
一件作品怎麼從無名到天價?畫廊、拍賣、機構、藏家之間的權力遊戲,局外人看不見,但它決定了藝術世界的一切。 歡迎來到《賣畫小姐:藝術圈生存指南》。我是Gladys Lin,藝術顧問,在這個圈子工作超過20年。 我不是來教你欣賞藝術的。我是來告訴你,這個世界真正怎麼運作。 👇 掌握第一手藝術情報: 🧵 Threads|看更多畫廊日常: www.threads.net/@gladyslin_projects 🌐 Official Website|官方網站: www.gladyslinprojects.com Powered by Firstory Hosting
| Publishes | Weekly | Episodes | 8 | Founded | 2 months ago |
|---|---|---|---|---|---|
| Language | Number of Listeners | Categories | BusinessArts |

入行二十年,我幾乎每一年都去 Art Basel Basel。
第一次是跟著陸蓉之老師和台灣畫廊團進團出;後來在印度畫廊工作,靠陳界仁作品進入 Art Basel Feature;也曾在人生空窗期,幫中國藏家翻譯,只為換一張入場證。
同一個博覽會,每一年看到的都不一樣。因為真正改變的,往往不是巴塞爾,而是你在藝術市場裡所站的位置。
這一集,我想從自己的二十年經驗出發,聊聊 Art Basel 到底為什麼重要:為什麼媒體報導的天價成交,不等於真正的市場邏輯?中價位藝術家到底賣不賣得動?以及瑞... more
在藝術市場裡,錢能解決的問題比你想像的少。
旅居倫敦的資深藝術媒體人 Vivienne Chow,見證了香港從電影黃金年代到 Art Basel 進駐的整段歷史。這集她和 Gladys 談的不是哪個藝術家值得買,而是一個更根本的問題:當你用亞洲的錢在西方的規則裡玩,你真正買到的是什麼?
留言告訴我你對這一集的想法: open.firstory.me/user/cmoir8gdc0bju01udgrj3fyp1/comments
🧵 Threads|藝術顧問的日常洞察: h... more
薪水、場面、精緻窮,與二十年後的一句真心話。
每年畢業季,我都會收到同樣的問題:
「藝術圈值得進嗎?」
我的答案通常不是值不值得,而是你有沒有先搞清楚自己是誰,再進來。
這一行很漂亮,也很殘酷。
你每天可能接觸幾十萬、幾百萬,甚至更高價的作品。但回到自己的生活,房租還是房租,帳單還是帳單。
那個懸殊是真實的。
很多人後來會開始用外在符號處理這個落差。
用名牌包撐底氣。
用商務艙撐場面。
用一個看起來成功的人設,撐住自己還沒站穩的位置。
我都見過。
也見過它最後的樣子。
🎧... more
泡泡瑪特股價大跌,不只是 Labubu 還紅不紅的問題。
我想到的是幾年前在台中看過的一個倉庫收藏:上百件作品,資料齊全,紙上看起來像是一個收藏;但真正回到市場,大概八九成都很難流通。
藝術市場最殘酷的地方是:
買的時候,每件作品都有故事;
想賣的時候,市場只問一句話——現在,還有誰要?
這一集從 Labubu、台中倉庫收藏,到疫情前後被快速推高的 ultra-contemporary 市場,聊聊為什麼有些東西紅得很快,也冷得很快。
紅,不等於有價值。
有故事,不等於能轉手。
收藏最怕的... more
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賣畫小姐 THE GALLERINA|藝術圈生存指南 launched 2 months ago and published 8 episodes to date. You can find more information about this podcast including rankings, audience demographics and engagement in our podcast database.
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