DANGEROUS BUBBLES
Written on September, 20, 2011
This article has been published in the magazine of Visual Arts Vol. 8 on November - December 2011 #51 (page 46 - 51)
BEHIND THE GAME OF ‘FRYING’ ARTWORK SO FAR DEEMED BENEFITING EVERYBODY, HARMFULNESS LURKS.
Entering
the building of an international auction house visitors will generally
find themselves astonished and bedazzled. In addition to its
extensiveness, height and grandeur, it boasts charming, neat interior
arrangement coupled with cleanness, fragrance and appropriate lighting.
Then there are the security system, orderliness, information service,
registration, free drinks and snacks, all well integrated. On top of
everything else are the attractive displays of art objects to be
auctioned, be they paintings, photographs or sculptures, contemporary,
modern and traditional ones, as well as Hanji calligraphy, watches,
precious stones, jewels, jadeite, various luxurious jewelry, antique
ceramics, antique robes or fine wine.
If
you are interested in joining an auction, the entire registration
process through the point you get the bidding paddle and auction book,
or perhaps you’d prefer the light and practical mini-mag/thumbnail, will
only take a short time. Collectors and market players are granted
pre-viewing two or three days before the auction day, and they can ask
for condition report.
One
day in the auction hours of contemporary painting I was among some 150
people seated or standing on the floor. Part of them had serious
interest as potential bidders while some others were there just to
record data. On the stage were the auctioneer and two assistants,
standing, while by a side platform some fifteen operators were seated,
ready to serve collectors or market players making phone bids (or
absentee bids to be submitted to the auctioneer).
Then
the sound made by the auctioneer’s gavel reverberated throughout the
room. An art object with an estimated price of US$ 40,000 to 60,000 sold
at US$ 550,000 (equals to some IDR 4.7 billion). Seeing the very item
in the lot, the actual auctioning process of which did not involve
bidders on the floor, it was easy to sense the ‘frying game’ vendors had
played. As far as I know artist managers and auction hosts/organizers
are the ones that usually play this particular ‘game’.
Experienced
Indonesian collectors and market players must have been aware of such
practice. So far, in international scenes buyers from Indonesia are
known to have ‘a keen sense of smell’ in this regard. Yet sad things
could happen to young collectors and fledgling market players and other
people that succumb to the persuasion whispered by beautiful girls
mesmerizing them to join in crafty auction sessions. See how in a short
time an artwork increases its price like crazy, tenfold or even more,
while it is only medium in terms of quality as well as the artist’s
brand. The artist’s track record is still to be tested nationally and
internationally and his/her work is not yet collected by art museums of
the MoMA class, and he/she has never exhibits solo at reputable
international galleries yet, and never as yet invited as a special
invitee to the Venice Biennale for instance. So in this regard the
formed price too far exceeds the ceiling of the real price of the object
in question. In fact the market price or private sale price of the
painting that ‘sells’ at IDR 4.7 never exceeds US$ 70,000 that is
equivalent to IDR 600 million.
People
forget that such unnatural instance will sooner or later generate
issues and problems that finally betray craftiness. Such an event
astonishes potential bidders on floor and cynical grins unfold on their
faces.
Increases
in the price of works of contemporary artists should be gradual in
accordance with their aesthetic developments and artistic achievements:
the qualities of works and their forms, the technical skills involved
and the profoundness of the works, and the recognized reputations of the
artists.
The
artist’s manager who fries his/her artist’s works in the ‘gigantic
frying pan’ (i.e. international auction houses) probably aims at setting
a market price construction for the works while branding the artist as
soon as possible. By ‘borrowing’ the influence of an auction house the
manager heedlessly takes a shortcut, or even sets an expressway, toward
millions-of-IDR pricing. However such ‘blown-up bubbles’ will not,
again, easily deceive seasoned collectors and market players.
