tv Made in Germany Deutsche Welle April 17, 2019 2:30am-3:00am CEST
south so they can plant crops and find food since sam. floods and droughts with climate change become the main driver of mass migration you can write any up i'm going to use not if you want and probably most of them do come to. the clinic exodus started your book thirty years on d w. these days art is big business this torn piece of canvas for example went for three hundred twenty eight thousand euros and that's nothing out of the ordinary in fact prices can easy to go into the millions as will discover later in this show the state of the art is this week's topic here on made in germany few art and design
movements of the modern era have left such an impression as germany's bauhaus the group has been in france and designers and architects for one hundred years now the balls not all was form follows function they create is practical pieces clean crisp lines and some of these classics are bestsellers to this day. some ideas trigger a revolution. machine a machine age that's what a whole new world a new tempo way of seeing. some revolutionary ideas just keep on giving. that site will it's never too late for timeless good design and some are still bestsellers a century after they were first launched. the design of a chair needs to conform to the nature of sitting.
perfecting the chair has made this man's company successful. who found a german home furnishings company tacked on says furniture is more than just a series of functional objects it's a symbol between art and craftsmanship. that's. when you need to grasp the nature of the task involved the nature of the material the design and the function and to grasp it in such a way that you're able to bring out the internal image of the structure so that it speaks for itself for. me where. it sounds complicated but it's actually all about simplicity modern furniture should be adapted to suit people and not the other way around it involves reducing everything to the essentials in other words form follows function. house philosophy.
in around one thousand nine hundred many homes in europe would have looked like this bulky cupboards and chairs and pretty crowded. the bar house designers wanted to break with that tradition and they were radical. their furniture designs were simple with clear shapes and daring combinations of materials. much of our modern furniture. today stems from these ideas. it's kingdom power house of our house first wanted to get an unobstructed up to date view about what it means to live somewhere what are all the functions of the chair for example before the expected one and what about structure what are the load bearing elements how can you play with and rearrange things and break away from what i used to. even put a human to invest in a given set. entrepreneur as i worked with bauhaus designers such as myself brian and peter keller as well as zack years who could bag the assistant of respond there
or. he's now handed over management of the detector furniture company to his nephew . it's one of only a handful of companies worldwide permitted to reproduce original house furniture it has a license for about thirty designs. all the furniture here is produced by hand as a carpentry workshop and upholstery under metalworking shop the company focuses on making small numbers of luxury products house has become an exclusive brand remind us why do we need these workshops here on site because then we can work closely with those creation the product we want to be involved in the details we think it's very important to see art and craftsmanship as one unit. as in. having artists who also work as craftsmen was a revolutionary concept a hundred years ago but the powerhouse designers and students experimented freely
with fabrics metals wood and ceramics the result was prototypes that could then go into industrial production. luxury products made for the view was not the original goal of bauhaus its aim was to make products for the masses but powerhouse furniture never made it into cereal production intervene. design comes at a price. the principle of maximum freedom to innovate still applies today and no matter how unusual about house chair looks it still sells this one by gropius costs two thousand euros and this one by broiler costs three thousand. different way of developing furniture building from scratch based on a strong idea it's a totally different approach to designing a product for the market that's as cheap as possible to make and has wide appeal we totally believe in what we're doing. the bio
house pioneered the use of steel pipes for home furniture in the early twentieth century steel was a material reserved for industry until muscle broyard built the first cantilever chair it remains one of the best known powerhouse chairs to this day instead of standing on four legs the supporting framework gives it the effect of being suspended in mid-air. general furniture designer torn it says the can't believe a chair counts for around one third of its sales one hundred seventy five employees will produce the chairs by hand you can pay over six hundred euro's for this classic design which has become something of a legend in itself. and that's why is idea to use the handlebars of his bicycle to make furniture was quite an avant garde approach. and really it was about accentuating the industrial nature of the design.
but the company isn't content with just reproducing powerhouse designs it also sells its own furniture. to the designs are kept simple without embellishments thinking we many people's lives are already complicated enough. this power has had . this on the essentials the bauhaus also. sort to bring in a certain order and calm. but i think you have some inspiration that we can take on for our modern day and age. through art and design and architecture in the wildest sense you try to provide a little calm right from the complexities and fast pace of life. and. how do we want to live how do we want to work what makes us feel good these are the questions that the bauhaus designers and architects sought to answer a century ago and many of the answers they found are still relevant today.
