Hyper-art

The age of aesthetics inflation is offset, des-hierarchical, and structurally eclectic.

We are in a fragmented culture, Balkanized, where they multiply many different miscegenation, where cohabit the most dissimilar styles, where the cool trends proliferate without order, without temporal regularity, worthless unit. With transaesthetic capitalism triumphs a chaotic profusion of styles in a huge supermarket trends and looks in fashion and design. It's a jarring proliferation, unregulated, featuring contemporary aesthetic field, parallel to economic deregulation, which constitutes the turbo capitalism.

Found in all the great museums of the world works or exhibitions of these contemporary artists in vogue.

According to the World Tourism Organization, has become, with its 900 million international travelers, the world's first industry, representing around 12% of world GDP. Never exhibitions and museums were such frequency records, 8.8 million to the Louvre, 6.5 million for the Palace of Versailles, 3.6 million from the Pompidou Centre in 2011.

The inflationary dynamics not confined to objects, styles and trends but also to classified monuments (in France has 38,000 historical monuments and picturesque villages 300) and art exhibition spaces. First, museums and contemporary art centers: worldwide, the number of museums increases 10% every five years, was in the United States before 1920, 1200 museums and about 8,000 in the early 80. It is said sometimes, by grace, which creates a museum by day in Europe: more than 30,000 museums are now classified in the 27 countries of the European Union. Paris alone has more than 150 museums. The number of museums in France is the subject of debate: in 2003, France Museums Direction declared in 1200 in the category of "museums of France," but beyond this category some guides publish lists ranging from 5000 to 10,000 museums. There is hardly a community that would not have "his" museum, as identity affirmation signal and which is not least as susceptible tourist attraction center to generate visitors and therefore commercial repercussions.

During the 80s, the number of art galleries experienced a great increase and has almost doubled. In 1988, the number of galleries rose pair 848. Many of these galleries have a very short duration, which has caused, and its mortality rate offset by a high birth rate, the number remains relatively stable. The Bill'art guide 2004 edition had 590 galleries of modern and contemporary art and estimated about 6000 places "open to the public with the vocation to present all forms of art." Galleries, in fact, continue to multiply while the art market, leaving the limits of the West, globalizes. At present there are thousands of galleries and art spaces that present in Shanghai, Sao Paulo, Istanbul, Abu Dhabi, thousands of exhibitions and tens of thousands of works of artists, they now are numerous.

Wave that also reveals a proliferation of biennials, exhibitions and international art fairs worldwide. After the Kassel Documenta and the Venice Biennale, we now have over a hundred biennials, which have hundreds and thousands of artists. More than 260 fairs are arranged annually around the world. Asia is already participating on an equal footing: the fair Art Stage Singapore met in 2012, 140 galleries and Hong Kong Art, twice. Which joins the parallel fairs or "off", joining younger galleries, less established and who are less known and less expensive artists. In Paris, in 2009, FIAC had 203 galleries of 210 countries, and even more 4 off fairs and 73 exhibitions. In 2010, Art Basel Miami received 2000 artists, 29 countries and 250 galleries, while a multitude of fairs and parallel events unfolded a little everywhere in the city. Fairs that are organized in network now, and that function as multinational Art: Art Basel, after Basel invested in Miami and Hong Kong, and the English Frieze fair spread to New York. And the process of expansion widened even with VIP Art Fair, the first art fair online that met in 2011, during a week, 130 international galleries presenting 7500 works and 2000 artists.

With the artistic capitalism, the small world of old-art led to the hyper-art, superabundant, proliferating and globalized, where the distinctions between art, business and luxury disappear. Here, the profusion (works and demonstrations) has nothing to do with the waste "damn part", according with Georges Bataille; it shows the new face of artistic capitalism, to adapt effectively to the global proliferation of large fortunes and collectors, investors and other speculators, created a marketing system and dissemination of art internationally.