieces and success of the room design overall. Please contact us for a free consultation.

design@landmass.co.uk +44 020 7439 8095 www.landmass.co.uk

Secrets of Art Magazine

In many cases collectors are ready to invest in advance into an upcoming artwork of an artist they follow or get advice upon, and they are ready to be on the year-long waiting list. Many smart investors who have never dealt with art before have realized that art is not just about the past, it is about the present as well providing great returns. Just as one can find remarkable art pieces from the past, one can also discover new gems in the contemporary scene, especially pieces from emerging artists directly from the primary market. Many collectors and investors have also realized that the price of the artworks can be increased if they are offered for public exhibitions. Many museums and institutions welcome artworks for public exhibition purposes. The life path of a contemporary artist is one of the greatest indicators for a collector. It is comprised of many elements, objective and subjective. However, one can gain through it a good insight into the overall improvement of the artist, the social appearance, the artistic development of his or her technique and the fact whether he or she is consistently maintaining the artistic path. Art collectors, intrigued by the life path of an artist can gain a deeper view into the development of different artworks and can understand more about the artist’s intentions and aim of expression. The issue of gender gap when it comes to collecting, selling, re-selling female and male artists’ work, is still an issue that is discussed in various studies, aiming to give explanations and solutions to it. A recent study by Sotheby’s Mei Moses advices to collect and invest in women artists, since it found that in the auction sector the prices for artworks created by women is rising much faster than those of male artists. Any collector or art investor seeking out bigger returns should consider such developments and changes. The growth of new, original thoughts and concepts on the art market has strengthened the self-confidence of the investors, and art has become a problem solver for diversified investment portfolios.

By using social networking and media, many art representatives are able to improve their artists’ working liability, which stimulates productivity. During the last years the primary market has given economic confidence to its investors. In the primary market collectors make quick decisions before another buyer gets there first. Meanwhile, in the secondary market it is all about the elaborated decisions. Usually, when an artist performs well in terms of selling on the primary market, their artworks will cost more on the secondary market. However, the players of the secondary market usually do not take risks and do not deal directly with the artists. They only purchase from art brokers, art galleries, art advisors and auction houses. The key issue in these circles is information instead of the excitement factor of the “never-seen-before” artworks. Art asset managers and pure investors are usually looking for proven track records of artworks, therefore the secondary market is designed for them. In the secondary market one can find artworks, which were previously auctioned and sold, therefore their auction performance and market tendency can be more or less objectively measured. Many professionals are specialized in purchase and resale, therefore the secondary market is the major playground of the auction houses as well. At the other end of the spectrum we find the art lovers. They are not to be neglected because they too are taking a serious part in the art market. They are the ones who are purchasing for smaller amounts, one or few pieces mainly for their passion, and guided by aesthetics. Art lovers buy what they like, since most likely they are actually also living with these artworks. Whether it is collecting or investing, or a mix of both, buying artwork is the way to take further the life cycle of an artwork, to enhance support for the artist, to make it accessible to other people, generations to come.

ART COLLECTOR

Stefan Buder, an art collector with passion Passion can mean many things for many people, especially when it comes to art collecting. Stefan Buder is one of those unique collectors who collects art by listening to his passion, and not because of its auction performance. His philosophy is to be fascinated by the artist and the story behind each artwork because that’s what makes art long lasting for the future generation.

Choosing a specific artwork, to decide to live with it, creates always a special and deep bond between the buyer and the artist. When it comes to building up a collection, to buy several artworks from the same artist, then it becomes even more meaningful since it is about taking forward, safe-guarding a phase of the life of the artist. German, Berlin based art collector, Stefan Buder believes in contemporary art. He fell in love and decided to collect more than hundred art pieces dedicated each to a passenger on the Titanic - from the Titanic Commemorative Project, created by Dodo Newman. We were curious to talk and hear out his thoughts about what moved him to decide for these artworks and now, looking back at it, what they mean for him. Defining one’s passion for art is not easy since it is about many factors, including feelings and emotions that are hard to describe in words. Nevertheless, Buder expresses this process in a very intimate and deep way. Although he discovered his passion for art late in his life, he takes it now in a more intense way. For him, it is about the feeling from the first moment. We could call this the “love at first sight” effect. He does not see an artwork beautiful per se. It is less about the colour, content or the reputation of the artist. The artwork according to him, has to capture his gaze and appeal to his inner self from the very beginning.

“When I am fascinated, surprised, have a charisma that does not let me go or even a unique technique that captivates me, I find art beautiful. So it was with the artworks of the Titanic project. In addition to the special aesthetics and unique technique of the artworks, it was also the touching fates of the Titanic passengers, which interested me immediately and have not let go off me until today.” Buder bought ten pieces from the Titanic collection already at the beginning. Today his collection consists of over a hundred pieces. As he describes it, it was a difficult decision for him and his wife, because they were both amazed and inspired by all of them and so it was not easy to make their selection. Since the stories were so captivating, Buder knew from the beginning that one of the artworks had to be among his collection. This one artwork was the one dedicated to Jacob Astor, who was then the richest man in the world. He remained on board of the Titanic until the very end of its sinking and died in the icy waters of the Atlantic. It is assumed that he stayed behind during the sinking and did not rescue himself, although he could have done so, as one of the first passengers to get into a life saving boat. “This personal fate and the image have captivated me from the very first moment on and have inspired me to learn more about Astor. The same way art has to be inspiring for me. This is why the artwork from the collection, dedicated to John Jacob Astor, belongs to my absolute favourite works up to this day,” describes it movingly Buder.

