discovered. subscribe to documentary. what i don't even know like. an unfathomable number to be quite honest it's just crazy. there is no coming back. as it was 4 whole days for.

them it has dominated cultural life. shouted the people what is it meant to. deal with disaster. today everyone's talking about krypto often and. pixels. and paintings. 21. after many months this is a. gathering. despite the lockdown he says that he survived the past year amazingly well. as a viewer it was a very successful year for us we were able to develop new formats which will enable cost neutral and c o $2.00. new to cycles. he sold this installation by the japanese artist she

harsh to a client in asia the fact the trade is currently taking place almost exclusively online this not a problem his website features a laboratory 3 d. visits. and when his gallery takes part in online art fairs there are live chats with artists. your huntin it is comfortable with the art world going digital he thinks that social media platforms enable much needed global dialogue as he couldn't resist missed it's all style you can see the demand for exchange tell if you look at how telegram groups or clubhouse he used to post and to me it's all possible but that's probably a generational gap i don't innovation problem that's on the pulse of all federal can isis. type the art fairs have not done so around their era may be

coming to an end sales on the art market fell by more than 30 percent last year. also under huge pressure particularly in the u.s. the past year has seen fewer funds from sponsors some had to sell works to avoid closures. and what about the artists when monica beyond the chinese exhibitions were canceled or postponed she had more time to spend in her berglund studio. last year i've been drawing so much more because i was in the space here i have to space but in this space i will still today a lot of which doesn't happen very much i was listening to music every louds of which i didn't do a since a long time and i was drawing you know i'm just making drawing. it was an unusual situation normally she spends a lot of time preparing for her exhibitions which are lobert time to. can sometimes

feel entire rooms. are. wrong but she often works with professional welders builders and tailors none of this was possible when the workshops closed down she was not the only artist affected. most of them do not have new productions because they were up shops are closed so the bat. sansa i think that we see the same selfie you know everybody's kind of way team but she is optimistic that the waiting will soon be over and real life exhibitions will be allowed again digital exhibitions are not ideal for her. for an artist like me was being all this water came from the beginning with the idea of confrontation a physical confrontation with the public right it's. it's it's impossible to do a talk about hamburg based collector harald fountain bird used to spend

a lot of time at art fairs looking for the next great work he's also not very keen on the online alternatives. from anyone on a pal account just look at 250 work strong in a rug because i no longer know where i saw something as not if i go to an often i'll know that i sold 2 works in a gallery and so return to this i should spend 2 or 3 hours looking to see if there's something for me as how to deal with others also offering something by the same artist he's a collector of the old school one who's very familiar with the art world and he's going to be huge network of artists and dollars over the years he's not a fan of the click and collect mentality. like it is and. maybe one day it'll be like amazon this is like online retiled through and come straight to your home and you have the right to send something back within 4 weeks just wait

for the times are also changing in the renowned auction houses online auctions have become commonplace but the pandemic that is an auction without the collective excitement not a bit dull. yes. i think that a personal network is more important to the seller and. that's one thing i would also say it's a generation issue. the younger the collectors are the more likely they also agree to digital means of communication and except of the justice could. like it or not the artwork it is going digital or good but what's also true is that the real life experience of being up close to the artworks cannot be easily replaced. throughout the crisis. has been doing what he always does he paints gigantic

compass and keeps his spirits up in the pandemic. dark figures expressionless faces. compelling and mysterious imaginative colorful overwhelming scenes. this is the world of the onassis war gapped one of the leading german pagers of his generation. this includes the main problem with painting is always the illusion erisa by the i have a flat picture i have to work in 2 dimensions but sometimes i have to think in 3 dimensions and so it's always about lights and shite and. there's no feeling of pandemic depression here your nuts blog at and his son are doing fine. and there's plenty to do at home.

