THAILAND’S ART ECOSYSTEM SURVEY
A REPORT ON THE “ART ECOSYSTEM” IN THAILAND
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THAILAND’S ART ECOSYSTEM
Published digitally by Thailand’s Art Ecosystem in association with Teak Research Co., Ltd. © 2021 Thailand’s Art Ecosystem, a public Facebook Page Thailand’s Art Ecosystem Facebook Page administrators: Atinuj Tantivit, Nim Niyomsin, and Shane Suvikapakornkul This report is intended to be published digitally and shared publicly through Thailand’s Art Ecosystem Facebook Page and by its page administrators and members. No parts of the report can be reproduced in whole or in part, or altered in any shape or form without prior permissions from the Publisher.
CONTENTS Foreword 5 Introduction 6 Demographics 8 Professions in the Arts
10
Income
14
Art Acquisitions
16
Collaborations & Networking
18
Support for the Arts
20
Shortage of Resources
20
Creating New Demand
21
Role of Online Platforms
22
Impact of COVID-19
23
Conclusion 26 Appendix 28 (Social media infographics & Thai-language summaries)
AT A GLANCE Total number of respondents: 406 Number of questions: 41 Survey period: April to June 2020 Note: Some questions were mutiple-choice and open-ended. Percent of cases is the percent of respondents who selected the same answer to a multiple-choice question.
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FOREWORD Thailand’s Art Ecosystem was an impromptu gathering of several like-minded individuals to form a Facebook page that offers a neutral platform for people in the art profession residing in Thailand or overseas (whose work is related to Thai art or artists) to share their knowledge and experiences in Thailand’s art field as well as to better understand different roles within the ecosystem. What was obvious from day one is the lack of general statistics of the overall picture of the Thai art industry. Curious to explore the makeup of the individuals who exist in this art ecosystem, we created a survey and asked the page members and the Thai art public (those who identified and concerned themselves as having to do with the Thai art landscape) to participate. 406 people responded to the survey between April and June, 2020, largely during the COVID-19 lockdown. The survey includes both quantitative and qualitative research methodologies. Not without technical flaws, its strength lies in the time, thought and focus that the respondents gave to their responses in significant numbers and in a short period of time. We hope that this report paints a broad picture of the Thai art field, providing a baseline for the industry to look at itself, to start a conversation, and to use it as an example to build a more detailed survey that looks forward to the future. We are deeply thankful to all survey participants.
Atinuj Tantivit Nim Niyomsin Shane Suvikapakornkul
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INTRODUCTION
T
his study is the result of a survey initiative launched in April of 2020 by three representatives of Thailand’s Art Ecosystem, namely Atinuj Tantivit, Praneenut Niyomsin, and Shane Suvikapakornkul
who created the Facebook group entitled “Thailand’s Art Ecosystem” following the outbreak of COVID-19 in Thailand the same month. When the survey closed in June 2020, there were 406 respondents. Respondents were sourced from personal and professional networks of the organizers of the survey as well as the membership of the Facebook group which had grown to over two thousand members by the writing of this report. The data tabulation, analysis, and reporting were done in collaboration with Teak Research, Co., Ltd, a market research agency based in Bangkok. The purpose of undertaking this study was to gain a shared understanding of Thailand’s Art Ecosystem including all relevant stakeholders in order to inform the art public about the current state of the art industry and ecosystem in Thailand. Teak Research was consulted by the three representatives in order to ensure credible reporting of survey responses. Survey questions and responses were scrutinized by the research team to eliminate incomplete responses from data tabulation. Inductive analysis was used to triangulate responses to open-ended questions in conjunction with text analysis to identify similar patterns in responses and quantify them. Coding was done with closed responses such as demographic data. However, due to the time constraints and incongruous responses, the research team decided to code the data which was most complete and consistently reported.