Among
the numerous hazards posed by blowing up bubbles is that a price
deviously or very questionably set will never get admitted. In effect
when the price stays stagnant (no one wants to buy) public, market
players in particular, let go the works of the artist in question, which
in turn means that people are not interested in acquiring them. People
may even become allergic to hearing/reading the artist’s name.
International Capitalists’ Game
As
we all know many of powerful investors or international capitalists
dealing in contemporary artworks and old masters come largely from among
players in property and stock exchange business. Because of the crisis
befalling the US and some European countries these last years, those
investors and capitalists switch their attention and investment to works
of art, particularly contemporary art and old masters.
Now,
this is an opportunity that numerous parties do not want to miss, and
they include managers of contemporary artists and ... (sorry, please
guess).
Then,
the one or those you refer in your guess offer themselves to work
together with potential artists (meaning: their works are presumed to be
wanted, even hunted at market, circulating only in some small number
and the circulation is controlled, and deemed quite good and powerful
while the artist’s explorative spirit is considered to be consistent
enough). The operation of the system is similar to that of film
industry. 1) promotion through public seminars where collectors talk
about art; 2) the sending of various exploring teams comprising groups
of collectors, museum directors and curators, grandchildren of certain
maestros, mostly white, into bases of artists and centers of collectors.
Usually those teams do not know each other, and the expats in the teams
are perhaps not even aware they are being used; 3) promotion again to
pose various kinds of justification (including the incorporation of
theories taken from voluminous books) coupled with rumors spread all
over that there is Mr. X loving the piece and the estimated hammer price
is IDR four billion, and so on and so forth. So the frying is done and
items are passed little by little to the auction market at some soaring
price, and the profit sharing will be fifty-fifty. Because behind
soaring prices reached at an auction house are layers of black curtains,
it would be better for you to take a skeptical position.
Profitable yet rotting
‘Frying’
art objects at auctions is considered normal and it makes various
parties happy with profits they gain. It improves the well-being of the
artists whose works are ‘fried’, increases their managers’ capital,
while collectors and market players who have the items in question that
they acquired earlier at low prices before the frying are also happy
because they can make big profit, and auction houses get much higher
premium fees’.
Sarah
Thornton, an observer of art from London maintains in her famous Seven
Days in the Art World (New York: C.C. Morgan & Company, Inc., 2009:
xi) “the contemporary art world is a loose network of overlapping
subcultures held together by a belief in art”.
With
that belief contemporary art community has a shared principle, or
social morality, which provides a system of value concerning behavior in
appreciating, consuming or selling and buying artworks. The world of
contemporary art is not concerned with power but with belief in values
as well as control over the belief, as power may become vulgar.
Belief
in values and its control is reliable; it indicates things correctly.
So controlling belief in true and upright values is the true issue in
the world of contemporary art today.
So
if Indonesia sees the rise of the issue of blown-up bubbles or fried
artworks, through auction houses in particular, one should realize,
despite the claim that such practice brings benefits to artist managers
and makes collectors happy, that the harmfulness of the practice will be
manifold.
Firstly,
it will draw (or entrap) contemporary art community into a power
conspiracy where collusion at the auction house – taking the place of
belief in value and the control of the belief – will lead to artificial
well-being, profit and cheerfulness, and transform the contemporary art
community to a castle of sand nice to see but is not to be touched.
Secondly,
it will invisibly destroy the system of value and belief amidst art
community that in the end imprison the community in just the vulgar game
of money. Thirdly, it will ruin the authority of art community, entrap
its members in networks that ignore the issue of dignity and sensitivity
thus defiling the creative life of art.
So
if you want to buy artworks for collection and/or investment, in
addition to your loving them, it would be better for you to first learn
well about investment and how to collect. Or you could consult persons
with significant experience in this, for instance owners of reputable
galleries.