Secrets of Art Magazine

Stefan Buder © David Harex

„Every collector would lie if he or she did not admit that art is also a financial investment for him or her. However, for me the personal fascination for art and the commercial interest in it are not mutually exclusive.“ — Stefan Buder Art collector

ART COLLECTOR

Talking about intentions that lie behind collecting artworks and specifically from the Titanic project, Buder claims that every collector would lie if he or she did not admit that art is also a financial investment for him or her. However, for Buder the personal fascination for art and the commercial interest in it are not mutually exclusive. He considers the technique of the artworks of the Titanic project also very unique. “The connection with the cruel reality of the downfall with personal destinies, whether victims or survivors, have left their mark on the world, and this is very touching for me. I believe that Dodo Newman has thoroughly succeeded with this, which has a high artistic value and will increase the collection’s commercial value as well,” concludes on this subject Buder.

Looking back now at what collecting artworks from the Titanic project mean to him, gives Buder thoughts to reflect upon. However, it does not take much time for him to ponder upon it. His thoughts are instantaneous and coming from his core. “I enjoy it every day. That's the most important thing for my wife and me. We do not collect art for the vault. We collect art to enrich our lives,” tells us Buder with a smile. Art is a focal point of their home and it gives pleasure to Buder and his wife to have all the art around them every day. It becomes clear why an artwork has to appeal to Buder, in order for him to decide to live with it for a life.

Surface of the Titanic Commemorative Memorabilia (detail) © David Harex

Secrets of Art Magazine

Titanic Commemorative Memorabilia by Dodo Newman ÂŠ David Harex

The artworks of the Titanic project have several components that made them stand out. They are each dedicated to a life story of a passenger onboard the Titanic and they are also created to capture the eyes with symbolical elements. The combination of resin, pigments and crystals on transparent plexiglas surfaces, give back the effect of the icy waters. All these elements, symbols, meanings moved and inspired Buder.

â&#x20AC;&#x153;I have to though say that our personal taste was the door opener here. Although I have been enthusiastic about the Titanic and its tragic history since childhood, if I did not like the works, this enthusiasm would not have been enough to become a collector of the series. It is the unique art of Dodo Newman that has convinced us,â&#x20AC;? tells us more in depth Buder.

When asked which influenced more his choice of collecting the Titanic artworks, he finds it difficult to answer. The combination of both the special technique and the personal destinies of the Titanic passengers is the fascination of the project, and the individual artworks. One would not work without the other explains Buder.

ART COLLECTOR

Since the fascination was the main factor for Buder, it was intriguing to know what kind of feelings and emotions the stories behind the Titanic artworks stir up in him. The Titanic was considered unsinkable. It was the culmination of human engineering in those days. A world-wide launch, the story of a maiden voyage that was printed in all the media of that time. Everyone was looking at this ship, it was a dream for all passengers to go on board and some of the richest people spent a fortune to be there.

On the other hand, passengers of the lower classes put their last savings into crossing the Atlantic. There were so many dreams on board the Titanic. Buder talks about this event with passion in his eyes, as if he himself was there. The whole world was watching this ship. An event comparable to the moon landing decades later. And then this pride of humanity sinks within a few minutes in the ice-cold ocean - shattered by an iceberg.

ÂŠ David Harex 22

Secrets of Art Magazine

â&#x20AC;&#x153;I believe it is the bewilderment that captivates us to this day and keeps the legend of the Titanic alive. The artworks of the Titanic series give both known and completely unknown victims of the disaster a face. Dodo Newman has created artworks that commemorate, and this is the special merit of her artistic work, because she approaches the tragedy with respect and ease. Yes, the stories behind the artworks fascinate me. Artworks linked to life stories that could not be different until the moment of the downfall, and that fate suddenly linked them together in the disaster. This has created fascinating art that inspires me,â&#x20AC;? gathers his last thoughts Buder.

The dreams that were on board the Titanic inspired many, just as artists like Newman too. The artworks created to remember these stories and fates fuelled dreams for Stefan Buder too, who decided to dream together with them and enrich his and othersâ&#x20AC;&#x2122; lives as well by sharing. The passionate collector dared to dream and continues to share it further for the future generation.

ART SHAPING THE FUTURE

Borderless Art - the life of an art project The personal project dedicated to the legendary Titanic ship and its passengers was born from a personal story of the artist and it grew over the years into a cultural and educational project, bringing together several nations from around the world.