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In response to a question in the survey about overall opinions of the art industry in Thailand, out of all 284 valid responses, 59 (20.8%) expressed a positive sentiment toward the industry, 44 (15.5%) expressed a neutral sentiment, 181 (63.7%) expressed a negative sentiment. Some examples of the topics with a negative or neutral sentiment were slow the growth of the art industry, lack of resources and support, inadequate demand from buyers, nicheness, lack of inclusivity, lack of diversity, lack of opportunity, and lack of platforms for emerging artists. Examples of topics raised which had a positive sentiment were the rising number of younger generations in the art industry, the expanding role of online social media platforms, and gradual growth in opportunities for the art industry. The remaining respondents gave no responses or gave invalid responses to this question. Due to the open-ended nature of the questions and the vastly different, and in some instances, contradicting responses, no conclusion could be drawn about any one particular topic raised by respondents in regard to the opinion of the industry as a whole. Further research would be necessary to generalize the issues raised by respondents.
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DEMOGRAPHICS 260 of respondents were men (64%), while 134 were women (33%), and 12 (3%) responded ‘Other’. (Figure 1)
GENDER
Figure 1: Gender
Out of 406 respondents in total, 380 (94%) were of Thai nationality, and 26 (6%) were not of Thai nationality. (Figure 2)
NATIONALITY
Thai Nationality
Non-Thai Nationalities
Figure 2: Nationality
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AGE RANGE
Figure 3: Age range
Out of all respondents, the majority, 136 in total, were 36 - 45 years old (33.7%), 111 of respondents were 26 - 35 years old (27.5%), 93 of them were in 46 - 55 years old (23%), while there were only 5 respondents that are above 65 years old (1.4%). (Figure 3) The majority of respondents, 273 in total (67.74%), reside in the Bangkok Metropolitan Area, while 55 of them (13.65%) live in the Northern Region. The region with the fewest respondents was the Eastern Region, 8 in total (1.99%). (Figure 4)
REGION Region of residence
Number of resp
Percentage of resp
273
67.74%
Central Region
13
3.23%
Eastern Region
8
1.99%
Northern Region
55
13.65%
Northeastern Region
25
6.20%
Southern Region
28
6.95%
1
0.25%
403
100%
Bangkok Metropolitan Region
Other Region Total Figure 4: Region of residence Page 9
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PROFESSIONS IN THE ARTS
Professions of respondents working in the art industry span different specialities, from art conservator to fine art artists. In this survey, respondents mostly consist of seven groups of professions: THE FIRST GROUP (49.2%) of professions includes creative professionals directly related to producing art and design work such as artists, photographers, and designers. THE SECOND GROUP (11.3%) includes art market professionals, art gallery owners that provide a platform for the art market and provide opportunities for selling art, art dealers, art gallery managers, and art auctioneers. THE THIRD GROUP (8.8%) includes art & cultural management professionals such as art curators and art critics. THE FOURTH GROUP (5.9%) includes professions in art-related services, such as art framing. THE FIFTH GROUP (13%) includes art academics such as art-anddesign lecturers and art-and-design students. THE SIXTH GROUP (7.6%) includes art collectors who may or may not have an art-related background but have a liking for art. THE SEVENTH GROUP (3.2%) includes respondents who work in institutions that grant funds to art-related activities. Creative professionals made up the majority at 49.2% of total cases (291 cases). The second most frequently reported profession was art & design scholars, lecturers and students at 13% of total cases (77 cases), followed by art market professions at 11.3% of all cases. Other professions made up less than 1.5% of all cases. (6 respondents)
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PROFESSIONS Professions
Number of resp
Percent of resp
Percent of cases
291
49.2%
72.2%
Art Market Professionals
67
11.3%
16.6%
Art & Cultural Management Professionals
52
8.8%
12.9%
Art-related Services Professionals
35
5.9%
8.7%
Art & Design Scholars/Academics, Lecturers & Students
77
13.0%
19.1%
Art Collectors
45
7.6%
11.2%
Grants/Funding representatives
19
3.2%
4.7%
Other
6
1.5%
1.5%
Total
592
100%
146.9%
Creative Professionals
*the percentage of cases at 146.9% indicate an average of 1.469 responses per individual
Figure 5: Professions
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From Figure 6, more than half of the respondents (60%) reported having a single art-related occupation while 40% reported having multiple artrelated occupations simultaneously.
SINGLE / MULTIPLE ART-RELATED OCCUPATIONS
Figure 6: Number of people with one or more art-related occupations
From Figure 7, out of 403 respondents, 196 (51.3%) have worked as an art professional 1-10 years, while 125 (32.7%) have worked for 11-20 years as an art professional. There was only one respondent (0.3%) who has worked as an art professional for more than 41 years.
