The funding of that platform of experimentation where objects are precisely there because they have no instrumentality yet. The artists themselves who are excluding the 99 percent by their own desire for fame and fortune. For example, Andreas Gursky probably does an edition of three in an artist's proof and sells for hundreds of thousands of dollars. He could easily choose to sell it at nine pounds 99 in WH Smith and include the rest of the 99 percent.
What is the role of contemporary art museums today? Are biennales and art fairs platforms for experiment and exchange, or little more than social attractions for the elite? Have collectors become the new curators? Are private and corporate interests in culture at odds with the public good? And ultimately, who is art for? In this debate recorded in Hong Kong in 2012, award-winning documentary film-maker, author and art critic, Ben Lewis, and Hong Kong-born artist, Paul Chan, spoke for the motion. Former Director of Sydney’s Museum of Contemporary Art, Elizabeth Ann Macgregor, and conceptual art pioneer, Joseph Kosuth, spoke against the motion. Our chair was the writer, art market expert and author, Georgina Adam.
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