How is an art project born and how does it develop from a dream, a vision into a concept and project? And how does it shape others or take up other forms? These are questions that can provide insights into an artistâ&#x20AC;&#x2122;s world and that intrigue many people when thinking about art. It is easy to think about art projects as something complex, however they all have one thing in common: they are born from a moment of idea, or phase of life, a desire to express a deep thought, feeling, gratitude or to remind others of our human existence through a visual experience. Having had life experiences in different parts of the world, the artist Dodo Newman was inspired to dedicate an art project to her Holocaust survivor grandmother, who has been her personal idol. She has always been fascinated by human stories that showed how connected we are and how, by learning from the past we can make our present better. Growing up with an important teaching from her grandmother - to never give up on dreams and staying true to them - the artist Newman wanted to focus on these human values through the individual stories, life paths and destinies that came together on the legendary Titanic ship. The vision came from an idea to remind others that we are all connected through our human values. It was then combined with the technique of plexiglas and resin based pigments. The legendary Titanic ship was also approaching its 100th Anniversary, coinciding with the celebration of Newmanâ&#x20AC;&#x2122;s grandmother, who was also to be 100 years old.

Dodo Newman and her grandmother Marta ÂŠ Dodo Newman

The vision this way further materialized. Each art piece, created on plexiglas with crystals, resembling the ice on the ocean and the cold night when the Titanic sank, was dedicated to an individual human story from the passengers of the Titanic. The aesthetic aspect of the art project was in itself unique with hundreds of transparent surfaces giving back a magical effect: liquid crystal against a background of swirling oceanic blues, reflecting the play of light on icy water. Each one of them different, like drops in the ocean, representing each a Soul that either survived or died that night. Nevertheless, they were each connected in their humanness, their desires, hopes and faiths. They shared that night the tragedy, just as so many people do all over the world who are seeking to rebuild their lives elsewhere than their homes.

Secrets of Art Magazine

What really made the art project different than any other was not the artworks themselves - although there were hundreds of them, created each by focusing on beauty and technique at the same time - but the way it linked an event in the past to many meaningful thoughts and emotions that are there in our present. The past was linked to our present also by a personal remembrance of the artist herself. The project reminds us of our lives as human beings first of all, whereby we are all “rowing in one boat”. It also reflects upon the issues of the power of nature, life and death, our desire to find happiness as a basic right and connectedness. The Titanic ship was an incredible place in 1912, which brought together many cultures from various parts of the world, mainly in the name of hope and new life. They came from every walk of life: personnel from the ship, the rich and famous, professionals, the poor, and all those who were seeking a new life. Friends, families and strangers alike, they were to be linked in collective memory forever. During Newman’s research works, she discovered captivating human stories among the Titanic passengers related to over 43 nations. The extraordinary Titanic Cultural Commemorative project, which started from the vision in 2009, continued to develop as an art initiative reflecting back as a mirror also the present situation of the world. Just as in the years around 1912, when the Titanic set off, also in the years of the creation of the project, hundred years later, thousands of people were shifting, migrating from one part of our world to the other, in hope of finding new homes, peace and realizing dreams. Driven by Newman’s fascination of the individual human stories, she decided to link the past and the present through culture, hope and art. For this reason the Titanic Cultural Commemorative Project also contained an interesting cultural and educational aspect, namely the introduction of the various cultural developments of the different nations of the passengers.

ART SHAPING THE FUTURE

During the project’s next phase, multiple nations that were also present 100 years ago on board of the Titanic, came together to share their cultural history and roots linked to Newman’s transparent crystal creations. The idea of linking the past together with the present came not only from the individual stories, but also from the fact that there were passengers onboard the Titanic from nations that one would not expect, for example from Lebanon, Slovenia, Japan and Uruguay. The passengers from these nations started off on their journeys with various types of cultural backgrounds heading towards a very different one.

Consequently, another aspect was added to the project, which was presenting cultural changes in those nations over 100 years that have passed since the passengers of the Titanic set off on their journeys. Newman invited 12 different countries with embassies in Germany to participate, and to display their 100 years of cultural changes and heritage, linked to her artistic creations, each representing a passenger. Although these nations were different, they worked together during the project, without thinking in borders or politics. They also found mutual links through the Titanic project and triggered by this, they openly discovered each other’s heritage.

Dodo Newman with Maja Brdnik, Embassy of the Republic of Slovenia, Germany © Dodo Newman

Dodo Newman with H.E. Dr. Mustapha Adib, Ambassador of the Republic of Lebanon, Germany © Dodo Newman

Dodo Newman with H.E. Hüseyin Avni Karslıoğlu, Ambassador of Turkey, Germany © Dodo Newman

Dodo Newman with H.E. Dr. Badr Ahmed Mohamed Abdelatty, Ambassador of the Arab Republic of Egypt, Germany © Dodo Newman

Secrets of Art Magazine

„As much as I love history, I am also fascinated by the fact that I have a chance to actually meet with the artist. For me it is much easier to relate to an artwork once I have the chance to understand the motives of the artists, his or her path which led him or her to create that particular piece. Some art lovers admire shapes and forms, however I am fascinated by artworks that are meaningful. Everyone has a story and I love to discover the individual stories. For me that’s what captivates life and that’s what gives true value to an artwork.“ — Stefan Buder Art collector

Art collector Stefan Buder examining a see-through Titanic Commemorative Memorabilia © David Harex

ART SHAPING THE FUTURE

The result of this phase of the project was a publication, widely distributed for cultural and education purposes in cultural institutions, embassies, national libraries and museums. The “Incredible Titanic Life Stories: Cultural changes over 100 years & Borderless Art” book’s aim is to provide an example of how multiple nations can come together, sharing their cultural histories and roots. It also prompts one to think about how safeguarding and re-evaluating our past can have transformative effects in our present. The Titanic Cultural Commemorative project therefore became even so a reflection of our present times, whereby the movement of people from one country to another with hope and seeking a new life is an actual reality, just like more than 100 years ago.