YEARS OF WORKING EXPERIENCE
Figure 7: Number of years of work experience in an art-related profession THAILAND’S ART ECOSYSTEM
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From Figure 8, 211 of respondents (52%) have received their formal training in Fine Arts such as the field of Art Criticism, Art Education, Art History, Carpentry, Ceramic Arts, Conceptual Arts, Creative Arts, Dramatic Art, Filmmaking, Fine Arts, Painting, Printmaking, Sculpture, Visual Arts, or Thai Arts, while 113 (28%) haven’t received any formal Fine Art or Design training such as self-taught artists. Also, 52 (13%) of respondents have training from outside the Fine Arts and Design disciplines, for example, philosophy and marketing. Lastly, there were 27 (7%) respondents who have received their formal training in design.
TRAINING Training
Count
Percentage
211
52%
27
7%
113
28%
Other
52
13%
Total
403
100%
Fine Arts Design Self-taught
Figure 8: Training
Regarding the question of whether respondents work full-time in an artrelated profession, 295 (73%) respondents reported working full-time professionals in an art-related profession, while 109 (27%) reported not working full-time.
FULL-TIME VS. NON-FULL-TIME
Figure 9: Percentage of full-time vs. non-full-time art professionals Page 13
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INCOME From Figure 10, most respondents (17%) reported less than 20,000 baht annual income from an art-related profession, the same percentage of respondents who reported incomes of between 250,001 and 500,000 baht. 59 (16%) reported annual incomes of 100,001 - 250,000 baht, 36 (10%) reported incomes of 80,001 - 100,000 baht, reported incomes of 500,001 - 1,000,000, 25 (7%) reported income over 1,000,000 baht.
INCOME FROM ART-RELATED PROFESSIONS
Figure 10: Income from Art-related Professions
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SOURCES OF INCOME Source of income
Number of resp
Percent of resp
Percent of cases
Direct sales
228
40.7%
59.1%
Commision
59
10.5%
15.3%
Service fee
74
13.2%
19.2%
Salary
39
7%
10.1%
Sponsorship
22
3.9%
5.7%
Sales from art fair/gallery
62
11.1%
16.1%
Space rental fee
5
0.9%
1.3%
Corporate income
6
1.1%
1.6%
Teaching
34
6.1%
8.8%
Other
31
5.5%
8%
Total
560
100%
145.1%
*the percentage of cases at 145.1% indicate an average of 1.451 responses per individual
Figure 11: Sources of income
Figure 11 represents the sources of income earned by 386 of respondents who submitted complete responses. Also, some respondents reported multiple income sources causing the total number of cases to be more than 100%. 228 of respondents (59.1%) earn their income by selling their creative works, followed by 74 (19.2%) cases who reported earning their income from art service fees such as framing services. Next, 62 (16.1%) cases report that they earn from sales by art galleries. Other sources of income were from unspecified business (1.6%) or from space rental fees (1.3%).
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ART ACQUISITIONS For the purpose of this survey, respondents of art-related professions responded to questions as consumers of art.
HOW ART IS ACQUIRED Type of acquisition
Number of resp
Percent of resp
Percent of cases
Make own art
285
26.1%
72.9%
Trade with artists
219
20.0%
56.0%
Buy from artists
193
17.6%
49.4%
Buy from galleries or art spaces
95
8.7%
24.3%
Buy from auctions
54
4.9%
13.8%
Buy from art fairs
70
6.4%
17.9%
Buy from local art markets
71
6.5%
18.2%
Buy from online platforms
61
5.6%
15.6%
Inheritance
29
2.7%
7.4%
Other
17
1.6%
4.3%
Total
1094
100%
279.8%
*the percentage of cases at 279.8% indicate an average of 2.798 responses per individual
Figure 12: How art is acquired
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Most cases (72.9%) reported acquiring art by making it themselves, followed by trading with artists (56%), buying from artists (49.4%), and buying from galleries or art spaces (24.3%). It should be noted that the percentages of both trading and buying from artists directly outweigh other options of acquiring works of art. Further investigation on the structure of the art market is needed to understand more about the way the Thai market operates and the role of middlemen.
