began around six hundred years ago. in the renaissance. to. ensure the darkest hours during. the renaissance. stories of people twenty second d. w. . these days art is big business this stolen piece of canvas for example went for three hundred twenty eight thousand euros and that's nothing out of the ordinary in

fact prices can easy to go into the millions as will discover later in this show the state of the art is this week's topic here on made in germany few art and design movements of the modern era have left such an impression as germany's bauhaus the group has been in france and designers and architects for one hundred years now the balls not all was form follows function they create is practical pieces clean crisp lines and some of these classics are bestsellers to this day. some ideas trigger a revolution. machine machine age lead to a whole new world a new tempo a way of seeing. some revolutionary ideas just keep on giving. but it's never too late for timeless good design and some are still bestsellers a century after they were first launched. the design of

a chair needs to conform to the nature of sitting. perfecting the chair has made this man's company successful. wiser who found a german home furnishings company tacked on says furniture is more than just a series of functional objects it's a symbiosis between art and craftsmanship. that's. when you need to grasp the nature of the task involved the nature of the material the design and the function and to grasp it in such a way that you're able to bring out the internal image of the structure so that it speaks for itself or. where. it sounds complicated but it's actually all about simplicity modern furniture should be adapted to suit people and not the other way around it involves reducing everything to essentials

in other words form follows function. for losses. in around one thousand nine hundred many homes in europe would have looked like this bulky cupboards and chairs and pretty crowded. the bars designers wanted to break with that tradition and they were radical. their furniture designs were simple with clear shapes and daring combinations of materials. much of our modern furnace. today stems from these ideas. it's going bauhaus about house first wanted to get an unobstructed up to date view about what it means to live somewhere what are all the functions that a chair for example before starting on and what about structure what are the load bearing elements how can you play with that and rearrange things and break away from what we're used to. even put

a human investment vincent. entrepreneur is a work with bauhaus designers such as marcel briar and peter keller as well as yours who can bag the assistant of least one there or. he's now handed over management of the detector furniture company to his nephew. it's one of only a handful of companies worldwide permitted to reproduce the original bauhaus furniture it has a license for about thirty designs. all the furniture here is produced by hand there's a carpentry workshop an upholstery and a metalworking shop the company focuses on making small numbers of luxury products bauhaus has become an exclusive brand behind us we do we need these workshops here on site because then we can work closely with those creation the product we want to be involved in the details we think it's very important to see art and craftsmanship as one unit.

having artists who also work as craftsmen was a revolutionary concept a hundred years ago but the powerhouse designers and students experimented freely with fabrics metals wood and ceramics the result was prototypes that could then go into industrial production. luxury products made for the view was not the original goal of powerhouse it's a must to make products for the masses but powerhouse furniture never made it into cereal production interview. tool designed comes at a price. the principle of maximum freedom to innovate still applies today and no matter how unusual about house chair looks it still sells this one by gropius costs two thousand euros and this one by broiler costs three thousand. different way of developing furniture building from scratch based on

a strong idea it's a totally different approach to designing a product for the market that's as cheap as possible to make and has wide appeal we totally believe in what we're doing. the bio house pioneered the use of steel pipes for home in the early twentieth century steel was a material reserved for industry until muscle broyard built the first cantilever chair it remains one of the best known powerhouse chairs to this day instead of standing on four legs the supporting framework gives it the effect of being suspended in mid-air. general furniture design a torn it says the can't believe a chair counts for around one third of its sales one hundred seventy five employees produce the chairs by hand you can pay over six hundred euro's for this classic design which has become something of a legend in itself. and that's why it's idea to use the hundred

of his bicycle to make furniture was quite an avant garde approach. and really it was about accentuating the industrial nature of the design. but the company isn't content with just reproducing powerhouse designs it also sells its own furniture. to the designs are kept simple without embellishments but thinking we many people's lives are already complicated enough. this pile has had in it and i miss on the essentials the bauhaus also. sort to bring in a sense an order and come on this is the life of an in spirit that's perhaps an inspiration that we can take on for our modern day and age. through art and design and architecture in the wildest sense you try to provide a little calm right from the complexities and fast pace of life. and tide. how do we want to live how do we want to work what makes us feel good these are the

questions that the bauhaus designers and architects sought to answer a century ago and many of the answers they found are still relevant today. but if you spend tens of thousands of your hard earned cash on a painting or sculpture by a reed owned artist what you really want to know is this is it real and was it legitimately acquired by the seller theft and forgery and during problems in this high stakes bazaar some experts claim a third of all works for sale right now affects. worldwide art sales amounted to sixty billion euros last year. the biggest market was the united states followed by china britain and france the largest single group of purchasers are young collectors in asia it's estimated however that a third of the works for sale on the global art market are fakes one famous living

