How far is the consumer collection from us?

In 2010, during the Christmas season, the "Tsinghua President Art Collection Club" was officially founded. Organized by the president of Tsinghua University and the Friendship Society, this club aimed to enhance members' ability to engage in high-level cultural exchanges, refine their elite taste, and expand their access to exclusive networks—goals that were heavily promoted to attract a select group of individuals. The club’s name, which included the word “president,” subtly hinted at the complex relationship between art and wealth. The unusually booming art market of 2010 added another layer of intrigue. People began questioning why certain artworks commanded such exorbitant prices, and why some pieces suddenly became highly valuable while others remained overlooked. The real reason behind the surge in art prices wasn’t necessarily about artistic value or increased public appreciation. Instead, it was driven by an influx of money from wealthy investors who were seeking new avenues for investment. This growing interest in the art market reflected more of an economic trend than a cultural renaissance. Many affluent individuals found themselves disillusioned by the stagnant stock market and the volatile property sector. As a result, they turned their attention to the art world, where they could invest and potentially profit. According to the club's promotional materials, the president’s involvement in art collecting was not just about passion—it was also about making money, managing family affairs, and enhancing public image. As collector Ma Weidu pointed out, most Chinese collections are primarily investment-driven, while Western collections tend to be more about personal enjoyment. However, transitioning from investment-based collecting to true consumer collecting—where people collect for love rather than profit—requires time and cultural development. To foster a generation of genuine art enthusiasts, two key conditions must be met: first, art should not be treated as a financial asset, and second, buyers need to develop a deeper understanding of aesthetics. While the first condition might be achievable within a generation, the second requires long-term education and exposure to the arts. In many schools on the mainland, art and music classes are often cut short due to the pressure of entrance exams. Children rarely receive any meaningful education in aesthetics beyond basic art or music classes. Although the Tsinghua President Art Collection Club offers courses in this area, its focus remains on investment rather than genuine appreciation. The lack of a vibrant artistic atmosphere is also evident. Many people struggle to find art galleries or cultural spaces. Even when they do, the exhibits often fail to inspire confidence in the value of art. As one artist remarked, “Chinese museums rely on renting space to display their collections, much like a migrant worker renting his body to earn a living.” These institutions don’t prioritize quality over quantity. For those who believe that a new era of artistic growth is upon us, it’s important to remain cautious. While the art market may seem to be thriving, it’s crucial to question the motivations behind the frenzy and consider what truly constitutes a healthy and meaningful art culture.

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