Anita Beckers Gallery, Düsseldorf (DE)


Born in 1947, has experience in collecting contemporary and video art for more than 40 years. In 1995 she founded a gallery for contemporary and video art. She has been active in various areas of moving image. From 2003 to 2010 she was co-organizer of the video art fair LOOP in Barcelona. In 2005 she received video art award from Saarländischer Rundfunk for the mediation of video art. In 2012 she founded the video platform blinkvideo with Julia Soekeland. From 2013 to 2017 she was curator for time based media for the B3 Biennale in Frankfurt.


Selling Time-Based Art and Resulting Obligations

The focus of my contribution is on gallery adaptability with artistic examples and on the idea that new media should not be separated from traditional media, but they can be seen as a network that supports each other.(For example, making traditional media available to the market and creating new media that will establish themselves socially through biennials and other exhibitions. Keeping a cycle alive that always integrates innovative art and thus builds on scientific and technical knowledge.)
As an example, I would like to compare the artistic approaches of Daniel Canogar and Igor Simic in dealing with the Internet.
It is important to update art history analogously and digitally. This means that the classical museums must also be more open to the influence of technology on contemporary art production, or they must be limited in their respective countries to individual institutions such as the ZKM in Germany or the Centre Pompidou in Paris, which are potent enough to accompany and archive the results of artistic and scientific discussions for the future.
Whether the traditional gallery in the Internet age can still be the place at all, whether artists can get help in the mediation is an existential question. Time-based art represents a tiny percentage of the art market and this market has so far only opened up selectively for a few “artist stars” from the technology-based field.
Just as the Internet opens up undreamt-of possibilities for communication and productive networking, it has also destroyed existing structures at the same time. Every player in this large field had to and has to continuously adapt his behavior.
The galleries that want to accompany the contemporary art discourse must ask themselves how much time-based art they must/can integrate into their traditional program. As long as the latest developments in the field of art are being negotiated, such as at biennials and other major events, it is essential not to build up parallel worlds, but to network everything.