but if you spend tens of thousands of your hard earned cash on a painting or sculpture by a rebound artist would you really want to know is this is it real and was it legitimately acquired by the seller and forgery and during problems in this high stakes but some experts claim a third of all works for sale right now. worldwide art sales amounted to sixty billion euros last year. the biggest market was the united states followed by china britain and france the largest single group of purchasers are young collectors in asia it's estimated however that a third of the work for sale in the global art market are fakes one famous living former art forger is the german vols going back tucky he spent more than three decades creating new old masters causing losses to others of between twenty and
fifty million euro's interpol says art theft is very big business. the value of work stolen is estimated at almost two billion euros a year. almost half the artworks on the market are sold in galleries thirty percent affairs and just two percent adoption. kristi's was the auction house with the highest sales last year at six billion euros. well into the nineteen eighties options of the major houses were a society of. people dressed up to attend. in the night to ninety's remote bidding became common with staff manning a pack of telephones. around two thousand online options emerged with creators manning their mouse at home. last october the art
world symphony huge shock when a girl with balloon by the street artist banksy self destructed just as the final how much fell confirming the selling price of one point two million euros. thanks he had built a shredder into the frame. banksy renamed the painting love has it in the bin. but then something a very unintentional happened lovers in the bin that actually went up in value after it was shredded machines an artificial intelligence like in many other industries are putting their stamp on the world even in music listen to this. as the beatles writes. fact this song was created by an algorithm so how computers make meaningful art or does true art requires human soul be what happens when artificial intelligence take is it. and doesn't sell.
people or machines more creative ai is breaking into the art business and it's turning everything on its head. the music is an algorithm it's a program that serves to generate variations on my art from what i do in the forms . kindly sheens be creative and if so how. the painter roman lipski works with data scientist florian dorman. he's written a program phillips that analyzes the way he paints the colors and the composition and then creates new pictures based on all that information.
it's totally it with this picture since then the style has become progressively more abstract the muse has so far generated several hundred thousand pictures. a picture is ultimately a matrix of number of signals so one can imagine that the muse is actually a very clever number generator that can determine the color values of images in such a way that something new and exciting has created this noise and still. the heart of the news there's a pre-trained neural network that can recognize all kinds of objects in the picture it was actually originally developed to distinguish cats from dogs. few years ago researchers discovered that such a pre-training neural network can be used to extract certain features such as brightness colors shapes and even style from images. always wanted to paint abstract pictures but it wasn't until he started creating
works with the computer program that he really succeeded. what the computer came up with proved to be a source of inspiration. for you. i mean a kind of dialogue with the muse in a loop and we influence each other to digital images inspire me to evolve. i see the music only as a tool it will never replace me. or maybe it will alter fishel intelligence comes up with amazing results will algorithms soon rival human artists. better honed five years laden doesn't need a computer he creates busts of people who interest in unknown individuals and celebrities politicians activists or entrepreneurs.
for the sculptor every last detail is important. that's fifteen secrets of the constellation is what really matters in the volumes have to be arranged in such a way that intensities emerge through the curves the way something pushes up against something else yielding for example a depression here even if. each bust needs to reflect the subjects true character. all that it is there are of course different approaches to artificial intelligence things could go in a number of directions i can imagine that something will eventually come of it that works i just don't see what the advantage would be. try a slave who spends many hours sometimes days with his living subjects working from photos a computer might be able to create busts that resemble their subjects but for this
artist the human contact is crucial to this kid it's always about. spontaneity intuition and experience what i looked at in the history of art and who did what and how and what today achieved these are the resources and call of god and then there are spontaneous decision of surfaces emerge that cannot be determined in advance did he. is spontaneity indeed sensual to human creativity. more and more works created with the help of computers showing up in art galleries as well as works the focus on the subject of digital technology and collectives are paying high prices for them this ai generated portrayed was sold at christie's for more than four hundred thirty thousand dollars a formula has replaced the signature. and it's rembrandt
isn't the rembrandt it's too is the work of the computer and some tiny arena artists are busy putting the heart into politicians intelligence and you know what it might mean. fashion but i think real art needs a real human artist and they really don't need the competition from computers they have a hard enough time as it is many of them can hardly on a living with their work among our artist in japan typically less than one million yen a year according to the country's illustrators association that might sound like a lot but it's just a quarter of the japanese average wage and it's a similar situation for ordinary writers in the united states someone who rides full time and about twenty thousand dollars less than half the average yearly things for americans and that's not much different for many of germany's freelance actors fourteen thousand euros that's about forty percent of the average income
