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 exchanges, refine their elite tastes, and broaden their channels for cultural connections. The goal was not only to attract members but also to create a platform where art and intellect could intersect. Operating under the name "president," the club subtly avoided addressing the complex relationship between art and finance. However, the intense art market boom in 2010 added an unspoken layer of meaning to its existence. At that time, astronomical prices at auctions sparked many questions: Why do these artworks cost so much? Why now, and not before? The real reason behind the soaring prices wasn't about rediscovered value or increased public appreciation for art. It was simply because wealthy investors had plenty of money to spend. The booming art market, in essence, was driven by economic factors rather than artistic merit. Many affluent individuals found themselves disappointed by the stagnant stock market and the property sector, which failed to deliver significant returns. In search of a new investment avenue, they turned to the art world. As the "Tsinghua President Art Collection Club" claimed, the interest of university presidents in art collecting often came down to three things: making money, having influence, and managing public image. According to collector Ma Weidu, most Chinese collections are driven by investment motives, while Western collections tend to be more about personal enjoyment. However, transitioning from investment-based collecting to consumer-based collecting requires more than just time—it demands a cultural shift. Consumer collectors truly appreciate the artwork, not just for its resale value. To cultivate such a group, two conditions must be met: first, people should not see art as a financial tool; second, buyers need to develop some level of aesthetic understanding. While the first condition might be achievable within a generation, the second requires long-term education and exposure to art, something that cannot be rushed. In most mainland schools, art and music classes are often cut short due to the pressure of entrance exams. By the sixth grade, students are rarely exposed to any form of aesthetic education beyond basic art and music. Even though the "Tsinghua President Art Collection Club" offers courses in this area, it's ironic that the focus remains on investment rather than true appreciation. As for the broader artistic atmosphere, many people struggle to find it. Art galleries are hard to locate, and even when they are, the exhibits often fail to inspire confidence in the value of art. Visiting exhibitions can feel like a tiresome tour, with guides leading visitors around in circles before sending them home exhausted. An artist once remarked, “Chinese museums rely on renting space to acquire resources, which is no different from a migrant worker renting his body to earn a wage.” These institutions often don’t seek out quality works—only space. For those who believe that a new era of art and collection is dawning in China, it’s wise to remain cautious. The current hype may be more about speculation than genuine passion for art.

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