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COLLABORATIONS & NETWORKING The consensus among respondents is that being social is the key to success in the art industry. Many respondents in art-related professions reported that creating fruitful connections will eventually generate opportunities for their art career. There were four ways that respondents suggested integrating themselves into local art communities: 1) professional engagements 2) attending art openings and events 3) social media platforms and 4) mutual friends in order to connect with other stakeholders.
NETWORKING Type of networking
Number of resp
Percent of resp
Percent of cases
Facebook and other social media groups
324
21%
80.2%
Art openings
323
20.9%
80.0%
Mutual friends
306
19.8%
75.7%
Art events (workshops, talks, fairs, festivals etc.)
296
19.2%
73.3%
Professional engagements
275
17.8%
68.1%
Other
20
1.3%
5.0%
Total
1544
100%
382.2%
*the percentage of cases at 382.2% indicate an average of 3.822 responses per individual
Figure 13: Networking
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Figure 13 represents the type of networking of respondents, presented in percentages. Overall, the percentage of each type of networking reported by survey respondents are not much different. Facebook and other social media platforms made up 80.2% of all cases reported, the highest figure in this table. The percentage of art openings was less than Facebook’s percentage by only 0.2%. The responses for “Other” were non-conclusive. The survey respondents working in art-related professions who have had opportunities to participate in art-related events or work outside Thailand have participated as members of the production team of artrelated events, were attendees or enrolled in artist residency programs in which they worked and lived outside of Thailand for a short period. Most respondents who have gotten invitations to participate in overseas events or to work outside Thailand did so through personal connections such as friends, professors, government agencies or influential people in the art industry while others have gotten opportunities to work outside Thailand from being noticed by foreign curators and agencies through their social media pages.
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SUPPORT FOR THE ARTS Half of the respondents who work in art-related professions have never received any kind of funding for their activities. Most of them have had to use their own assets to fund their activities. Most of the respondents who reported receiving funding, received private and public funding from foreign governments and organizations while only a small portion of them received funding from the Thai government or private sector. Others claimed that they have never expected much funding from the Thai government and, instead, have drawn from their own resources. Respondents also suggested that government support is crucial for the expansion of opportunities for artists in Thailand.
SHORTAGE OF RESOURCES Survey respondents described a lack of human resources in the art industry and relevant services that are not limited geographically to Bangkok. Human resources that are lacking include art dealers, media art technicians, conservators, art condition report teams, exhibition designers, curatorial workers, framers, and strategic planners. Services that are considered undersupplied include professional frame shops, print labs, art consultations and platforms, and art material suppliers. On respondent said the following: “From a photography perspective, we are lacking the photography agency service in Thailand. I have started something a few years back [...] which I hope to develop into a photographer marketplace , but has stopped due to the lack of time and manpower.� Respondents also reported a lack of physical platforms like art galleries in that there should be a platform for new faces such as young and emerging artists in order to bring more manpower to the industry and create a bigger network and stronger ecosystem.
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CREATING NEW DEMAND Survey respondents reported that the problem of creating new demand is that buyers do not understand or are unfamiliar with art collecting. Some mentioned that if customers understand the various styles of art, they might be less likely to collect only what is in trend and purchase only the work of the awarded artists. Rather, if buyers were more familiar with art collecting, they might be interested in other styles, which could make the market friendlier for emerging artists. “I believe we can create more interest by telling more stories about the work and about the artist to form a connection and to speak it in ways that are relatable. We could also provide practical ideas based on local factors for how to store, how to show and how to navigate the art world like a map so that it neutralises the distance between audience and artist.” Hosting art fairs was also mentioned by respondents as another way to expand interest in art, especially localising art to suburban areas which could also benefit local people to have a space for leisure activities. In addition, if these art fairs were sponsored by businesses, it would benefit the event financially in order to hold future events. One respondent expressed the following: “Creating the art space in the country where people still lack the understanding of art is a very challenging idea, which can also help the perception towards the Thai art industry.” One art event mentioned by respondents was “Bangkok Art Biennale 2020” which they thought promoted both popular as well as junior artists. BAB, BB, BACC, MAIIAM and SAC were also mentioned but the majority of respondents mentioned the Biennale.
