Working to consolidate and promote the collectable market of audiovisual art
ONE consolidation Online: 70 member galleries worldwide, 500 videoart works from 200 artists, over 200,000 annual visitors, and 120,000 professional subscribers.
How does it work?
An online showroom is created for each art gallery, exhibiting their inventory of audiovisual artworks. Standards for video artwork editions - created and registered by Video Art World - insure a secure and transparent market for audiovisual art collectors.
Once the gallery enters Video Art World, they become part of our specialized network of galleries, artists, curators, museums and private collectors from around the world. We have a collective of distinguished curators and critics collaborating internationally to promote our member galleries in art exhibitions, fairs, festivals and conferences.
Highlights of Video Art World Initiatives Art Exhibitions at Museums and Biennials: Centre Pompidou; MoCA Seoul; HARA Tokyo; Chelsea Museum of Art; CCCB; Fundaci贸 Joan Mir贸; Fundaci贸n Botin; MANIFESTA; TINA B; Wroclav Biennial; selected works at Venice Biennale 2005, 2007, 2009...
Intervened Nature, curated by Alanna Lockward
Organization of Art Fairs and Festivals: DIVA, Paris and New York; VIVA international; BAC! Barcelona Art Contemporani Festival...
Contact Video Art World membership inquiry__Ted Delano email@example.com general firstname.lastname@example.org
Conferences: ArtBasel, Cervantes Institute, Rencontres Internacionals, WhiteBox, Technart, Kinetika, various Universities... Television Collaborations: ARTE, artnetTV, Marcel Lecram, Metropolis...
Barcelona I Berlin I London I Mexico City I Miami I New York I Paris I Rome I Tokyo
Art market professionals developed these VideoArtWorld standars supported by lawyers specialized in intellectual property rights, with the aim of establishing and promoting the industry worldwide, and serving the entire community. With this common eﬀort, the art of moving images can reach the level of importance and respect that other multipliable art mediums such as photography, sculpture and prints have enjoyed for decades. What does VideoArtWorld have to oﬀer? - It cataloges and promotes your audiovisual inventory in the right way
· Public registration of the works’ copyrights and other suitable licenses, protecting the work from unwanted usage. Excerpts and full visualizations are non-downloadable ﬁles, reproduced in high quality resolution but with a protective watermark on top.
Why VideoArtWorld? - Because we know what we are doing VideoArtWorld is a unique organization strongly focused on establishing the value and importance of New Media Art and its historical signiﬁcance. It is responsible for developing online resources, exhibitions, publications, conferences and symposiums in diverse countries, bringing together a great number of renowned critics, curators, collectors, dealers and other professionals in the ﬁeld. VideoArtWorld has helped create a clear, solid and extremely attractive market for a new wave of collectors who are interested in this important contemporary art form. The pioneering model resolves many of the handicaps that audiovisual art has been facing in the market for the past 30 years, making a wide divulgation of the work compatible with a secure market for private and public collectors. The platform sets up the standards that consolidate the collectable market of original certiﬁed editions of video and installation art worldwide. In order to be part of the VideoArtWorld network, the artwork needs to follow these edition standards. This means that it is edited under the following editions possibilities, and its speciﬁcations are clearly published: • ORIGINAL MASTERS LIMITED EDITION – Issued with the smallest compression, in Digital BetaCam, Mini DV or Hard Drive, with the highest quality content. It should be signed by the artist, and include the certiﬁcation for exhibition and re-sale rights. Often issued in edition of 1, 3, 5, 7 or 15 copies, plus 2 artist’s copies, being purchased to become part of collections that have the right and responsibility to restore it when necessary, assuring the preservation and protection of its full quality within years to come. • OPEN EDITION FOR EXHIBITION’S DISTRIBUTION – Issued with exhibition quality, often in DVD with small compression, they have the right to be rented for exhibitions. A distributor often manages this rental activity, but the representative gallery or the artist himself can also manage it. This edition cannot be re-sold within the art market. The media libraries of certain museums (mediatekes) often acquires this edition for their archive at a lower price than the Original Edition, but are not part of the Museum’s Collection of Originals and can only be exhibited within their Library facilities. • COPIES OPEN EDITION – Compressed copies for private and educational use, normally issued in DVD, pen-drives, Internet ﬁles or mobile technologies. These copies do not have the right to be publicly displayed nor re-sold within the art market. They are given for divulgation to the press, critics, curators, general public, artist’s friends and they can be massively distributed by a DVD publisher, promoting the work’s general awareness without breaking its market of originals. This procedure extends the life of the piece once the original set is sold out, since it allows the work to continue reaching new audiences.
