Millennials and Gen-Z tend to invest in artworks and artists to fulfil philanthropic aspirations, and they even bought art at major global art fairs over the Covid-19 pandemic merely to support artists during the crisis.
We are experiencing an increasing growth of ethical patterns among collectors. We see that art lovers and buyers are now more engaged with big relevant causes and are interested in art practices and works that reflect their own engagement and related concerns.
For instance, the youngest collectors take it as a mission to support and somehow to fund the practice of the cultural producers they love. And believe it or not, sometimes they resell artworks from their favourite artists to help their beloved art makers out by sharing the profit.
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Art historian and critic Dr. Kalinca Costa Söderlund, the Founder of Arriere-Garde delves into contemporary Brazilian artistic research and production in an interview with artist Marcelo Amorim, entitled "Fighting power structures in Brazil by drawing attention to the entrenched mechanism of perpetuation of the hegemonic".
The event is hosted by the Centre for Brazilian Studies (CEB) at the University of Salamanca, in collaboration with Brasil de Nações, a Spanish Cultural Production initiative, of which Kalinca is a member.
Millennials and Gen-Z tend to invest in artworks and artists to fulfil philanthropic aspirations, and they even bought art at major global art fairs over the Covid-19 pandemic merely to support artists during the crisis. These generations also show a deep distrust of corporations and would rather rely on the opinion of influencers on social media to guide their decision-making in many domains.
We also see an exponential growth of collectors with strong orientation toward preservation, ecology and social issues who transform their homes in sustainable housing solutions in which even interiors objects and artworks are committed to the cause.
These truly engaged collectors require galleries to rethink ideas of transparency, flexibility, diversity, and sustainability. And they are turned off by some ingrained practices of the art market, such as elitism and exclusivity (think of the velvet rope outside an exhibition opening). All in all, they prefer to avoid pretentious vernissages and blockbuster museum exhibitions, and love art initiatives and institutions which address pressing matters such as the global urgency of providing a better future to humanity and to the Planet.
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