Scheda libro
The Arts | The Economy

Arte contemporanea: costo o investimento?

Una prospettiva europea

  • Author: Karine Lisbonne, Bernard Zürcher
  • Year: 2009
  • Language: Italian
  • Pages: 192
  • Price: 19.00 €
  • ISBN: 978-88-6010-046-7
  • Size: cm 15 x 21

Contemporary art has made its way into numerous productive universes over the last few decades and art enterprises modelled on their ethical counterparts have sprung up all over Europe. The Dutch industrialist Akzo Nobel has created a foundation that hosts artists in residence. The French bank Neuflize OBC and the Belgian group Lhoist, a world producer of lime, commission works from contemporary photographers. The Italian TESECO group, specialized in the environmental treatment of waste, has created a workshop of contemporary art. The Deutsche Guggenheim in Berlin was born as a joint venture between the Deutsche Bank and the Guggenheim Foundation. This interest in art is not, however, confined to major corporations but also affects small and medium-sized firms, and seldom takes the form of one-off sponsorships designed solely to bolster company image. Unlike the American model, which is more oriented towards consumption, the European appears to see art as an investment whose profit is to be found in the contribution made to the development of a sense of collective responsibility as regards the social environment and the assertion of cultural identity. This is an alliance that in turn works to the benefit of art, especially the art of today. Deeply convinced of this Lisbonne and Zürcher start from the French model but work on the European scale to identify, country by country, sound entrepreneurial strategies and methods in support of projects, the commissioning of artworks and the creation of company collections and foundations. The authors highlight the ability of art, within corporate structures, to facilitate the expression of identity and convey cultural values capable of enriching the everyday life of personnel. As Pier Luigi Sacco points out in his preface, it is for all these reasons that contemporary art is not losing its appeal with the economic crisis but proves on the contrary capable in such circumstances of offering a salutary change of viewpoint, a way of looking at the facts of life through new eyes. Nor is it forgotten that “the art market, unlike the financial markets, handles works whose significance is not confined to the return they promise and that can indeed be regarded during a period of slump first of all as fraught with meaning, as opportunities to understand the world in which we live and even ourselves to some extent”.

  • About the author
  • Contents
  • Press review
  • More info

Karine Lisbonne studied at the Hautes Études Commerciales and the London School of Economics. She founded the association Talents Avenir in 2000 and was awarded the French Ministry of Culture’s Prix du Mécénat Culturel in 2005 for her thesis on company foundations and contemporary art in Europe. She is also the author of L’Europe vue d’Inde, regards contemporains (Paris, 2006).

Bernard Zürcher, art historian and owner of the Galerie Zürcher (Paris/New York), is vice-president of the Congrès Interprofessionnel de l’Art Contemporain and a member of the FIAC committee. A curator of exhibitions at the Orangerie and the Palais de Tokyo in Paris, he is one of the founders of the Espace d’Art Contemporain on the HEC campus. He also launched L’Entrée at the Bon Marché Rive Gauche, where he directs a programme of international art. His other books include Braque, vie et oeuvre (Paris, 1988) and Les Fauves (Paris, 1999).

Ringraziamenti

Prefazione all'edizione italiana di Pierluigi Sacco

Introduzione

1. A regola d’arte

Breve storia dell’opera d’arte

L’artista, persona morale L’arte al servizio del marketing

2. Un incontro improbabile Renault, un modello incompiuto (1967-1976)

L’impresa dell’arte

Simulazioni d’impresa

3. Poteri pubblici, iniziative private

Un’eredità senza testamento

La tradizione tedesca: la rete dei Kunstvereine

La Francia del mecenatismo modesto

4. L’impresa con l’arte

L’intesa con l’arte

L’arte nell’oggetto sociale: un progetto controverso

Gestione patrimoniale o avventura contemporanea?

L’impresa e il suo doppio: la scelta della fondazione

Collezione e fondazione: una nuova “identità”

Per essere “sostenibile e cittadina”

5. In una dinamica europea

La questione dell’identità

L’arte tra profitti e perdite

Una versione francese

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