· Communication technologies help promote the artwork and increase its value: 25 seconds excerpts are open to general public while curators, press, collectors and other professionals may provide their contact information to the gallery in order to access the full version in a private and comfortable way. This service avoids the need to mail copies and appeals to a highly specialized international audience from all over the world, therefore increasing the gallery’s network of contacts and opportunities. · The piece is viewed inside a context, along with its synopsis, date, duration, installation display requirements, exhibition trajectory and the list of patronage collections that already own an original piece of the work. Pricing of the works can be clearly published and periodically updated. Such a detailed display helps curators and collectors ﬁnd works that suit their lines of interest. · Artworks reach higher recognition whilst still respecting the acquisition standards of serious collectors, museums and patronage public collections. The visitor becomes aware of the artist’s trajectory within a visual archive of top Video Art ﬁgures retrospectives, from early stages to today’s creations, as well as other relevant information such as auction results, international news, critics reviews, publications and an agenda of events and related links. · Representative gallery has the ﬂexibility to market each artwork the way in which the gallery and the artist have agreed upon, since diﬀerent strategies are suitable. The common standard is to show the current original set price and the requested fee for public exhibition rentals. Galleries can get the support of VideoArtWorld for the exhibition rentals and the non-certiﬁed copies for private and educational use, which can provide another source of income. · The open calls section provides information about awards, commissions, grants and workshops that many institutions oﬀer. Museums, foundations, festivals and fairs can also broadcast their related programs through video graphic documentation of their exhibitions and conferences. · Thanks to the international network of curators and organizations that collaborates with VideoArtWorld, we organize a number of exhibitions taking place in some of the most interesting venues throughout the world yieling a higher international acknowledgment. How can you be part of VideoArtWorld? – By sending us a copy of your inventory and the detailed information requested to: VideoArtWorld Tech Dept Abada 2, Oﬃce 2D 6 28013 / Madrid / Spain galleries@VideoArtWorld.com We greatly appreciate your support and attention, and please feel Welcome to VideoArtWorld!
OFF-LINE ACTIVITIES: · Jul.11 – Auction: "Video Art Affair", Casa Colonial del Valle, Mexico City (Mexico) and Dia Center, New York (USA) · May.11 – Exhibition: “BE.Bop 2012. Black Europe Body Politics” – Curated by Alanna Lockward. Decolonial Aesthetics, Exhibiton and symposium organized by Walter Mignolo, Trinity College, Duke University, South Carolina (USA) · May.11 – Exhibition: "Morpho-logy: The aesthetics of Science", XVIII Media Biennial of Wroclaw (Poland) · Apr.11 – Exhibition: "Elemental Fluid" CAM Alcoi, Alicante (Spain) · Apr.11- Exhibition. “Filipa César – The Embassy”- Curated by Alanna Lockward. Haus der Kulturen der Welt, Berlin (Germany) · Mar.11 – Masterclass: "Audiovisual Art History", University of Cordoba (Spain) · Mar.11 - Conference: "Wild at Hair : German Decolonial Hair and Skin politics in the work of IngridMwangiRobertHutter”, by