over here so the really big money in the arts is made elsewhere namely in the big auction houses we met someone who has a pretty good idea about what's hot and what's not stickball it sells multimillion dollar pieces for a living. sixty billion. that million dollars that this is where art collectors come for some high stakes gambling these of these prices simply reflect demand just look at who are the people who shell out millions at christie's auction house. seventy one million five hundred. is always outstrips supply. there's a lot of art out there but the focus is on the art that society considers most interesting. dick paul is president of christie's for europe the middle east russia
and india. if anyone can explain why works of art can be so mind bogglingly expensive it's him. because it's not the value of an artwork is first and foremost its aesthetic value its cultural value and that's determined by art history and the canon and today there's a consensus that because it was an interesting artist. when someone buys a piece for such a crazy price is out of love for art of mine environment is that my experience the overwhelming majority of collectors we encounter or i know personally are indeed interested in the art and not just in art as investment though of course there are investors as well versed on the work that fetched the highest price ever was sold at christie's in new york in twenty seventeen salvator monday a portrait of jesus from around fifteen zero three ascribed by some experts to leonardo da vinci. two hundred million is so you are the millions
who are limited to one of the biggest things to upgrade and it's big it may be a significant or even important work of art but it's also an investment it went to an anonymous better later revealed to be a saudi royal for four hundred million dollars. four hundred fifty million when you include fees christie's charges between ten and twenty percent on top of the sale price of each work. at christie's four hundred million dollars is the grid and the prius. so. how does this has the art market changed in recent years. yes indeed as everything we do is speeding up nowadays he's against the developments that used to take place one after the other also with regard to art and the discourse on art now occur in parallel at the same time. draws public attention much faster we now have
global trends where once there were local or regional trends but this also offers artists greater exposure we get to see more art these days. buying contemporary art is considered riskier than buying old masters it's far from clear which modern artists will prove to be a good investment anybody find them interesting a century from now well that works be worth a fortune for nothing at all. about of collectors and curators are always keen to discover the next generation of interesting artists nowadays there are talent scouts who have an eye for such things that are well known curator find something exciting at a gallery and post it on instagram the whole world knows about it instantly. is so for. the i was it will online sales play an ever greater role. that's what it's
doing yes i think they will you know we're already seeing the growth rate saw more than forty percent of our new customers come via online auctions where the generation that grew up with the internet comes of age and becomes the main player in the art market we'll see that reflected in the way they engage with the market. buying works on the internet is that what true lovers of what do or is it something down below as an investor is a more likely to consider. well companies are important to ask collectors as well these days some even set up their own museums like the one you see behind me as chocolate maker written is good for the corporate image and might make them some money as well and up consultants like us with clearly advise corporate clients on acquiring we met the ask cologne says talk art taste and money. so what about the great use of boys as
a puppet. once profit if i'm buying art it has to speak to me. and i it doesn't speak tonight i'm actually thinking it may or. it looks like boys will not be added to our street shopping list. she's looking for works in our cologne that would suit one of her clients. she won't say who it is but she does offer one piece of information. i think the house is about is just built a house in italy and asked me to come and have a look at the fair. and the budget. that's top secret it depends on how the stock market's doing. lilya works at the interface of art and business networking is a key skill. that wouldn't join the artist that i am
in the company if torture velour right behind you so who is that. the companies that say he's a well known collector and is just about to sell his collection at auction that's exciting i'll go and see what's on offer. although studied economics and process engineering she also developed an eye for art and learnt about art history. and like to look at my grandparents paintings me and almost every weekend my grandfather would take me to a museum and explain the pictures to me that certainly left a mark. insiders often bump into each other year after year at the major art fairs. lydia runs into a former client. so you have to say that she's a very well connected and she communicates very well she's also good at setting out the issues even about insurance plus trees and charming person very open very warm
very helpful everything you could want. this was what. many companies like to promote are to some buy art you can be good for their image and you can make the money. that's if they backed the right horse but it's not always easy to pick winners. that's where consultants like astrid come in. kept it up and if it all began when i had the good fortune to be noticed by a well known collector. intake types after he said i can inspire people be able to get funding from large companies so we can finance exhibitions or buy art and. develop strategic partnerships basically the link between business and not just for artists trying to sell their works that makes something of a portal to patronage. system that's certainly
a boost when you get recommendations and introductions that raises your profile so i hope we can work together. for lydia it's an endless round of networking and inspecting galleries and art furs around the world. and what about the client with a new house in italy. if you find i think he'd like. a snub so lately absolute i'm not going to tell you what right now. as always in australia as business discretion is required as the bargaining gets underway. and that's it from me on the made in germany team for today if you're like social.
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