We know Hans Christian Andersen stories well and this article alludes to this fairytale. This composed title can well be that of a children´s book. Therefore I would like to challenge you to play a little game.

Let us compose Dossiers like the ones emerging artists take to Galleries to find a rep. In the first one, we could include images of the works exhibited by Damien Hirst in his last two exhibitions at Palazzo Grazzi and Punta de la Dogana (both spectacular venues designed by Tadeo Ando, ​​belonging to the François Pinault Foundation in Venice). Few pieces of the great set of "The Treasures of a Wreck of the Incredible will manage to pass the judgement of the most lax viewer.

Without demeaning the colossal project, the striving and impeccable production and the costly execution invested by Hirst and sponsors, I wonder if Pinault, such a versed and well known collector, had a “sneak preview” of this body of work over the decade they claim it´s development lasted. Obviously the certainty of its sales excelled its criteria.

The same exercise applied to a number of files of some artists that have managed to position themselves among the most quoted, would yield similar results when exposed under another name. Contrary to these examples, so much talent lags behind. The complex platform of commerce that surrounds the Art World is quite tough to unravel depending on so many factors. After all, artists involved in the vast artistic world want to stand out, as professionals would do in their own fields. But they carry an extra burden: the need of fame.

While in the process of forming collections and wanting to maintain its value or even increase it, established names are a first choice for many collectors. It would be so rewarding that this process of selection may entail a more personal and certainly more visceral response
By Iris Ramler