When we think about a buyer of a work of art, we have an image of a specific person with specific values that guide his life. An enlightened man, a man of the world. A globalist, because it seems that in these times, globalization in some form is inevitable. This applies to all industries. At least, that's what we think. Even looking at such specific and local workshops as shoemakers, it turns out that they all use components produced mainly in Asia. In art, we also deal with big names, brands that have taken over the market on a global scale. It will be a short list, 50, maybe 80 names. Outside of this mainstream, there is plenty of local art in circulation. I was somewhat surprised when I went to TateBritain to see the Fin ce cicle art exhibition. All presented artists, of a very good standard, were representatives of the British art market of that period. What about the rest of the foreign big names? Nothing, there were none, period. The same applies to other exhibitions. While London, in the first public transport zone, is still full of artistic events from all over the world, although it is not so much open as it is forced to commune with other nations, many smaller cultural centers of the West absolutely do not allow artists from other countries to visit them, or do so - reluctantly. The result of this is a situation in which the best contemporary art gallery in Prague is the one dedicated to Central European art, and you will find much fewer tourists than in other parts of the city... Of course. Is contemporary art of the Czechs and their neighbors of a lower quality than that from years ago? Is it really worth coming to see one of the most beautiful cities in the world, without being interested in what direction the art of the descendants of these artists and creators is heading? There is one exception to this strongly national trend. Interestingly, young African art clearly exceeds this standard, finding space on the walls of both private and public galleries in all corners of the Western world. However, it is still folklore that we look at from a distance. The truth is that it's a bit trendy to have African art above the sofa. An artist's breakthrough to the audience is a difficult struggle, which is doomed to failure abroad. Art, despite its missionary function, is still very racist. Apartheid in art is a fact. Despite many years since the physical removal of world barriers, it still divides Europe into small fragments and the entire globe. It makes distinctions between the rich and the poor, those who are powerless and those who can get into Hollywood without a visa. Will this change? Time will tell.
