2013年01月04日 Update 文 / 克林強•古雷爾尤斯/土耳其帝國計畫創辦人
大概部分的人們會說土耳其是新興市場，但是，所謂的「新興」將如何定義? Phillips de pury拍賣部門主管Zach Miner曾表示，「新興」，雖然聽起來是一個很有效的詞，但其實是不足以描述這麼多種不同的藝術家。由於藝術家的創作方式多元，大多數的時候只是表示這個藝術家才剛剛展開他的生涯，似乎表示外界對於他作品的重要性和價值已經產生些許共識，然而，這樣複雜的動態，還得將取得藝評家和策展人的支持，以及市場上是否能夠成功等因素納入考量。談論「新興」這個詞，匹茲堡大學當代藝術史的教授Terry Smith曾經這樣說: 「所謂的新興藝術家是因為最近視覺藝術而變成一個專業，當代藝術市場蓬勃發展以及在1960年代以來許多國家的高等教育是很多畢業生讀了馬爾薩斯的人口論以後才產生的，所以新興的的意思是表示一個藝術家職業生涯的最初期，不應該是一個整體，其實新興本來就是一個當代的詞，它代表的是一個"起初"的意思，所以裡面有包含來自非常廣大的藝術流通市場以外一些的藝術家。」然而，土耳其藝術市場的興盛，最主要是因為過去十年以來，拍賣市場還有畫廊不斷的成長，對買家造成一個很大的推力，所以在2001年的時候，土耳其藝術市場據稱是五百萬美元，但是後來已經成長到一億五百萬美元，土耳其當代藝術市場也就此成為全球前十大之一。不過這些藝術家是只有包含土耳其藝術家，還是國際藝術家在土耳其市場上銷售的數字也都被納入其中？在此並未被交代清楚。
Positioning the Turkish “Emerging” Art Market
Most people say Turkey is an emerging market. But how do we define an "emerging" market? Zach Miner, the head of evening sale at Phillips de Pury, suggests that "Emerging is an effective but ultimately limiting term used to describe a wide cross-section of artists employing an even broader array of practices. Most commonly it qualifies an artist often at the beginning of his or her career, implying the promise of a building consensus as to the importance and value of the work. This complex dynamic can be driven and impacted by critical response and curatorial support as well as market success and reputation." Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory at the University of Pittsburgh described emergence as the following: “The term ‘emerging artist’ is an artifact of the relatively recent professionalization of visual arts production, the boom in the market for contemporary art, and the Malthusian output of graduates from the expansion of tertiary education in many countries since the 1960s. It highlights the first step in the career of an individual artist, rather than the participant in a collective or a movement, or a member of a generation. These terms are echoes from modernity: ‘emergence’ is a contemporary term: it highlights incipience, the fantasy of perpetual coming-into-being. This can include artists — often mature, highly accomplished artists from outside the great art distribution centers — who come to its notice.” However, the growth of the Turkish art market was due to a rise in numbers of art auctions and galleries during the past 10 years and their influence on buyers. In 2001, the Turkish art market was estimated to be valued at $5 million but eventually grew to $150 million, causing it to be among the top 10 countries around the world in contemporary art sales. But does this number only cover the work of Turkish artists or also the work of international artists in the Turkish market? There is no clear picture of what is happening.