EXHIBITIONS / PROJECTS
by Teresa Riccadi
by Silvia Litardi
by Marìa Fernanda Cartagena
in the Theatre of The Auction House
by Gabriela Salgado
of Political Economy of Art
Market & Money
ArtAuctionMarket en Flickr
Dispari & Dispari
Plus-Valía [Surplus Value] proposes to visualize—by
means of an investigation using Forbes, Artnews and other
sources—the relationships and influences of the 200
top art collectors on the art system.
This includes opening foundations and private museums, creating
centers for philanthropic purposes, sitting on governing boards
of relevant public museums, sponsoring biennials, etc.
The piece examines the people who Artnews ranks as the "200
top collectors" (protagonists of major businesses and
companies and part of the world’s 700 richest people).
They represent a 'systemic model' of collection and behavior
on a global scale. The research focuses on defining this model
and the roles and behavior of these collectors with respect
to the field of art, mainly their influence over public institutions.
Plus-valía [Surplus Value] (2012) , a statistical
display* laid out like a pie chart – dialogues with
the other piece that expands upon the concept. The first piece
provides a set of monochrome values about variation and distribution
of hegemony, collecting and the museum (its public and private
status), whereas the second piece lays out a set of relations
that, from indicators in this space, show not only the 200
top collectors and their 25 most lucrative businesses, but
also their combinatory forms in percentages associated with
their participation on museum boards, the museums themselves,
those that have foundations, and finally, the philanthropists.
Surplus Value (2012) documents, measures, and gives scaled
visibility to the growing dependence on the market, the pornographic
on/scenities between art and capital.
excerpt by Capital
by Teresa Riccardi
 Plus-valía [Surplus Value] finds an antecedent
in Herrero’s 1997 work Mi Botín [My Booty], in
which the notions of ‘extractivism’ and collecting
are connected as founding/instituting ones, from a post- colonialist
and ‘museumized’ perspective.
*[English in original – trans.]