Visiting the exhibition for strategic reasons The other day it happened again: I attended a vernissage for the exhibition of a hitherto unknown artist, more for strategic reasons than out of the intention of getting to know the artist. It is easy to explain what other reasons could be behind this: pure networking and / or exploring a potentially interesting exhibition location for me. But can I just ignore the artist? Can I just pursue my network interests at the vernissage? In my opinion, this is a question of being respectful among colleagues and the answer to these questions is no. For us artists, visiting an exhibition is not infrequently not just a leisure activity, but part of public relations. If I know the artist by chance (and also like her * his art) or she * has always wanted to get to know him (for example because I really like her * his art), that’s nice – and the cheaper case. (Un) welcome guests But that’s not always the case. I also often end up at exhibitions where art does not fascinate me at first glance. Of course, this does not do justice to the colleague in any way! I just have to put myself in her * his perspective: When I look forward to my own vernissage with joy, but also with inner tension, then I am guests who come to my exhibition and virtually “only fill the room”, but neither with me nor with me really want to talk about my art, not really welcome. I’d rather have a few fewer guests with me than have to find out that I’m not even welcome at my own vernissage. Respectful interaction with colleagues Maybe I’m too critical or too sensitive in this regard. But I’m certainly not the only one. I have therefore come up with a strategy for how I would like to behave respectfully at such events if I want to go there for reasons other than the art on display. First and foremost: I will IN ANY CASE talk to the artist. I prefer to do this and it works best when I catch her * him in a moment when she * he is not surrounded by a large cluster of other guests, but rather stands there with very few others, or even stands there all alone. It is worth waiting for such a moment of calm. In this conversation I am NOT THE FIRST introducing myself as an artist. Rather, this conversation is primarily about the person who is the focus of this event. Give the exchange a chance But what do I do now when I can’t do anything with the art on display or when it actually doesn’t interest me? Despite everything, I will give the conversation ONE CHANCE. But that doesn’t work if I express criticism from the start or immediately admit that “none of this appeals to me at all” and “I also do completely different art myself”. If I start a conversation with negative statements, the artist is put directly on the defensive. Self-confident personalities may not mind that, but not everyone gets along with it and can counter well. In the end, you will probably see your prejudices confirmed here. Asking questions as a strategy The insider tip is therefore QUESTIONS. There is basically nothing secret about questions, but many still often forget this simple possibility to broaden their own horizons. When I start asking questions about the art presented, I give the colleague a chance to open up. And I also give myself a chance to get involved with someone and something new. I have never regretted asking questions! Because in most cases I had very exciting conversations, got to know a wonderful new person and got an exclusive insight into her * his inner life through her * his art. In the end I went home truly enriched and sometimes even forgot to continue networking! Do you know that? Of course, that doesn’t always work. Because there are certainly people with whom I do not find any overlap. And that’s OK too! But in my experience these people are in the minority. Asking questions must also be practiced a little. It is by no means intended to be a pure question-and-answer game, a kind of ping pong. The conversation can only develop if you listen carefully and respond to the answers with additional questions. And every now and then you can and should share your opinion or describe your experience on a topic – as long as you don’t “accidentally” focus too much on yourself and your art. Find the right questions Make sure that you first ask questions that your colleague cannot put directly into a bredrouille like “Have you already sold something?” Or “Are you satisfied with the vernissge?” First, stick to questions that the most artists really like to answer. Make them as open as possible to leave plenty of room for answers, and don’t use leading questions that let you know your expected answer in advance. Be open and curious yourself and let yourself be surprised. These questions are suitable as an introduction to the conversation with the artist: At the beginning, choose the work of art that you – despite everything! – Most appealing: I like this best. How did it come about? Why did it come about? Where does your motivation for your art come from? What moves you the most Then: Can you explain that to me again in detail on this work of art? Do you want to convey a message with your art? What do you like the most when you work with this technique? This one recurring motif seems to be particularly important to you. I am curious and would be happy if you could explain the background to me. What is your personal favorite work of art in this room? Why is that? When is a work of art ready for you personally? Of course, there are also artists who would rather not answer such questions. Some would prefer not to talk about their art at all. Or they don’t want to talk to you about it. Then that’s the way it is! You don’t have to impose your (negative) opinion on them. If they don’t want to talk to you, then you do what you came here for: network or inspect the showroom.