Alanna Lockward at Uppsala University (Sweden) and Columbia University, New York (USA) · Mar.11 – Fair: "Moving Image Art Fair”, New York (USA) · Feb.11 – Masterclass: "Audiovisual Contemporary Art History", CAM Alcoi, Alicante (Spain) · Feb.11 – Conference: "Black German European Diaspor and the Decolonial Option” . Alanna Lockward. Den Frie Center for Contemporary Art, Copenhaguen (Dennmark) · Jan.11 – Conference: "Decolonial Aesthetics“. Visual Cultures Forum, organized by Maitre Abdoulaye Wade, president of Senegal. Dakar (Senegal) · Dec.10 – Screening: “VIVA : Collector Choices”, Centre Pompidou, Paris (France) · Nov.10 – Conversation: "Cultural Relations between Spain and Korea: Video Art", Sangsangmadan Center, Seoul (South Korea) · Nov.10 – Screening: “VIVA : Collector Choices”, Hara Museum, Tokyo (Japan) · Nov.10 – Festival: "Entering the Fourth Dimention", XI Edition BAC! Barcelona Art Contemporani Festival: “Japan Timeless” / "Japan Timeless" (curated by Menene Gras) / “Timeless Internacional” (curated by Ana de Alvear) / “Art Animation” (curated by Damian Perea) / “Artistic Short Film” (curated by Javier Muñiz) / “Stop emotion” (curated by Adrian Encinas) / “Experimental Textures” (curated by Gye-Joong Kim) / “Musiclip” (curated by Carmen Sanfrancisco) / “Moving performances” (curated by Emma Pills and Juanjo Fernandez) / “Time for techonolgy”, “Time for reflection”, “Time for beauty” and “Time for a change” (curated by Macu Morán) · Nov.10 – Exhitibion: "In the Mood for today", public screens of Calles Huertas and Doctor Fourquet and HUB Madrid, Madrid (Spain) and Big Screen Project, New York (USA) · Nov.10 – Exhibition: "Conquest of the dreamed city", Festival Experimenta!, Sao Paulo (Brazil) and Mouvart, Marsella (France) · Oct.10 – Exhibition "Capturing North African Sunbeams”, MANIFESTA 8, European Art Contemporary Biennial, Murcia (Spain) · Sept.10 – Exhibition: "Restless (e)motion", Selection of Spanish Video Art for the National Museum of Korea, MoCA Seoul (South Korea) · Sept.10 – Screening: “VIVA : Collector Choices”, IV Festival of Experimental Film and Video, EXiS, Seoul (South Korea) · Aug.10 – Screening: "Hip & Cool" - Picknic Festival. Marcelino Botín Foundation, Santander (Spain) · June.10 – Exhibition: "Videographics from Peru" - Foundation Temas de Arte and Foundation Alianza Hispánica, Madrid (Spain) and TV Program Metropolis, National Spanish Television, TVE (Spain) · April.10 – Conference: "Editions of audiovisual artworks", Sala Alcalá 31, Rencontres Internacionales Festival Madrid (Spain), Berlin (Germany) and Paris (France) · Dec.09 – Conversation: “The Future of Video Art" - Madatac, Maria Pialler, director of Metropolis TVE, Macu Moran director of VideoArtWorld, Carlos Trigueros, editor of Hamaca and Iury Lech, director of Madatac Festival, Instituto Cervantes, Madrid (Spain) · Dec. 2009 – Exhibition: “Truestories.Truesuccess“ – Curated by Alanna Lockward. Freies Museum Berlin (Germany)
· Nov.09 – Exhibition: “Indomitable Women” – Audiovisual section from 10th Edition of Barcelona Art Contemporari Festival. Curated by Macu Morán. 