former art forger is the german vols going back truckie he spent more than three decades creating new masters causing losses to others of between twenty and fifty million euros interpol says art theft is very big business. the value of work stolen is estimated at almost two billion euros a year. almost half the artworks on the market are sold in galleries. sent to fairs and just two percent option. christie's was the auction house with the highest sales last year at six billion euros. well into the one nine hundred eighty s. options of the major houses were a society affair people dressed up to attend were. in the ninety nine to three month getting became common with staff manning a bank of telephones. if around two thousand online

options emerged with peters manning their mouse at home. last october the art world suffered a huge shock when a girl with balloon by the street artist banksy self destructed just as the final hammer fell confirming the selling price of one point two million euro's. thanks he could build a shredder into the frame. banksy renamed the half shredded painting love is in the bin. but then something a very unintentional happened lovers in the bin that actually went up in value after it was shredded machines an artificial intelligence like in many other industries are putting their stamp on the world even in music listen to this. as the beatles writes. actual fact this song was created by an algorithm so from

computers make meaningful all or true art require a human soul behind what happens when artificial intelligence page is adopts and doesn't sell. people or machines more creative ai is breaking into the business and it's turning everything on its head. and the music is an algorithm it's a program that serves to generate variations on my art when i get the full. color sheens be creative and if so. the painter roman lipski works with data scientist florian dormand he's written a program phillips that analyzes the way he paints the colors and the composition

and then creates new pictures based on all that information. it started with this picture since then the style has become progressively more abstract the muse has so far generated several hundred thousand pictures. a picture is ultimately a matrix of number of so one can imagine that the muse is actually a very clever number generator that could get a term in the color values of images in such a way that something new and exciting is created on this noise and still. the heart of the music there's a pre-trained neural network that can recognize all kinds of objects in a picture it was actually originally developed to distinguish cats from dogs. few years ago researchers discovered that such a pre-training neural network can be used to extract certain features such as brightness colors shapes and even style from images.

always wanted to paint abstract pictures but it wasn't until he started creating works with the computer program that he really succeeded. what the computer came up with proved to be a source of inspiration. if you could. i mean a kind of dialogue with a muse. and we influence each other to digital images inspire me to evolve because. i see the music only as a tool it will never replace me. or maybe it will alter fishel intelligence comes up with amazing results will algorithms soon rival human out it's. better times five years laden doesn't need a computer he creates busts of people who interest him unknown individuals and

celebrities politicians activists or entrepreneurs. for the sculptor every last detail is important. that's fifteen secrets of the constellation is what really matters the volumes have to be arranged in such a way that intensities emerge through the curves the way something pushes up against something else yielding for example a depression here. each bust needs to reflect the subjects true character. to all that it is there are of course different approaches to artificial intelligence things could go in a number of directions i can imagine that something will eventually come of it that works i just don't see what the advantage would be. try is laden spends many hours

sometimes days with his living subjects working from photos a computer might be able to create busts that resemble their subjects but for this artist the human contact is crucial to this kid it's always about. spontaneity intuition and experience what i've looked at in the history of art and who did what and how and what today achieved these are the resources i call it on it's you and then there are spontaneous decision of the surfaces emerge the cannot be determined in advance. in order for he. is spontaneity indeed sensual to human creativity. more and more works created with the help of computers showing up in art galleries as well as works to focus alyssa objective digital technology and collectives of paying high prices for them this ai generated portrayed was sold at christie's for more than four hundred

thirty thousand dollars a formula has replaced the signature. and this rembrandt isn't a rembrandt to you is the work of a computer some pioneering artists are busy putting bought into to fictional intelligence and you know when it might lead. role call me old fashioned but i think real art needs a real human artist and they really don't need the competition from computers they have a hard enough time as it is many of them can hardly on a living with their work among our artist in japan typically less than one million yen a year according to the country's illustrators association that might sound like a lot but it's just a quarter of the japanese average wage and it's a similar situation for ordinary writers in the united states someone who writes full time and about twenty thousand dollars less than half the average yearly for

americans and that's not much different for many of germany's freelance actors fourteen thousand euros that's about forty percent of the average income over here so the really big money in the arts is made elsewhere namely in the big auction houses we met someone who has a pretty good idea about what's hot and what's not stickball it sells multi-million dollar pieces for a living. sixty billion of them in a. million dollars. this is where art collectors come for some high stakes gambling is that these prices simply reflect demand. respect to other people who shell out millions at christie's auction house. seventy one million five hundred. is always outstrips supply. there's