The Titanic ship

Newman’s message to reflect upon was that, “even if our times and physical spaces might be different than 100 years ago the hope, faith and dreams are the same. Where there is appreciation of culture and art, the borders diminish, overriding our physical differences for the aim of transforming our views and our worlds.” The life of this artistic project started off from a personal memory, a desire to link it to present issues and to bring to it a human touch. It grew from a vision born in the studio, to a broader vision of connectedness for many nations around the world. Alongside the project’s life, the artist saw changes in her life too. Some months later, after her grandmother passed away in her 100th year of life, she was rewarded with another human life: her daughter.

Secrets of Art Magazine

An Ambassador who linked history to the present for the future A story that connected history to the present started off with a passenger traveling from Lebanon to Canada on the legendary Titanic in 1912. A bit more than 100 years later, in the present, Lebanon’s Ambassador to Germany, HE Dr. Mustapha Adib donated two artworks, dedicated to two Lebanese passengers on the Titanic to a Museum of Emigration in Lebanon.

The story commenced with a 12 year old girl, Banoura Ayoub Daher, who in 1912, boarded the Titanic as a third class passenger. She left her hometown in Lebanon and traveled with her cousins to join her uncle in Canada. On the night of the sinking of the Titanic, Banoura was the only one who survived from her family and managed to arrive to New York City onboard the Carpathia ship. Banoura’s journey did not end however there, she moved from Columbus to Detroit in the USA and then to Canada, where she married still very young. She moved back with her husband and five children to Detroit, Michigan in the USA.

On the left: Banoura Ayoub Daher and Michael on their wedding day On the right: Banoura and Michael in the early 1950‘s.

One of her sons described her as a ‘tiny lady’ with a big heart. “Mom was a fighter” and had a strong character. From the time of her rescue, knowing that there was only a small chance that some would survive, she did beat the odds. She did the same for her children and family thorughout her life. After 100 years among the many stories aboard the legendary Titanic, there was one that reappeared as a significant piece during the Titanic Cultural Commemoration project of Dodo Newman. This one was the one created as a dedication to the story of Banoura, the young girl traveling from Lebanon on the ship. The two granddaughters of Banoura, living in the USA, heard about the project and about the one piece dedicated to their beloved grandmother. They immediately contacted the artist.

Titanic Commemorative Memorabilia Nr. 2109 dedicated to Miss Banoura Ayoub Daher. © Dodo Newman

ART ADVOCATES

Eventually, the artwork, which became a symbol of their dearly remembered grandmother and their roots, found a home with them. It is today with the family and future generation of Banoura. Nevertheless, Banoura was not the only passenger traveling from Lebanon on the Titanic to find a new home elsewhere. The Titanic ship had at least sixty-six (some refer to one-hundred-fifty-four, due to the unfortunate fact that many of the Titanic passengers are still unidentified) Lebanese and Lebanon related passengers. This very special fact and the project’s message of borderless art, gave a deeper meaning to the Ambassador of Lebanon to Germany, H.E. Dr. Mustapha Adib, who gave his input into the cultural and educational aspect of the project. When H.E. Dr. Adib first heard about the Titanic Cultural Commemorative project, he felt that it was important to remember this event, to remember the persons - among whom many Lebanese - who died in this catastrophe. He also felt that, although the events surrounding the sinking of the Titanic belong to history, they are a sum of individual tragedies, and it is only right that the families of the passengers be involved in the project. “I liked the approach of the project because, usually when such a tragedy occurs, and there are so many casualties we tend to see only the figures. This project was a way to remember that behind those figures, there are actual individuals, with their own stories and life paths,” explains H.E. Dr. Adib. During the present years, he not only gave his insights and contribution to the publication “Incredible Titanic Life Stories: Cultural changes over 100 years & Borderless Art”, but he also took a further step into the future, by donating two artworks, given to him by the artist, to the Museum of Immigrants in Batroun, Lebanon.