82 Women artists selection, homage to the early pioneers of Video Art and current practices. Fundació Miró and CCCB, Barcelona (Spain) · Jun.09 – Conversation: “Changes in Representation in Art & Sciences” – Moderated by Macu Morán, with Don Foresta, Director of Marcel Lecram Network, Paris, and Michael Doser, Director of the Physics Department of the CERN, European Center for Nuclear Research, Genève. Art Lobby, Art Basel Fair, Basel (Switzerland) · Jun.09 – Conversation: “What makes a masterpiece: Copyright & Copyleft in the Visual Arts”- Moderated by Macu Morán, with Don Foresta and Anthony Haden-Guest. Hot Art Fair, Basel (Switzerland) · Feb.09 - Research: “ARS ANTHOLOGY” Almanac on the exhibition activity for Technology-based art. With the support of over 300 museums and art centers worldwide, exhibiting new media and technology based art. · Dec.08 – Screening: “Thresholds” – Curated by Susana Salinas, Fundación Temas de Arte, Mercado de las Flores, Madrid (Spain) · Nov.08 – Exhibition: “The Natu(aln)e(ss) of Performance” – Curated by Alanna Lockward, Juan Ramón Barbancho, Nio Casares and Andres Isaac Santana. First Cycle of Intervened Nature, Espacio Iniciarte, Santa Lucia Church, Andalusean Culture Council, Seville (Spain) · Nov.08 – Conversation: “Tribute to Wolf Vostell” – Macu Morán with Alanna Lockward and Rafael Vostell. DiVA Fair. Paris (France) · Nov.08 – Conversation: “The Art Market: Passion or Investment”. Moderated by Cecilia Lobel, participating Lourdes Fernández and Macu Morán, Cal Massó Center, Reus, Tarragona (Spain) · Jul.08 – Exhibition: “Alternative Revolutions”– Curated by Blanca de la Torre at TiNA Biennial, Prague (Czech Republic) · Jul.08 – Exhibition: “Sonata for a Body: Lectures and References” – Curated by Juan Ramón Barbancho, VideoAkt Show, directed by Angie Bonino at GlogauAIR Art Center, Berlin (Germany) and LOOP Festival, Barcelona (Spain) · Jul.08 – Screening: “Fire, Water, Dust and Salt” – Curated by Blanca de la Torre, Tramuntana Festival, Cadaques, Girona (Spain) · Jun.08 – Conversation: “How Contemporary Art would be without video?” – Berta Sichel with: Julião Sarmento, Adrian Paci, Hans Op de Beeck, Hiraki Sawa. Art Lobby, Art Basel Fair. Basel (Switzerland) · May.08 – Conference: “Imagery and Gender in the visual Dominican Tradition” – Given by Alanna Lockward. Casa America de Cataluña, Festival LOOP, Barcelona (Spain) · May.08 – Exhibition: “The Promise Land” – Curated by Blanca de la Torre. Chelsea Art Museum. New York (USA) · Abr.08 – Conference: “Time-Based Art dynamic”. Given by Macu Morán. TECHNART symposium on Art & New technologies. Bilbao (Spain) · Mar.08 – Conversation: “Video Avant Garde: Early experiences” – Moderated by Thyrza Goodeve, with: Roger Welch; Dara Birnbaum; Carolee Schneemann; Joan Logue. WHITE BOX. New York (USA) · Mar.08 – Projection: “Corporal Landscapes” – Curated by Blanca de la Torre. WHITE BOX. New York (USA) · Mar.08 – Conversation: “Video Art Market: Collecting the intangible heritage” - Moderated by Macu Morán, with: Rafael Vostell; Alice Judelson; Lori Zippay; Harry Stendhal. WHITE BOX. New York (USA) · Mar.08 – Projection: “Out of the Box” – Curated by Heide Hatry and Elga Wimmer. WHITE BOX. New York (USA) · Mar.08 – Conversation: “Curating Time-based art: The 4th Dimension”. Amanda McDonald Crowley; Natalie Angles; James Wagner; Eric Shiner; Marco Antonini; Heide Hatry; Micaela Giovannotti; Raphaele Shirley; Michelle Handelman. WHITE BOX. New York (USA) · Mar.08 – Projection: “Snake on a Tree” – Curated by Marco Antonini . WHITE BOX. New York (USA) · Mar.08 –Projection: “Arrivals & Departures”��� Curated by Micaela Giovannotti. WHITE BOX. New York (USA) · Mar.07 – Conversation: “Globalization effects in Art” – Moderated by Blanca Soto with: Jonathan Goodman, Macu Morán, Laura Revuelta and Maria Baro. Cervantes Institute. New York (USA)
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