and plenty to do in the studio look at is preparing for a major exhibition is over his oversized pictures will soon be making their way to the long museum in shanghai one of china's major private museums. as long as it was a long museum plays an important role is one of the museums where progressive discourse about contemporary art takes place in asia this week that's why it's so important or different along families of the initiators and big name collectors in asia they're very open and look in many different directions of the rich don't. normally you know now forget would have visited the exhibition space on site but due to code it he has to make do with a model up to 20 paintings are due to be sent to shanghai and painstaking

consideration is going into how they will be hung they can factor in previous experience he's had with chinese audiences. it's got to be on or have an exhibition that's still going on in beijing galleries it's that have reported that people are very interested but also completely bewildered because they're not familiar with this visual language it was and that's very interesting. how do we ensure intercommunication on a level that doesn't work verbal but visually for sonia. is painting this picture especially for the shanghai x. addition it aspires to new heights in what has been a stellar career when he 1st started he was an odd man out with his figurative imagery bucking the prevailing trend towards abstract painting in 2006 he started exhibiting in the portrait fenton galletly humble work it's represented him ever

since by the time of his 1st solo exhibition in 2010 the art lovers packed tubing in to the rafters his exhibitions in london in connection with the blaine southern gallery also raised international eyebrows his 1st solo show in asia was in hong kong in 2019 by then your last book at the visual language spoke to people worldwide. the mentioned people everywhere have similar dramas desires yearnings but also treachery and brutality you're not war god has no interest in quick messages he asks existential questions the experience of the ongoing pandemic gives his viewers another perspective on his imagery a new sense of urgency has taken hold not had here and. recently i had a long phone conversation with an author guy in new york or he said that's kind of crazy for now i understand your picture is much better and it's because so much

existential and serious thinking has entered the discussion moment which maybe the brakes have been pulled on all this pop culture at one time. if all goes well this exhibition will be opening and shanghai on july 23rd. don't ask or god has time until that for his pictures and other things as well. cannot help with crises 10 years ago the tsunami hit japan causing a nuclear disaster a national trauma. a group of artists responded swiftly. and usual insights into food beaten territory no man's land radioactive inhumane to tokyo artist collective chimp on the right in the middle of the solution sign around the fukushima daiichi nuclear power plant shortly after the 2011 disaster.

today the contaminated area has become a creative ground for artists dealing with the ongoing trauma as extend. to the sea i had no idea until i went there it was when i actually went i was shocked. the fact of the city was empty. it was very scary for me even though i was in the car. there is this place so dangerous there are no people here i thought there would be you can see the radiation that's why i was so scared what they are going across the water or they really need it and it has got through that we don't at all over there. 10 years ago on the eastern coast of japan's main island of honshu following an earthquake a tsunami struck the fukushima daiichi power plant leading to the worst nuclear disaster since chernobyl.

soon after the accident jim palm went into the area to help out and connect with residents the collective had the idea of an exhibition in the exclusion zone and invited other artists to work in a band and spices chinese artist ai weiwei placed functors of his family into deserted homes on another house he installed a solar panel illuminating it for 5 hours every day. the artist for permission from the residents to enter their homes as long as the band had been lifted residents were only allowed back a few times a year. rather to buy the initial idea was that the artwork would be in the house instead of the inhabitants so there are no inhabitants you know love the art work experience is the act of being in the place for a long time instead of the inhabitant. not ok to the north pole so clearly

glimpses of this project and now on display in meter a town 150 kilometers away from the restricted zone. the exhibition explores how artists have reflected in the consequences of the catastrophe of the last decade. according to curator you talking sound back then most artists had few means to express. themselves cheated trauma but they managed to recall the immediate aftermath of the disaster. is located in the prefecture next to fukushima the museum was hit by the earthquake but not affected by the radiation. i saw that the artist was really going to that that is asked and then they started to do some volunteer work but afterwards they actually use their techniques to sort of is at

ease in here the damage inside the people. the healing process involves building a collective memory. artist nishi to collect objects broken by the earthquake and carefully repairs them to give them a new life despite their painful history akira com was posed as asked will depicts 2 real landscapes potentially contaminated with radioactivity japanese scenery disturbing beauty picado food choose work reveals social issues that appealed after the tragedy discrimination against fukushima residents who were seen as contaminated prejudiced by the fear of an in the civil threat. come on biases join says the river and i'm on my that this discrimination of is a very sensitive topic and so it was difficult for me to address the issue. but now

we're living in a coronavirus pandemic society that all of us are in a situation where we discriminated and are discriminated against. and i thought that this situation would be an opportunity to create a work of art never going up on water or. screws that out and i think you know nothing that any of it. no i get that and us that the last. e-mail but i'll get up on that and fall on a sunday dish door came like a clique for tolerance and all that go on that. thought a lot but that's not to mock the op. for the next generation because that is us that will happen again unfortunately yeah we've done that i think we can say that that's the kind of fact already it's just a matter that the when and how much i mean now you know how that is you.

