I don't understand the problem (or perhaps more accurately the tone) here. The Art in many cases at the Biennale costs very significant sums and time to produce. The shipping and insurance in these cases is extraordinarily costly. The galleries all have additionally dedicated tremendous expenditures to supporting and readying the bricks and mortar pavilions that house these Artworks. And of course, the Artists themselves as well as the gallerists all have living expenses, studio expenses, gallery expenses, employees, salaries, health care, mortgages, and other expenses, etc. Why is anyone surprised, cranky, grumpy, or even think it is newsworthy that these Artworks are for sale?
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The last piece I thought was truly excellent was a piece with carrion crows picking over a shattered chandelier, a commentary on the decline in Italian glass. That had a powerful impact.
As my daughter said regarding the installation which won the golden Lion Award, she said: "It looks very similar to the trashier beach scenes on Cyprus. "
I've been in the art world for fifty years and once again, I don't get it at all... or maybe I do.
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@Peter VanderLaan
"It must be important, because I don't get it."
There's the art. There's the art world. Then there's the real world. Best to know the difference.
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@Higgs Merino
What's the difference?
@Matthew - The difference is that once an artwork leaves the proverbial studio and ends up in a venue, such as the biennial, or an action house, such as Christies, it becomes a commodity.
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