H.E. Dr. Mustapha Adib, Ambassador of Lebanon to Germany © HE Dr. Mustapha Adib

Secrets of Art Magazine

“As you know, Lebanon is at the crossroads between “East” and “West”, between Europe and the Muslim and Arab world. Therefore, its record of cultural exchange dates back to antiquity. Lebanese people are also famous navigators and ship-builders - the most famous ones in Phoenician times. Therefore, Lebanese people feel connected to the rest of the world and have always emigrated very easily and integrated very easily as well in their host countries. The sinking of the Titanic is indeed a symbol of the emigration of Lebanese people, of their hopes for a better new life. It is part of the memory of the Lebanese people. This is why I felt that the two Memorabilia pieces produced within the framework of the project belong to all Lebanese and should definitely be on public display in the “Musée de l’Emigrant” in Batroun,” describes in detail H.E. Dr. Adib. As an ambassador, H.E. Dr. Adib has traveled the world and experienced many cultural realities. On the contrary to how art is perceived as a luxury by many, he believes that it is something “necessary” for every human being. For him art brings beauty to our lives, it keeps the ugliness of the world at bay and provides for a means of expression for many who are suffering in one way or another. “Besides, art combines local specialties with more global trends. Therefore, it is both the reflection of a period and place and a bridge between people. As for myself, music would be my favorite art, and being posted in Germany, I have been able to enjoy it at its highest level, which I and my family are deeply enjoying,”says H.E. Dr. Adib.

According to H.E. Dr. Adib it is at the very heart of the policies of many countries. However, it is by no means a new phenomenon, migration has always existed and it has shaped most countries in the world. H.E. Dr. Adib shares his deeper thoughts about art and artists, having an important role in spreading cultural messages. In his view the message of the project is a crucial one: “Through art, people can connect better than with words, because we are dealing with feelings, rather than with ideas. Art overcomes the barriers set up by culture, gender… and politics. This is why artists can do very much to bring people together.” When asked about whether history repeats itself and can it teach our present, H.E. Dr. Adib says with considerate thoughts that the turmoil the world is currently facing is definitely rooted in the past. In his view we do have to live with the consequences of past decisions and choices. However, the future is never written, it is up to the persons of goodwill to make the right choices and to build a better future. “Art is a tidal wave that overcomes History as well as the Present, and artists have a crucial role to play as their work is based on what human beings have in common, rather than on what tear them apart. As French writer Albert Camus put it: ‘the ones that bring History forward are the ones who, at some point, have revolted against it’” concludes wisely H.E. Dr. Adib.

The Titanic Cultural Commemorative project reflected an issue that is clearly a key one in this new millennium as well, which is migration.

ART ADVOCATES

„Through art, people can connect better than with words, because we are dealing with feelings, rather than with ideas. Art overcomes the barriers set up by culture, gender… and politics. This is why artists can do very much to bring people together.“ — H.E. Dr. Mustapha Adib Ambassador of Lebanon to Germany

H.E. Dr. Mustapha Adib, Ambassador of Lebanon to Germany with his wife (left) and artist Dodo Newman (right) © Dodo Newman 32

„ „Wealth is not his that has it, but his that enjoys it.“ — Benjamin Franklin http://www.UHNWBusinessClub.com

IN FOCUS

Nature in motion that inspires to create Imagine a place in which wherever you look at you find natural beauty in various forms. Whether they are snowy mountains, immaculate fjords, clear waters or the cities themselves, everything is vivid and constantly changing. The natural beauty of Lofoten has long inspired artists and continues to do so with art, architecture, visions and projects imbued with a breathtaking but also coarse nature.

Many people have never heard of the Lofoten islands in Norway and especially not that it would be linked to art and artists. The Lofoten archipelago is made up of six islands and many other hundreds, that are unpopulated and thus offer mother nature to be observed and inspire in its purest form. It attracts adventurers, nature enthusiasts and artists for the same purpose: to capture moments of nature in motion. Similarly, like an artwork as it is being formed and created layer upon layer, nature here in Lofoten is in a constant change, offering always a different image, waiting to be captured. The raw, wild and stunning nature of this place makes it possible to experience the ever-changing and often harsh phenomena of nature. At the same time, away from the buzz and busyness of the cities, the place also triggers thoughts to reflect upon that similarly might provoke turbulence and deep reflection. It is an ideal place for new visions to emerge from a place of unrest.

Lofoten has been popular with artists already in the past. It has long attracted writers, photographers, painters - such as the Norwegian painter Gunnar Berg as well, known for his many paintings of Lofoten - and continues to do so today as well with many contemporary artists. The contemporary art scene here is vibrant and particular with an international art fair of its own. Like the nature of this region, which is turbulent, in motion and stunningly beautiful so does the Lofoten International Art Festival reflect back this same idea in its main themes. As the LIAF describes itself, the core of the festival is the prospect of developing and discovering new knowledge and understanding through art. What makes it outstanding from other art festivals is that LIAF is not connected to a permanent location or space, but is invented anew every time by infiltrating and moving into already existing structures: a garage, a library, a shed, a bunker, a fish drying rack, a private house, a shop or an old warehouse.

Lofoten is also the place that gives birth to environmentally-conscious projects, to reflect upon the relationship between humans and nature. Art created here can fully explore its potential to transform society.

This ever changing character refers also to always new curators, who develop the festival every time, bringing in diverse backgrounds, ideas and practices. They aim to bring the familiar and unfamiliar together.

Several projects that are born here bring together an international collective of artists, activists, researchers and architects who work together to envision and create alternatives to the existing social, political and environmental issues around the world.

â&#x20AC;&#x153;By insisting on this open and experimental approach, we believe LIAF can be a place for exchange and involvement on multitude levels, every time revealing new things about our world and ourselvesâ&#x20AC;? is LIAFâ&#x20AC;&#x2122;s approach.

