GLOCALFINEART
GLobal cOntemporary art market: the intrinsiC and sociologicAL components of FINancial and artistic valuE of ARTtworks
| Coordinatore | ERASMUS UNIVERSITEIT ROTTERDAM
Organization address
address: BURGEMEESTER OUDLAAN 50 contact info |
| Nazionalità Coordinatore | Netherlands [NL] |
| Totale costo | 1˙920˙638 € |
| EC contributo | 1˙920˙638 € |
| Programma | FP7-PEOPLE
Specific programme "People" implementing the Seventh Framework Programme of the European Community for research, technological development and demonstration activities (2007 to 2013) |
| Code Call | FP7-PEOPLE-2013-IAPP |
| Funding Scheme | MC-IAPP |
| Anno di inizio | 2013 |
| Periodo (anno-mese-giorno) | 2013-12-01 - 2017-11-30 |
Partecipanti
| # | ||||
|---|---|---|---|---|
| 1 |
ERASMUS UNIVERSITEIT ROTTERDAM
Organization address
address: BURGEMEESTER OUDLAAN 50 contact info |
NL (ROTTERDAM) | coordinator | 503˙341.38 |
| 2 |
BVISIBLE SRL
Organization address
address: VIA BERTANI AGOSTINO 6 contact info |
IT (MILANO) | participant | 444˙955.25 |
| 3 |
MONTI & TAFT SRL
Organization address
address: VIA FLAMINIA 395 contact info |
IT (ROMA) | participant | 435˙418.50 |
| 4 |
UNIVERSIDAD DE GRANADA
Organization address
address: CUESTA DEL HOSPICIO SN contact info |
ES (GRANADA) | participant | 302˙609.30 |
| 5 |
ISTANBUL TEKNIK UNIVERSITESI
Organization address
address: AYAZAGA KAMPUSU contact info |
TR (ISTANBUL) | participant | 234˙313.60 |
Mappa
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Obiettivo del progetto (Objective)
'The Contemporary Art world and market lack the basic information support and analytical tools that are widely available in similar environments and even for Pre-impressionist and Modern art. The huge amount of information (magazines, fairs, galleries etc.) available in various languages, creates chaos and is not summarised in any useful way which takes into account the different weight that phenomena may have in different environments. As a consequence the Contemporary art world and market are increasingly nontransparent, fragmented, oligopolistic and difficult to newcomers. This is especially true for Europeans, whose local worlds and markets are loosing appeal, and who lack the tools to look at developing countries. On the other side, the creation of appropriate analytical tools requires to concentrate knowledge now scattered in different areas (art economics, art history), further deepen and widen it, use it in a down-to.earth way typical of a private company. The partners in this project will develop the necessary sinergies to meet such challenge through an intense transfer of knowledge program and very close interaction. The project will lay ground for a whole new suite of studies on the art market, open new business opportunities, set a model useful also outside the Contemporary Art World.'