At
the end of this essay there could be the question whether we still need
to voice truth. Is it possible to erect the pillar of truth amidst a
horde of lying Pinnochios ?. [hendrotan ]
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BAHAYA BOLA BOLA BUIH
Tertulis tanggal 20 September 2011
Artikel ini telah terbit di Majalah Visual Art Vol. 8 pada November - December 2011 #51 (hal. 46 -51)
DI BALIK PRAKTIK GORENG-MENGGORENG SENIRUPA YANG SELAMA INI DINILAI MENGUNTUNGKAN SEMUA PIHAK, ADA KERUGIAN DAN BAHAYANYA.
Memasuki
gedung balai lelang internasional, pada umumnya pengunjung dibuat kagum
dan terkesima. Sebab, selain bangunannya besar , tinggi dan anggun,
penataan interiornya apik, rapi, bersih, aromanya harum, dan pencahayaan
memadai. Selain itu sistem keamanan, ketertiban, pelayanan informasi,
registrasi, pelayanan minuman dan kue kecil gratis, kesemuanya terpadu.
Ditambah pengaturan barang seni yang akan dilelang , baik itu berupa
lukisan, fotografi dan patung, yang kontemporer, post-war, modern,
impressionist, tradisional; maupun kaligrafi Hanji, sampai dengan
arloji, batu mulia, batu permata, jadeite aneka perhiasan mewah, keramik
antik, jubah antik dan fine wine tampil menarik.
Bagi
yang berminat ikut lelang, proses pendaftaran hingga mendapatkan pedel
dan buku lelang atau memilih yang ringan praktis bernama mini mag /
thumbnail berlangsung cepat. Bagi kolektor dan pemain pasar, bisa
pre-viewing dua atau tiga hari sebelum hari H, dan bisa minta condition
raport.
Pada
suatu hari di jam lelang lukisan kontemporer, saya menjadi bagian dari
sekitar 150-an orang yang duduk maupun berdiri di floor. Mereka adalah
peminat serius atau sekedar pencatat data. Sedangkan yang di atas
panggung selain auctioneer yang didampingi dua asistennya yang pada
berdiri, juga ada di mimbar samping duduk sekitar 15 orang operator
untuk membantu peminat (kolektor atau pemain pasar) yang berkehendak
phone bids (atau absentee bids yang dititipkan pada auctioneer).
Auctioneer
(juru lelang) mengetok palu, suaranya menggema memenuhi ruangan. Harga
barang seni yang berestimasi US$ 40 ribu - 60 ribu terjual US$ 550 ribu
(setara Rp. 4,7 milyar). Melihat barang di lot tersebut, yang proses
lelangnya tidak didukung oleh peserta lelang di floor, segera muncul
kecurigaan bahwa ini reka-goreng yang dilakukan vendor. Sepengetahuan
saya yang “bermain” begini biasanya manajer perupa atau si empunya
hajat.
Terhadap
praktik seperti ini, bagi kolektor maupun pemain pasar dari Indonesia
yang telah berpengalaman pasti sudah tahu. Selama ini di kancah
internasional, buyer dari Indonesia dikenal memiliki “penciuman yang
tajam”. Celakanya bagi kolektor muda dan pemain pasar pemula, serta
mereka yang “hanyut” oleh pembisik cantik jelita. ada saja yang tersihir
permainan lelang seperti itu. Khususnya karya yang dalam waktu singkat
meroket gila-gilaan, bisa sepuluh kali lipat bahkan lebih, sedangkan
mutu karya dan brand perupanya berkelas medium. Perupanya belum teruji
track recordnya secara nasional apalagi internasional, dalam arti
karyanya belum di koleksi museum sekelas MoMA; belum pernah pameran
tunggal di galeri internasional; belum terundang sebagai peserta primer
(special invitation) di Venice Biennale misalnya. Jadi harga yang
terbentuk / dibentuk jauh melewati batas nilai riil karya. Selama ini
harga pasar maupun di privat sale-nya lukisan perupa yang “laku” Rp.4,7
milyar itu, tak pernah lebih dari US$ 70.000, setara Rp. 600 juta.