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ROLE OF ONLINE PLATFORMS Online platforms like Artsy and Artnet or social media platforms were considered by survey respondents to make the art market more competitive for creators and buyers because the work is more accessible to customers and has more variety of styles to serve new collectors. One respondent described this point as follows: “It [online marketplaces] disrupted the art market in an incredible way, it demonstrates that every industry is being disrupted. You adapt or die.” Respondents also reported that online platforms could provide opportunities for new generations or junior artists to showcase their works as expressed by the following respondent: “I think the industry will grow more in the future. Some newcomers might want to collect works of art that have the semi-manga style. Painting, illustration, sculpture, and toy art would be blend together without discrimination.” Respondents, however, reported some drawbacks from using social media and online platforms. Firstly, these online platforms disrupt the middlemen who are normally involved in traditional sales. Secondly, as art trading moves to social media such as Facebook or Instagram, collectors can directly contact artists. Lastly, there may be fear among customers of being defrauded because they cannot see the product before purchase. There was some concern among respondents that social media could bias buyers to follow trends because they might rely only on comments or reviews before they see the real product expressed by the following respondent: “I think it has an effect on our community. It’s like when you want to buy the supercar A, then someone manipulates you to buy the B car, then you forget the first one. So, social media can manipulate you just like this.” THAILAND’S ART ECOSYSTEM
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IMPACT OF COVID-19 PANDEMIC As a result of the COVID-19 pandemic, for artists whose profession is related to education, their income dropped significantly, as every school was closed during the height of the pandemic in Thailand. Art galleries were closed and were left to their own means with no government help to pay rent and staff salaries while forced to remain closed. In terms of creative activity, some artists could still produce as they normally work at home but the work was difficult to sell as expressed by the following respondent: “I normally work at home, so it doesn’t affect me much. However, selling works has become more difficult. ” It was reported that incomes of both collectors and artists were affected when the number of art purchases fell. Respondents reported that some types of art, for example, fine art drawing and sculpture, which requires artists to work in a studio, was more difficult and challenging to do at home. As a result of decreasing incomes, artists reported cutting unnecessary expenses and travel and
focused on their creative work while also
finding other ways to generate income by taking on extra jobs. It was also reported that collectors were being more frugal as a result of the crisis as reported by the following respondent: “Saving for living, our future is uncertain. I have to do work on smaller scales as collectors have to save their cost.” Respondents reported dealing with the pandemic by trying to adapt through displaying and selling their works through online platforms to sell their works during the lock-down as expressed by one respondent:
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“I am working more online. Recently I added iMovie videos of past shows on the gallery’s YouTube channel as well as adding works on the Artling website. I have also used these past weeks to update my website. However, I am not wholly convinced by the idea of transforming the gallery into an online sales platform for several reasons, including the loss of face-to-face interactions and problems that can arise from when prices are visible to everyone at all times.” It was also reported that artists took to social distancing and stay-athome orders as an opportunity to take an online seminar about how to adapt to the effects of the pandemic and to get new ideas for how to differentiate themselves from other artists and attract more customers.
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CONCLUSION THIS REPORT provides an overall picture of Thailand’s art ecosystem: demographics, challenges, and opportunities, including those arising from the disruption of online platforms and the impact of COVID-19. Analysis of survey responses reveals the informal economy of trades in the Thai art market. It also reports a shortage of people, resources and support in Thailand’s art ecosystem. Respondents suggested that the emergence of online platforms for selling and marketing art are disrupting the industry by offering opportunities for newcomers and young creatives who might help expand the industry. Additionally, respondents reported that the impact of the COVID-19 pandemic has posed challenges for traditional sales channels, caused a decrease in buyer demand, and forced artists to adapt to online sales and marketing channels. Despite these challenges, respondents proposed three major areas of opportunity for Thailand’s art ecosystem. Firstly, online platforms could facilitate connections and expand professional networks for young and emerging artists as well as benefit people who are interested in working as artists or buying artworks from online marketplaces. The emergence of online platforms that links sellers and buyers directly might disrupt the role of middlemen and lessen the importance of having middlemen in the art industry. However, it is debatable whether Facebook or other online platforms can be a new middleman or not. This can be explored in a further study. Secondly, government support could give career opportunities to artists, bring art to local communities as well as subsidize galleries and provide financial support for events that draw international attention. Lastly, art exhibitions or events could help make art more accessible to the general public in order to expand the consumption of art and grow the industry. As this survey focused mainly on the people who work in art-related professions, further studies should include more stakeholders such as
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art buyers who do not have art-related occupations and the general public who are interested in art. Further research is also needed to understand the structure of the art market and creative economy (both formal and informal economies) including the role of online platforms for marketing, buying and selling art. Finally, more research should be done to understand changes to market structures and professional relationships as result of the COVID-19 pandemic.