Secrets of Art Magazine

ÂŠ Photo by Dan Magatti on unsplash 35

IN FOCUS

LIAF has taken place eight times since 1999 presenting very diverse and also internationally acclaimed artists such as Olafur Eliasson and Pipilotti Rist. This year LIAF, just as the tide, ebbs and flows throughout the year in four small communities across the entire Lofoten archipelago. It is realised along the shorelines in both the Western and Eastern regions of the Lofoten archipelago. LIAF 2019 takes its inspiration from the multitude of inhabitants, materials, struggles and processes that reside and take place within the extremely wide intertidal zone surrounding the islands of Lofoten. Cyclical, turbulent, ruthless and beautiful, LIAF has opened up four conversations in dialogue with this environment, to observe the space diminish and expand, and to follow the ebbs and flows. To achieve this, it has taken a unique way of presenting the various events. This intertidal zone of Lofoten is home to continual arrivals and departures, of disappearances and the reappearances.

ÂŠ Photo by Matthias Tillen on unsplash 36

Secrets of Art Magazine

IN FOCUS

On the threshold of the land and the ocean, it exposes organisms that are subject to the unpredictable forces of the weather, living things that routinely endure extreme fluctuations in temperature, salinity, oxygen levels, light, and space. Among them is the starfish, which form is used for the events to be taking place in Lofoten. The starfish with an eye on each arm, is a witness to several events at once. These curatorial ‘arms’ are both guiding and guided by these places, and by artistic ideas and processes, as the artists embed their respective work in the local settings. The curatorial team of LIAF 2019 (Hilde Methi, Neal Cahoon, Karolin Tampere, and Torill Østby Haaland) are interested in the dynamic movements of the curatorial ‘arms’ as processes of continual revision and responsive re-conceptualisation.

LIAF-2019 starfish © LIAF

LIAF -2019 intertidal zone © Trygve Luktvasslimo / LIAF 38

Secrets of Art Magazine

Furthermore, they consider the ‘arms’ as directions that frame and shift focus, and as methodologies that foster energy, proximity, and poetics throughout the whole of the festival.

“Maths, matter & body” observes the relationships and tensions between the human body, solid matter, algorithms, gravity, and statistics. The fifth and unnamed arm is dedicated to the unspecified.

The themes too, around which the events are formed on the starfish’s ‘arms’, are meaningful and related to the movement and change. “From the horse’s mouth” is the theme on the arm that considers resilience, community, messages, and communication from human and other-than-human perspectives.

Nature and art blend together at its extreme here in Lofoten. It becomes obvious here that everything is interconnected.

“Thinking tide, sensing scale” draws attention to natural phenomena and the apparatus through which events are sensed and measured. “Splash, stress & elasticity” is the arm that considers the high tides of human and non-human migration, seasonal tourism, competition, space, and cycles.

The natural and raw beauty of this place inspires not just because of the aesthetically enhancing view, but mainly for its cyclical and continuously changing moments. The power and strength that nature beholds here make us humans humble and collaborative with it, learning from it the ease with which it moves and breathes. The complexity of the place makes it also possible for artists to bring together their visions and create a platform, where the diversities can create a dialogue on both the local and global level.

THE ARTIST

Rebirth - changing into different forms Her art is like poetry, flowing colours, textures and forms touching the soul. They talk for themselves. She considers her art more important than her public profile and wants to be seen only through her works, without any filters.

Her name is Kyung-Hee KIM, fabric artist from Korea, which she considers enough to introduce herself. The process of KIM’s work is in itself like writing a poetry, capturing the essence and the fleeting impressions of the moment. Her canvas is white fabric where she starts her work. “I cut pure white fabric into pieces, dye them with colors and turn them into various shapes - from tiny little petals to a fully blossomed flower to a stunning garden brimming with flowers to a rain of flowers. Sometimes a countless number of feathers come together to create a flock of birds flying in the sky. Bits and pieces are blended together in all of my works,” she describes it more in detail.

Creating gives KIM a great deal of fun and joy. However, at the same time it is a process that tests her patience because it requires endless hours of tedious and monotonous work. She tells us that the seemingly incessant cycle of simple and repetitive tasks make her at times delve into a series of questions about important themes such as life, humanity and her work. This deep diving into the soul reflects in her simple and yet meaningful artworks. “It is a journey into my own world where I think long and hard to seek answers completely on my own. It makes my otherwise laborious and tiresome work delightful and amusing,” explains to us KIM. Just as her artwork, KIM’s thoughts reflect pure humbleness. Art for her is a big dialogue, however she does not consider herself as one of those great artists who avail themselves of this deep and profound dialogue. When asked what art means to her she replies, “I think art is something that revives vitality and yearning that humans have in their subconscious towards beauty. In this way, it enriches our life so that we can enjoy a fuller life with an abundance of energy and vigor by letting us find meaning in our life.” KIM’s humble and deep approach to art and its meaning makes her a true artist, who’s approach to her gift in the form of creative expression is truly inspiring. “No matter what form creative expressions may take, they can restore humanity that is lost and damaged in the modern world if people are offered with a genuine chance to celebrate and embrace art in their own way,” says KIM.