Mereka
lupa, bahwa hal di luar kewajaran ini, cepat atau lambat akan
melahirkan persoalan-persoalan baru, yang pada akhirnya akan ketahuan
belangnya. Peristiwa tersebut membuat para peserta lelang di floor
terheran-heran, lalu menyunggingkan senyum sinis.
Harusnya,
peningkatan harga karya perupa kontemporer, berjenjang mengikuti
perkembangan estetika dan pencapaian artistik : mutu karya, kualitas
bentuk-capaian, kemahiran teknis dan kedalaman gagasan disertai visi
pemikirannya, juga catatan reputasi (perupa) yang telah terbangun.
Mungkin
manajer yang menggoreng karya perupa di “wajan raksasa” (balai lelang
internasional) bertujuan ingin membentuk kontruksi harga pasar bagi
karya perupa bersangkutan, seraya membranding perupanya dalam waktu
sesingkat-singkatnya. Dengan “meminjam” pengaruh atau daya influence
sebuah balai lelang dia nekad mengambil jalan pintas bahkan membentuk
jalan tol ke harga milyaran rupiah. Namun “penggelembungan bola-bola
buih” seperti itu, sekali lagi, tetap tidak akan mudah mengecoh
pengamatan para kolektor dan pemain pasar yang berpengalaman.
Satu
di antara banyaknya bahaya penggelembungan bola-bola buih itu, harga
yang terbentuk secara awu-awu atau sangat mencurigakan, sampai kapanpun
tidak akan memperoleh pengakuan. Imbasnya, ketika harga – harga itu
stagnant (macet tidak ada pembeli) maka publik, khususnya pemain pasar
pun, melepas karya perupa tergoreng, yang dampak lanjutannya adalah
karya – karya perupa tersebut tidak diminati publik lagi; Bahkan
mendengar / membaca namanya pun, orang akan alergi.
Permainan Kapitalis Internasional
Seperti
kita ketahui bersama, para pemodal kuat atau kapitalis internasional
yang bermain di barang seni kontemporer dan old master, banyak yang
berasal dari pemain di bidang properti, dan pasar modal. Lantaran
berbagai krisis yang melanda negeri Paman Sam dan beberapa Negara di
Eropa beberapa tahun ini, maka pemodal dan kapitalis itu mengalihkan
uang dan perhatiannya ke investasi barang seni, khususnya karya seni
kontemporer dan old master.
Nah,
kesempatan ini tidak disia-siakan oleh berbagai pihak, mulai dari
manajer perupa kontemporer dan … (silakan ditebak, siapa).
Peluang
emas ini oleh siapa yang Anda tebak itu ditawarkan kerjasamanya kepada
seniman atau perupa yang potensial ( baca : menurut mereka karyanya
diminati bahkan diburu oleh pasar, jumlah edarnya masih sedikit dan
terkendali, kualitas karya cukup bagus, kuat, dan semangat eksplorasi
perupanya cukup konsisten). Sistem kerja mereka tak ubahnya seperti
industri perfilman, berskenario rapi : 1) Didahului promosi lewat
seminar di ruang publik bertema kolektor berbicara tentang seni. 2)
Mengirim beberapa tim penjelajah , semuanya bule, terdiri dari rombongan
kolektor, direktur museum berikut kuratornya, cucu cicit maestro, masuk
ke daerah basis perupa dan sentra kolektor. Pada umumnya antar tim
tidak saling mengenal, bahkan mungkin bule-bule itupun tidak sadar kalau
dimanfaatkan oleh sebuah sistem. 3) Promosi dengan beragam alasan
pembenaran, termasuk menggunakan teori-teori yang diambil dari buku
setebal bantal, ditambah info bocoran bisik bisik yang didengungkan
kesana- kemari bahwa telah ada si anu yang suka dan diperkirakan hamer
pricenya Rp. 4 miliar., 4) Saatnya digoreng dan dilepas berangsur ke
pasar lelang dengan harga “langit” dengan pembagiannya 50 : 50. Oleh
karena latar belakang harga langit yang tercapai di balai lelang ini
adalah tirai hitam yang berlapis, maka sebaiknya Anda tidak mengagumi
apalagi mempercayainya.