in japan and natural disasters are part of ordinary life with the outbreak of the pandemic it's an experience that people all over the world have become familiar with. the feeling that has as long as we live on this planet there will probably be many more difficult situations in the future so we'll go how we going to deal with these situations because i think we are entering a period where we will have to face the fact that the coup is a little cool so it will put up the center of. an era of crisis and disaster an extraordinary time that might also change the way we think about and create art. his just gained popularity in the pandemic. has he been putting masks on portraits by

old masters. hamis was ahead of his time. how many times have we seen these kinds of noble figures in museums the rich and the beautiful of past era. these paintings were meant to demonstrate their subjects' high standing and character. artist for guy hammond's loves portrait painting and draws inspiration from the work of his predecessors paintings like this one form the basis of ham s's images he processes the works of old masters digitally he valves and wraps he caricature hers and presents the purely representational pictures in an entirely new way.

when countries are who go there he can break down the hurdle to these works if you just have a humorous aspect which of the same time highlights important features of the image without overwhelming it is by mask a hammer aims to unmask he makes use of whatever is already present in the painting he adds nothing of his own but merely reproduces and deliberately exaggerates the codes built into the originals they were plain to see at the time of their creation but today they have to be painstakingly decoded. volume in a swigs for instance once stood for a great wealth. it's like a hammer satirizes the conventions of the past era while masking actual faces to

divert attention from them in the midst of them into reality by removing this individuality the faces of the ones and blocking our access to them as a business it's almost as if we were standing in front of the painting and all. the one hand up to it so we can concentrate more on other areas humans doesn't last as a gun so the incredible diversity these pictures revealed becomes far more pronounced when i take away the faces of the few darton. any specific name. fika ham us has been turning out his hidden portraits for some 10 years now last year he began posting them on instagram and became an overnight sensation perhaps because we've grown to appreciate masks. because turning point a few pixels have just sold for a record some protection exciting for the astounded artist and

a historic moment for the art market. that has stopped the adult arc market instructs but in its place the true sensations taking hold with one digital piece being auctioned off for $69000000.00 . in every day's artist people picks apart american society in 5000 images it fetched the 3rd highest price ever for a living artist leaving him speechless. what i mean even though i like yeah. and unfathomable number to be quite honest it's just crazy. whole digital are pearl shares people's excitement are we witnessing the dawn of a new era of art history. art words have been around since the sixty's

in sounds and you measure video. on future graphics so digital art is absolutely not a novelty. just the way how does your art is now being so all that novelty. the magical word is n f t r non fungible token it's revolutionizing the art market this technology records the owners identity in a plock chain while the work itself remains publicly visible on the web for anyone to see. so and it is a technical stand there to make a digital work of art where any just as a any file he's essence unique so you get that talk at him well that may have. was the artist's what was the nation size. and

that you bought it and it you are the rightful owner. in this online gold rush a flying cat sold for $650000.00 a tweet for several 1000000 crypto cats virtual basketball cards sold for millions. singer grimes sold a digital art collection for $6500000.00. and now people has sent shock waves with the record price tag for every day. i think that there was no way they were before and so bad but it was really influential and they have a huge huge. visual language or moral and so i think it now be out of luck look at them as you know we are as i am super super excited about.

and this real art was sold in a real auction house steeped in tradition christie's got on board auction every day as its 1st tokenized. this am not only meant recognition for digital art but how to christie's reap millions in a win win situation. i think when there's money at stake people take things seriously so many people who used to not really take this off form seriously and know having a closer look and that's great. and of course the artist who created this was a quick go down and all of history times. the buyer was a singapore based fund that he made a fortune with cryptocurrency s. 90 percent of the bidders at christie's were no this is a new crypt to meet t.v. not the market people that will triple right now and that. how much of the market forms with a really open i do not have much knowledge of the art market and our enemy

and houses and just really i like. some might ask what that needs for values in art they may think of it as just hype or an unprecedented art speculation bubble galleries an art museums are losing ground to digital art sounds so where is all this leading it's still open. for future it is a technological medium is often used to be judged to stick merit but you have to make distinction that just like not every painted canvas is automatically worthy of displaying in a museum. the race is on call that has brought so much to a still stand but it's also a turbocharger like so many other things art may have to be rebooted in light of the pandemic.

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