a lot of art out there but the focus is on the art that society considers most interesting. dick paul is president of christy's for europe the middle east russia and india. if anyone can explain why works of art can be so mind bogglingly expensive it's him. because it's not the value of an artwork is first and foremost its aesthetic value its cultural value and that's determined by art history and the canon and today there's a consensus that because it was an interesting artist. when someone buys a piece for such a crazy price is out of love for art of mine environment is that my experience the overwhelming majority of collectors we encounter i know personally are indeed interested in the art and not just in art as investment though of course there are investors as well versed on the work that fetched the highest price ever was sold

at christie's in new york in twenty seventeen salvator monday a portrait of jesus from around fifteen zero three ascribed by some experts to leonardo da vinci. two hundred million is two hundred million three hundred million two hundred thirty two out of it is big. it may be a significant or even important work of art but it's also an investment it went to an anonymous but later revealed to be a saudi royal for four hundred million dollars. four hundred fifty million when you include fees christie's charges between ten and twenty percent on top of the sale price of each work. at christie's four hundred million dollars is the grid and the peers. so. i'd say it does give us the art market changed in recent years. yes indeed as everything we do is speeding up nowadays he's against developments that used to

take place one after the other also with regard to art and the discourse on art now occur in parallel at the same time. draws public attention much faster we now have global trends where once there were local or regional trends but this also offers artists greater exposure we get to see more art these days. buying contemporary art is considered riskier than buying old masters it's far from clear which modern artists will prove to be a good investment anybody find them interesting a century from now well that works be worth a fortune for nothing at all. about of collectors and curators are always keen to discover the next generation of interesting artists nowadays there are talent scouts who have an eye for such things that are well known curator find something exciting at a gallery and post it on instagram the whole world knows about it instantly. is so

forth after. the i was it was online sales play an ever greater role. that's what it's doing yes i think they will you know we're already seeing the growth rate soar more than forty percent of our new customers come via online auctions where the generation that grew up with the internet comes of age and becomes the main player in the art market we'll see that reflected in the way they engage with the market. by. he who works on the internet is not what true love is about what do you or is it something down blows and investors are more likely to consider. well companies are important collectors as well these days some even set up their own museums like the one you see behind me as chocolate maker written is good for the corporate image and might make them some money as well and aachen sultans like us to advance corporate clients on acquiring we met the ads cologne said talk art

taste and money. so what about the great use of boys as a puppet. for the fine buying or to ask to speak to me. and i it doesn't speak tonight i'm left with is with me and. it looks like boys will not be added to our street shopping list. she's looking for works at our cologne that would suit one of her clients. she won't say who it is but she does offer one piece of information. i think the house is about is just built a house in italy and asked me to come and have a look at the fact. that on the budget. that's top secret it depends on how the stock market's doing. leah works at the interface of art and business networking is

a key skill. with enjoying the art that i am in the company of torch of ella right behind you so who is that. the companies that say he's a well known collector that he's just about to sell his collection at auction it's fun but exciting i don't see what's on offer. although studied economics and process engineering she also developed an eye for art and learnt about art history. is true for many budiman of all i'd like to look at my grandparents paintings me and almost every weekend my grandfather would take me to a museum and explain the pictures to me that certainly left a mark. insiders often bump into each other year after year at the major art fairs. lydia runs into a former client. so you have to say that she is

a very well connected and she communicates very well she's also good at setting out the issues even about insurance plus trees and charming person very open very warm very helpful everything you could want. this was what. many companies like to promote artists and by art it can be good for their image and it can make the money. that's if they backed the right horse but it's not always easy to pick winners. that's where consultants like astrid come in. kept it up and if it all began when i had the good fortune to be noticed by a well known collector. indic types because after he said i can inspire people be able to get funding from large companies so we can finance exhibitions or buy art and. develop strategic partnerships basically the link between business and not

just for artists trying to sell their works that make something of a portal to patronage. system that's certainly a boost when you get recommendations and introductions that raises your profile so i hope we can work together. for lydia it's an endless round of networking and inspecting galleries and art furs around the world. and what about the client with a new house in italy. if you found i think he'd like. a snub so lately absolute i'm not going to tell you what right now. as always in australia as business discretion is required as the bargaining gets underway. and that's it from me on the made in germany team for today.

bye bye.

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