Untung, tapi Membusukkan
Menggoreng
barang senirupa di ajang lelang dinilai sudah lumrah dan membuat
berbagai pihak happy karena untung. Perupa yang karyanya berhasil
digoreng, kekayaannya meningkat ; manajernya kian bermodal; kolektor dan
pemain pasar tadinya membeli murah berhasil meraup untung banyak, balai
lelang mendapat fee premium jauh lebih tinggi angkanya.
Pengamat
seni rupa dari London, Inggris, Sarah Thornton, dalam bukunya yang
terkenal, Seven Days in the Art World (New York: C.C. Morgan &
Company, Inc., 2009: xi) menyatakan, dunia seni rupa kontemporer adalah
sebuah jaringan kerja kawanan bersama yang bebas-lepas dalam masyarakat
khusus yang saling melingkupi dan yang dierat-satukan oleh kepercayaan
kepada seni rupa.
Dengan
kepercayaan tersebut, maka masyarakat seni rupa kontemporer memiliki
azas bersama atau moralitas sosial sebagai sistem nilai atas perilaku
dan tindak-tanduk mereka dalam mengapresiasi dan mengonsumsi atau
menjual dan membeli karya seni rupa. Bahwa dunia seni rupa kontemporer
bukanlah perkara kekuasaan, melainkan perkara kepercayaan atas nilai dan
kontrolnya pada kepercayaan tersebut, karena kekuasaan bisa menjadi
vulgar.
Sedangkan
kepercayaan pada nilai dan kontrolnya lebih bijak, lebih menunjukkan
sesuatu dengan tepat. Maka kontrol atas kepercayaan pada nilai yang
benar dan jujur merupakan sebenar-benarnya perkara di dunia seni rupa
kontemporer saat ini.
Dengan
demikian, jika di Indonesia pun kemudian muncul persoalan
penggelembungan bola-bola buih atau menggoreng karya seni rupa, utamanya
lewat balai lelang, sekalipun ini diklaim menyejahterakan perupa,
menguntungkan manajer perupa, dan menggembirakan kolektor—maka harus
disadari bahwa persoalan itu bakal mendatangkan kerugian yang
berlapis-lapis.
Kerugian
kesatu, persoalan itu akan menghela (kalau bukan menjebak) masyarakat
seni rupa kontemporer dalam konspirasi kekuasaan di mana perbuatan
kolusi di dalam balai lelang—menggantikan kepercayaan atas nilai dan
kontrolnya pada kepercayaan tersebut—yang berujung pada kesejahteraan,
keuntungan, dan kegembiraan yang semu, dan akan mengalih-ubah dunia seni
rupa kontemporer serupa istana pasir yang enak dipandang, namun jangan (
atau tidak boleh ) disentuh.
Kerugian
kedua, akan merusak sistem nilai dan kepercayaan di tengah masyarakat
seni rupa yang akhirnya memenjarakan mereka pada semata permainan uang
yang kasar. Dan akan memerangkap mereka dalam jaringan-kerja yang lupa
untuk bermartabat dan tak mau berperasaan sehingga membusukkan kehidupan
kreatif seni rupa.
Karena
itu kalau ingin membeli karya seni untuk di koleksi maupun investasi
selain karena suka sebaiknya Anda mempelajari terlebih dulu ilmu
investasi dan ilmu mengoleksi, atau konsultasi pada mereka-mereka yang
pengalaman, misalnya saja pemilik galeri yang bereputasi baik.
Di
penghujung tulisan ini mungkin akan timbul pertanyaan masih perlukah
kebenaran disuarakan ? mungkinkah tonggak kebenaran bisa ditegakan
ditengah kerumunan pinokio ?. [hendrotan]