Secrets of Art Magazine

THE ARTIST

Secrets of Art Magazine

Like so many artists, KIM too gets her creative energy from nature. She describes it as her whole body being touched and inspired by all the sparkling and glittering things that appear in nature. She feels continuously truly humbled by the weakness of human beings in the face of majestic nature. “I believe it is an artist’s job to rediscover the long-lost innocence of humanity. It is not easy to contemplate nature and find its hidden meaning. It is a difficult and challenging task. But an artist must be ready and willing to tackle it,” explains the motivational artist. Asked about obstacles that lie on her creative path, KIM talks deeply about hitting her “ceiling”, her limits. Admirable as it is, KIM opens up her vulnerable side. She dives deep into describing it as feeling a sort of “shame” when reaching this limit. In such moments she feels helpless, lost and discouraged to do any work. It is a contrasting feeling as she describes it, because although her mind wanders around as it wants to fly high in the sky, she knows that she has to keep her feet on the ground. In this aspect too KIM is praiseworthy, since notwithstanding the challenges, she is well-grounded and follows the steps of her calling every day. At times pushing the boundaries is easier said than done. It means that she has to give up many things and reach a compromise with reality. “Limitation is tough to overcome. You have to go through a long and lonely internal battle with yourself to accept you for who you are, embrace your limitations, find peace of mind and go back to the basics,” expresses this process to us KIM. KIM defines her art as “rebirth”, which refers to the fabric she uses, that is changed and reborn into different forms. Silk, cotton, velvet and other materials are recreated into various forms of life in nature such as flowers, trees, grass or birds. There was a time period when she had some time off work, during which she had an invaluable chance to redefine her work, which gave her a boost of energy.

THE ARTIST

„No matter what form creative expressions may take, they can restore humanity that is lost and damaged in the modern world if people are offered with a genuine chance to celebrate and embrace art in their own way.“ — Kyung-Hee KIM Korean fabric artist

Secrets of Art Magazine

THE ARTIST

Commercial advertisements for mobile phones, cosmetics, jewelry, automobiles featured her artworks and she got to explore them from a completely different perspective. It was the beginning of a different kind of “rebirth”. Just like discovering the hidden meaning from nature she also started to explore new meanings in her artworks through photography. “I prefer to call it a ‘forgotten perspective’. Collaboration with photography was a truly amazing and blissful experience, through which I made an attempt to approach the essence from another perspective,” says KIM. KIM’s vision of her art is to shape it further, to be reinterpreted in other, new ways through further collaborations with other genres such as fashion or video art.

KIM’s ability to blend her poetry with her entrepreneurial approach of bringing her art world to other levels, gives her the unique opportunity to spread her art and access more people’s hearts and lives. Getting to know KIM’s deeper thoughts, creative process and humble approach to art is truly rewarding. She flows through creating just as her artworks. She lives her daily life honouring the gift she was born with, creating artworks. Her last thought about whether she can share any secret about balancing her roles as an artist and an individual, speaks for itself: “If someone asks me what I do, I don’t have any fancy answers for them. I just speak through my works.”

Secrets of Art Magazine

THE ARTIST

Secrets of Art Magazine

THE ARTIST

Secrets of Art Magazine

THE ARTIST

Secrets of Art Magazine

THE ARTIST

Secrets of Art Magazine

WOMEN IN THE ART WORLD

Women artists who are also mothers Differentiating women artists after pregnancy seems to be a past issue now that so many opportunities exist to make choices from. But what about limitations that come from women themselves, that need to be re-evaluated?

In the past women were tied to domestic life, having no access to learning art as a vocation, participating in artistic life and being seen as responsible entirely for the domestic, indoor, behind the walls activities. They were denied to study, to taking part in exhibitions, to go outside and to be inspired by life experiences, unassociated with domestic things. They were limited to society’s expectations, encircled often by the jealousy of their male counterparts and by continuous denials on all levels. It was very rare for a woman to become an artist and especially to continue to work as one, while having a child and a family. Most of the outstanding examples had already an artistic background in the form of mentorship, either because they had a father or a husband who was an artist himself. Likewise, very few who did breakthrough, are not at all well-known, not studied about and not yet fully valued in the art market today. There were actually quite a lot of successful female artists who were at the same time mothers. Unfortunately just as in the past today too, they seldom get the credit for doing both. Some of these exemplary women were: Artemisia Gentileschi, Judith Leyster, Louise Élisabeth Vigée Le Brun, Berthe Morisot, Suzanne Valadon, Barbara Hepworth, Louise Bourgeois, Yoko Ono, Jenny Holzer, Kara Walker. For many of these women, their children became their muse, their models and their inspirations, incorporating motherhood in their works. Some of them even painted self-portraits with their children, like Vigée Le Brun, who’s paintings reflect the love she had for her daughter. These paintings were considered as scandalous at the time, during the 18th century because of their theme 56

