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Arte contemporanea: costo o investimento?

Una prospettiva europea

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”.

Written by
Translation of
Topic Art Market
Collection Arte | Economia
Publisher Johan & Levi
Size cm 15 x 21
Pages 192 pages
Published on 02/2009
ISBN 9788860100467
 

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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

Arte contemporanea: costo o investimento?

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