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APPENDIX
SOCIAL MEDIA INFOGRAPHICS AND THAI-LANGUAGE SUMMARIES
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© 2021 Thailand’s Art Ecosystem in association with Teak Research
260 of respondents were men (64%), while 134 were women (33%), and 12 (3%) responded ‘Other.’
ผู้ตอบแบบสำ�รวจ 260 คน เป็นเพศ ชาย คิดเป็น 64% 134 คน เป็นเพศ หญิง คิดเป็น 33 % และอีก 12 คน คิด เป็น 3% เลือกตอบ ‘อื่นๆ’
Total number of respondents: 406 • Number of questions: 41• Period of survey: April to June 2020 • Some questions were mutiple-choices and open-ended. Percent of cases is the percent of respondents who selected the same answer to a multiple-choice question.
ผู้ตอบ ในแบบสำ�รวจนี้มีทั้งหมด: 406 คน • จำ�นวนคำ�ถาม 41 • ระยะเวลา: เมษายน ถึง มิถุนายน 2563 • คำ�ถามส่วนหนึง่ ในแบบสำ�รวจเลือกได้หลายคำ�ตอบ และมีค�ำ ถามปลายเปิด • เรานับจำ�นวนผู้ ตอบคำ�ตอบเดียวกันเป็นกลุม่ เรียกเป็นจำ�นวนกรณีศกึ ษา หรือ ‘เคส’คำ�
Out of all respondents, the majority, 136 in total, were between 36-45 years old (33.7%), 111 of respondents were between 26-35 years old (27.5%), 93 of them were 4655 years old (23%), while there were only 5 respondents that are above 65 years old (1.4%).
สัดส่วนอายุของผู้ตอบแบบสำ�รวจ มากสุด คือ 136 คน อยู่ในช่วงอายุ 36-45 ปี คิดเป็น 33.7% รองลงมา 111 คนอยู่ในช่วงอายุ 26-35 ปี คิดเป็น 27.5% และ 93 คนอยู่ในช่วง อายุ 46-55 ปี คิดเป็น 23 % ส่วนผู้ที่อายุ มากกว่า 65 ปี มีเพียง 5 คน คิดเป็น 1.4%
The majority of respondents, 273 in total (67.74%), were residing in the Bangkok Metropolitan Area, while 55 (13.65%) live in the Northern Region. The region with the fewest respondents was the Eastern Region, 8 in total (1.99%).
ผู้ตอบแบบสำ�รวจมากกว่าครึ่ง คือ 273 คน คิดเป็น 67.74% อาศัยอยู่ ในกรุงเทพฯ และปริมณฑล 55 คน คิดเป็น 13.65% อาศัยอยู่ภาคเหนือ และน้อยสุด มีเพียง 8 คน คิดเป็น 1.99% อาศัยอยู่บริเวณภาคตะวัน ออก
More than half of the respondents (60%) reported having a single art-related occupation • 196 (51.3%) have worked as an art professional 1-10 years. • 211 (52%) have received their formal training in Fine Arts, while 113 (28%) haven’t received any formal Fine Art or Design training such as self-taught artists. • 295 (73%) reported working as full-time professionals in an art-related profession.
