The painting "Skating Giacometti" illustrates the problem of investing in the "right" thing within the visual arts, and poses the question: is it advisable to orient oneself towards the tried and tested museum track, or rather the other extreme, namely art from the supermarket?
That, in any case, is yet to come and is already partly here - because art has long since ceased to be merely elitist.
The bronze figure on the skateboard is actually "L'homme qui marche I" by the Swiss sculptor of the century Alberto Giacometti. In 2010, this work was the most expensive artwork ever sold at an art auction to date.
By the way, "L'homme qui marche" is also depicted on the Swiss 100 franc note - the symbolic power of "L'homme qui marche" is probably unique in terms of value investment, and thus the ideal occupation for my artistic examination of the topic of art as a value investment.
In this painting, the sovereign-elitist figure is just leaving the Solomon R. Guggenheim Museum in New York, casually skating out into the open on his skateboard, out into the real world - where he had once come from. The skateboard is an important indication that the "L'homme qui marche" can rightly relax completely - because he has made it to the zenith of the art world - he can now do what he wants, does not have to market himself further or maintain a certain tactical form that serves his marketing. He skates as he pleases, because he is now truly free.
The Guggenheim Museum, one of the most important museums of modernism, as well as of contemporary art, stands here for the highest authority in the art world. Anyone exhibited here has made it to the last rung of the ladder of success.
The zebra crossing that "L'homme qui marche" is about to cross symbolises the "Guggenheim's path of protection", which Giacometti will follow from now on.
The sign of the supermarket chain "Aldi", stands for mass-produced goods that everyone can afford. This sign is not yet on the (or such a) safety path, but it is certainly on the verge of also marking a serious place for art.
A glimpse into the future of art, then. Art in and out of the supermarket. Art for everyone. No need to be rich.
The mule with its heavy, bulky cart stands for the inexperienced and still clueless collector. What's more, it has no reins and is therefore without direction and orientation. It has to decide for itself in which direction to turn, weighs up, and stands alone between the two extremes. Somewhat closer to the familiar Aldi - but still and rightly fascinated by the aloof and busy Giacometti.
Seeing through and understanding the art market, apart from the high-priced but considered "safe" art investment guarantors such as Giacometti, Picasso and Co, confronts the interested art investor with big, hard-to-make decisions.