Value of money/value of art

I claimed once that the biggest problem of monetary economy is money itself. It’s simple. Money has a value that is abstract and unimaginable. To emphasize this I will porously use an over exaggerated cases in the great art world!

If we take a look on the list of the most expensive photographs ever sold, the amounts are still next to nothing, compared with the most expensive Paul Cézanne’s The card players, which was sold for 250 + billion dollars.

Can you imagine this kind of a monetary amount in your life? Can you transform the value of mentioned amount into other goods?

It’s obvious that the true value of the art work cannot be measured in any way. Consequentially most of the people still consider art as something abstract, putting it in the same category as money and economy. General public has been driven away from the art world exactly by its exaggerated abstract value. On the other hand general public is driven away from the art because most of the people are not prepared to face with different views of the world and life in general.

Photography’s advantage as an art-form is the identification with photography’s nature as a product of industrialization and modern society. General public still understands the medium of photography as a pure imitation of reality, as a mechanical category of reality, from which we can learn about our environment. A flashback: if we are supposed to learn from photography, than consequentially the world should have looked as a really nice place, since every photograph can be attractive in its own specific way?

Of course contemporary art photography itself denies simple, post-ideological view on the medium and is sucked into fancy abstract art world again. Every use of photograph is a deception of viewer and as a photographer and editor I am sure of that. What isn’t deceptive in photography is the precipice between inexpensive consumer photography, professional photography and art photography, but that is another topic.

We are on the right way to end this delusion. For that we are about to publish a (maga)zine, where we will feature younger generation of artists, a group of creative people that have been exploring the visual identification with Golf MK2. 

text by Aljaž Celarc

edited by Eva Pavlič Seifert

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