ผู้ตอบแบบสำ�รวจมากกว่าครึ่ง คือ 60% ประกอบอาชีพที่เกี่ยวข้องกับศิลปะ • 196 คน คิดเป็น 51.3% ประกอบ อาชีพในสายศิลปะมา 1-10 ปี • 211 คน คิดเป็น 52% เรียนจบด้าน ศิลปะโดยตรง ขณะที่ 113 คน คิด เป็น 28% เป็นผู้ฝึกฝนด้วยตนเอง • 295 คน คิดเป็น 73% ประกอบ อาชีพที่เกี่ยวข้องกับศิลปะเป็นอาชีพ ประจำ�
In this survey, respondents mostly consist of seven groups of professions: 1. Creative professionals such as artists, photographers, and designers. 2. Art market professionals that directly deal with the art market such as art gallery owners, art dealers. 3. Creative professionals in the field of arts and cultural management such as art curators, art critics. 4. Professionals in art-related services such as framers. 5. Art academics such as art and design lecturers, and art and design students. 6. Art collectors 7. Professionals in institutions that grant funds to art-related activities.
Creative professionals made up the majority at 49.2% (291 cases). The second most frequently reported professions were art & design scholars, lecturers and students at 13% (77 cases), followed by art market professionals at 11.3% of all cases (67 cases). Other professionals made up less than 1.5% of all cases (6 cases).
ผู้ตอบแบบสำ�รวจนี้ แบ่งได้ 7 กลุ่มอาชีพ ดังนี้ 1. ผู้ผลิตงานสร้างสรรค์ เช่น ศิลปิน ช่างภาพ และดี ไซเนอร์ 2. ผู้ที่ทำ�งานกับตลาดศิลปะโดยตรง เช่น เจ้าของแกลเลอรี่ ตัวแทนจำ�หน่ายงานศิลปะ 3. สายงานการบริหารจัดการศิลปวัฒนธรรม เช่น ภัณฑารักษ์ นักวิจารณ์ศิลปะ 4. ผู้ให้บริการสนับสนุนการทำ�งานศิลปะ เช่น ช่างทำ�กรอบรูป 5. สายวิชาการ เช่น อาจารย์ นักเรียน นักศึกษา ด้านศิลปะและการออกแบบ 6. นักสะสมงานศิลปะ 7. ผูท้ ท่ี �ำ งานในสถาบันให้ทนุ สนับสนุนกิจกรรม ศิลปะ
สัดส่วนอาชีพที่มากที่สุด คือ 291 คำ�ตอบ คิดเป็น 49.2% ของจำ�นวนคำ�ตอบหรือเคส ทั้งหมด อยู่ในกลุ่ม ผู้ผลิตงานสร้างสรรค์ เช่น ‘ศิลปิน ช่างภาพและดีไซเนอร์’ ลำ�ดับที่สองคือ 77 คำ�ตอบ คิดเป็น 13% อยู่ใน ‘สายวิชาการ’ สัดส่วนถัดมา 67 คำ�ตอบ คิดเป็น 11.3% อยู่ ในกลุ่ม ‘ผู้ที่ทำ�งานกับตลาดศิลปะโดยตรง’ ขณะที่อาชีพกลุ่มอื่นๆ รวมกันมีเพียง 6 คำ�ตอบ นับว่าน้อยกว่า 1.5%
17% (63) of respondents reported less than 20,000 baht annual income, which is the same percentage of respondents who reported incomes of between 250,001 and 500,000 baht.
ผู้ตอบแบบสำ�รวจที่มีรายได้ต่ำ�กว่า 20,000 บาท และที่ มีรายได้ตั้งแต่ 250,001 ถึง 500,000 บาท มีจำ�นวน เท่ากัน คือ 67 คน คิดเป็น 17% ที่มาของรายได้: • 228 คำ�ตอบ คิดเป็น 59.1% ของจำ�นวนคำ�ตอบ ทั้งหมด ระบุว่า มีรายได้จากการขายผลงาน สร้างสรรค์ • 74 คำ�ตอบ คิดเป็น 19.2% ระบุว่า มีรายได้จาก งานบริการทางศิลปะ เช่น รับทำ�กรอบรูป • 62 คำ�ตอบ คิดเป็น 16.1% ระบุว่า มีรายได้จาก การขายผลงานผ่านแกลเลอรี่
The result of the survey shows that most of the respondents are creators. Also, there is an informal economy of art trading in the Thai art market, as most of all cases (72.9%) reported acquiring art by making it themselves, followed by trading with artists (56%), buying from artists (49%), and buying from galleries or art spaces (24.3%).