The suffering of artists in the crisis The corona pandemic has changed our world. Many people are suddenly faced with unexpected challenges. Many artists around the world can no longer go about their normal business either: Galleries have closed or at least cannot hold vernissages to the usual extent, trade fairs have been canceled, orders have been canceled due to the economic crisis, studio visits or painting courses cannot or only to a great extent due to the contact restrictions The already and often precarious living and working situation of many freelance artists is suddenly moving towards a tangible existential need. Those who are “lucky” are only part-time artists and have a second mainstay that still works. New business models are developing But artists would not be artists if they did not develop creative ideas in this situation as well. After the first shock, new business models emerge which can often be implemented with little effort and little financial investment and whose products can be purchased for little money in order to create quick and easy purchase incentives. Artists also help each other where they can. In Spain, during the tough and long curfew, an artist network developed in which artists offer low-priced works for EUR 200 in order to promote them together and sell them to artists without livelihoods or other customers. Each participating artist undertook to invest the proceeds from the sale of the fifth work for EUR 200 in the purchase of the work of another artist from the network. The SommerKunstBlog supports artists who have ideas The SommerKunstBlog would like to offer artists to the public and present such business models. These are mostly very affordable offers that are implemented with simple means in order to keep the threshold for customers as low as possible. A first contribution on the topic has already appeared: 139 | WhatsApp painting course with Alejandro Carpintero from Madrid. This example shows how you can even give great painting courses via WhatsApp. The payment model was simple and inviting: the first weeks were practically free, the artist asked for donations and in the later weeks for a small double-digit contribution for further participation. As he said, this was also done out of consideration for those who had lost everything themselves. However, since he had several hundred participants during this time and many in the groups were absolutely enthusiastic, it can be assumed that he was able to survive the long weeks well. Art as added value in a society But it’s not just about art. It is also about how we want to live together in the future and what kind of society seems valuable to us. Many people are currently consciously supporting shops or restaurants in their immediate vicinity because it is important to them that they are still there after the crisis and because there is also a personal connection – in other words, added value. Whereas the new T-shirt from the great shop in the city has not been the focus of attention in the last few weeks. Art also provides added value. Now consciously support (other) artists so that they can make ends meet. In this way, artists can create added value for society with (new and additional) low-threshold offers and expand their customer base. Two more articles will appear shortly in the SommerKunstBlog, in which other simple business models will be presented: The Indian photographer Anjan Gosh is currently promoting his new photo book in digital format. And the Cologne artist André Böxkes has developed an exciting Polaroid project. What you can do? Support artists during the Corona crisis by buying a low-threshold product from them! Share offers from artists on social media channels so that they can expand their customer base. As an artist, tell others what strategy you have found and inspire them to develop one themselves!  

A dragon іѕ a manmade mythological creature thаt takes thе shape оf mаnу reptiles. Wіth thе bоdу оf a snake bеіng оnе feature, аnd thе hands аnd feet оf a lizard bеіng аnоthеr, thе dragon іѕ formed. Mаnу ancient artworks hаvе recorded іtѕ existence wіth ѕоmе еvеn depicting іtѕ fоrm, уеt a great number оf people hаvе attempted аt thе discoveries оf dragons іn thе past аnd mаnу hаvе pondered uроn thе authenticity оf thе existence оf thіѕ creature. It existed іn mаnу ancient civilizations аnd іt іѕ ѕtіll prevalent tо thіѕ day. Wіth thаt bеіng said, mаnу researchers hаvе deepened thеіr study іntо thе reasons fоr thе existence оf thіѕ creature. Apparently, аѕ thеіr research findings imply, a dragon іѕ аn ancient symbol оf certain things, аnd thіѕ symbol varires іn thеіr essence іn different societies аrоund thе world, bеіng thе reason fоr thеіr existence іn various historical artworks. Bоth іn Europe аnd іn Asia dragons wеrе prominent. Thеу represented different things tо thе different societies thаt existed іn thе twо continents. In ancient European mythological paintings оf dragons, dragons wеrе depicted аѕ creatures wіth hard backs thаt lived іn rivers оr caves underground. Thеу hаd different forms іn different parts оf Europe, ѕоmе wіth legs аnd оthеrѕ legless, but thеу wеrе аll classified аѕ dragons regardless оf thе forms thеу took tо thеmѕеlvеѕ. Sоmе famous examples аrе thе hydra, a water dragon іn Greek mythology, аnd thе Wyvern, a dragon wіth twо legs іn English mythology. Thеѕе dragons wеrе used аѕ a symbol іn ѕоmе paintings аnd medieval heraldry аll thrоughоut Europe. Sоmе stones wеrе еvеn carved іntо artistic representations dragons tо symbolize thе conflicts оf ѕоmе nations іn Europe. Hоwеvеr, оnе оf thе mоrе common depictions оf European dragons іn ancient artworks wаѕ thаt thеу wеrе оftеn characterized аѕ creatures tо bе despised аnd associated wіth elements ѕuсh аѕ destruction аnd thе like. In thе еаѕt, nаmеlу іn thе continent оf Asia, dragons hаd a mоrе peaceful image thаn thеіr European counterparts. Dragons іn thе еаѕt varied greatly іn thеіr looks аnd symbolic representation. Thеу differed greatly frоm European dragons thаt wеrе depicted аѕ evil аnd оftеn associated wіth themes оf destruction аnd agony, bеіng оn thе direct opposite ѕіdе оf thе spectrum. Asian dragons hаd mоrе оf a kind spirit thаt, rаthеr thаn promoting fіrе, promoted thе elements оf peaceful waters. Thе dragons іn Asia wеrе mоrе commonly characterized аѕ benevolent creatures thаt lived іn waters, аnd provided rain аnd sustenance fоr crop growth аnd similar activities. In ancient Chinese paintings аnd historical records оf dragons, Chinese dragons wеrе оftеn depicted аѕ having fіvе claws аnd wеrе able tо fly аnd control thе weather thаt іt yielded crops fоr farmers. Rivers wеrе оnе оf thе fеw places whеrе thеѕе creatures lived. Thеrе hаd bееn mаnу paintings thаt featured dragons аnd stone carvings thаt took thе shape оf dragons. Thе possible reason mау bе thаt mаnу hаd believed аnd worshipped thеѕе dragons аѕ gods.