and spontaneity. Morisot’s daughter was often her model in her paintings. Barbara Hepworth, besides achieving international acclaim, raised at the same time four children. Similarly was Louise Bourgeois’s activities and spirit balanced between her three sons and her studio. Octavia Brugel, talking about her mother Kara Walker - an internationally recognized contemporary artist describes the balance between motherhood and being an artist in the best way. “My mother is a mother. And an artist. And the two never felt like they were incompatible.” Women today are not tied to domestic life, with plenty of opportunities to choose from. Nevertheless, another type of challenge and limit prevails today. It is an image of the woman artist who is childless, dedicating her life entirely to art, working and living in solitude. This image that often comes from women themselves creates a stereotype, whereby the artist focuses entirely upon art without any family, children or partnership background. When Marina Abramović told openly her thoughts about women, motherhood and art to the German newspaper Der Tagesspiegel: “In my opinion [having children is] the reason why women aren’t as successful as men in the art world. There are plenty of talented women. Why do men take over the important positions? It’s simple. Love, family, children - a woman doesn’t want to sacrifice all of that,” she expressed the deep embedded thoughts and fears of many contemporary women artists. The difference of expectations and image that exists between women artists and their male counterparts still remains. Why is it that having to sacrifice all and

Secrets of Art Magazine

WOMAN IN THE ART WORLD

Secrets of Art Magazine

„In my opinion [having children is] the reason why women aren’t as successful as men in the art world.“

„My mother is a mother. And an artist. And the two never felt like they were incompatible.“

— Marina Abramović

— Octavia Brugel

Artist

Daughter of artist Kara Walker

WOMEN IN THE ART WORLD

having to choose between children does not come up as a question for the male counterparts? Especially worthwhile to think about is that many “super star” male artists have children and a family, while giving an impression of the loner creative, without hindering their roles or their career. Over the recent decades a certain myth of not having it all has grown, and has been implanted into not only artists’ but in general the art world’s system. This belief, creating a harsh divide between having to choose between children versus art, influences many women as artists today making their own life choices. Many of them either give up entirely on their artistic paths or decide to sacrifice their feminine and maternal side. Having the struggle and breakthrough with courage and persistence is a much bigger achievement than coming from the comfort zone of complying to what collectors, galleries and the art circle want to see, which is still the sad and implicit reality. How about instead of seeing artists – whether they are women or men – as eccentric, outcasts, rebels of society in general and incapable of raising a child, seeing them from a different perspective, as dedicated advocates who are also responsible parents at the same time? Women who make the most out of both worlds of art and motherhood, manage to create an advantage out of their disadvantage, which in turn makes them valuable not only in the art world but in life’s every aspect as well, where gender bias as a whole still rules. Being an artist in itself is a challenging life path, nevertheless choosing to be a mother as well makes it even more heroic. Considering the limiting beliefs, external influences and role models that exist, women artists who do not loose their beliefs in themselves (which often happens whether one is an artist or not) nor their artistic calling, continuing to dedicate themselves to art and to their path even while opting to be also mothers, should be appreciated and valued even more in all circles of art.

There is a considerable number of successful women artists, making a living from their art and balancing between creating an ambitious career and motherhood. Just to mention a few: Julie Mehretu, Marlene Dumas, Cecily Brown, Chen Peiqiu, Sarah Sze, Teresita Fernández, Wangechi Mutu, Phyllida Barlow, Cornelia Parker, Carrie Mae Weems and Lorna Simpson. Although these examples are motivational, there should be more support and change of expectations for all those aspiring artists, who have not yet reached success but are walking on that way, so they know they have a choice without being judged for it. While for many, having a child is considered as loosing a type of “freedom”, the very experience of motherhood in itself provides many insights, teaches strength, develops focus and patience, which can be used in the process of art itself. The right balance can be challenging at times of whether going for the inspirations or being there for the child. Nonetheless, these challenges can be viewed as rewarding because one learns persistence, trust and structure in daily life, which taken into the art life becomes, a huge asset that hardly any other life path can parallel. In order to be louder than the limiting thoughts of a few, there should be more discussion and sharing of personal experiences, initiated from the growing number of successful women artists who choose motherhood as well. The choices that women artists make should come from their own decisions and not by renouncing a part of life of a woman that belongs to creation, growth and inspiration as well.

Secrets of Art Magazine

Secrets of Art Magazine http://www.secretsofartmagazine.com

Subscription The Secrets of Art Magazine is a quarterly Magazine.

Printed in Berlin, Germany Language: English

For subscription please contact our editorial team at editor@secretsofartmagazine.com.

Distributor: Secrets of Art Magazine UG Postfach 40826 10064 Berlin Germany Chief Editor: Dorottya Novak editor@secretsofartmagazine.com 62

Secrets of Art UG (haftungsbeschränkt) Handelsregister Charlottenburg HRB 209690 B Geschäftsführer: Dorottya Novak

„

„[Artists] love to immerse themselves in chaos in order to put it into form, just as God created form out of chaos in Genesis. Forever unsatisfied with the mundane, the apathetic, the conventional, they always push on to newer worlds.“ — Rollo May Authior of „The Courage to Create“

â&#x20AC;&#x17E;

Bringing together the residents and trusted businesses of the Principality of Monaco

MonacoWealthManagement.com