• ผลสำ�รวจแสดงให้เห็นว่า ผู้ตอบ แบบสอบถามส่วนใหญ่เป็นผู้สร้างสรรค์ ผลงาน 72.9% • ผลสำ�รวจเผยว่า รูปแบบของตลาดศิลปะไทย มักอยู่ในรูปแบบของการแลกเปลี่ยนผลงาน อย่างไม่เป็นทางการในหมู่ผู้สร้างสรรค์ผล งานด้วยกันเอง 56% และรองลงมาคือการ ซื้อผลงานจากศิลปิน 49% หรือจาก แกลเลอรี่ 24.3%
• During the COVID-19 pandemic, some public places (i.e. schools, galleries) had to be closed, so the income of those who work for those places dropped significantly. • Some types of art requires artists to work in a studio, so it was more difficult and challenging to do at home. • Respondents adapt as a result of the global pandemic through displaying and selling their works through online platforms to sell their works, join an online seminar, take online marketing classes about how to adapt to the effects of pandemic during the quarantine.
• ในภาวะที่มีการระบาดของโรคโควิด-19 สถานที่ที่มี การรวมกลุ่มคนอย่างหอศิลป์ พิพิธภัณฑ์ หรือแกล เลอรี่ต้องปิดชั่วคราว ส่งผลให้รายได้ของคนทำ�งาน ในสถานทีห่ รือองค์กรนัน้ ๆ ลดลงอย่างมีนยั ยะสำ�คัญ • ผู้ตอบสำ�รวจระบุว่า การทำ�งานที่บ้านเป็นเรื่องยาก เพราะงานศิลปะบางงานจำ�เป็นต้องทำ�ในสตูดิโอ • ผลการสำ�รวจยังแสดงให้เห็นถึงการปรับตัวด้วย การใช้ช่องทางออนไลน์ เช่น การแสดงผลงาน การ ขาย รวมถึง การเข้าร่วมสัมมนา กระทั่งการลงเรียน วิชาการตลาดออนไลน์ที่ ให้ข้อมูลเกี่ยวกับแนวทาง การปรับตัวในช่วงที่ต้องกักตัวอยู่บ้าน
• Online platforms like Artsy and Artnet or social media platforms were considered by survey respondents to make the art market more competitive for creators and buyers. • Social Media could provide opportunities for new generations or junior artists. However, respondents also reported several drawbacks from using social media and online platforms.
• ผู้ตอบแบบสำ�รวจเห็นว่า แพลตฟอร์มออนไลน์อย่าง Artsy และ Artnet หรือแพลตฟอร์มของสื่อออนไลน์ อื่นๆ นั้น ทำ�ให้ทั้งผู้สร้างสรรค์และผู้ซื้อมีการแข่งขันกัน มากขึ้น ในการแลกเปลี่ยนซื้อขายงานศิลปะ • แพลตฟอร์มออนไลน์ช่วยสร้างโอกาสสำ�หรับศิลปิน หน้าใหม่และศิลปินอายุน้อย แต่ผู้ตอบแบบสอบถามก็ เห็นว่าโซเชียลมีเดียและแพลตฟอร์มออนไลน์จะสร้าง อุปสรรคหรือข้อเสียเปรียบอยู่ 3 ประการ ดังนี้ 1. บทบาทของคนกลางในการซื้อ – ขายงานศิลปะใน รูปแบบเดิมจะเปลี่ยนไป อาจจะยุ่งยากซับซ้อนขึ้น 2. เมื่อการแลกเปลี่ยน ซื้อขายงานศิลปะย้ายไปสู่ แพลตฟอร์มออนไลน์อย่างเฟซบุ๊ค หรืออินสตา แกรม ทำ�ให้นักสะสมสามารถติดต่อกับศิลปินได้ โดยตรง 3. ผู้ซื้อกลัวการถูกโกง เนื่องการซื้อขายในโลก ออนไลน์ ลูกค้าจะไม่เห็นตัวผลงานจริงก่อนซื้อ
2021 Logo & Grid System
THAILAND’S ART ECOSYSTEM +
Finalized Logo
