Art World Research Articles

Immersive and virtual exhibitions: A reflection on… art?

This paper explores the conceptualization and evolution of virtual exhibitions and immersive art experiences, highlighting their distinctions and similarities. Virtual exhibitions, conducted online or through digital media, offer a platform for showcasing artworks to a global audience without physical constraints. They employ multimedia elements to engage viewers and provide flexibility in exploration. Conversely, immersive art experiences create environments that envelop the viewer, stimulating multiple senses and often incorporating advanced technologies, such as virtual reality and augmented reality. These experiences aim to evoke emotional responses and facilitate active engagement with the artwork. While proponents argue that virtual exhibitions and immersive art experiences democratize access to art and offer new avenues for artistic expression, critics have raised concerns about their impact on authenticity, viewer engagement, and art commercialization. Philosophical and cultural perspectives, including phenomenology and postmodern theory, shed light on the complexities of these art forms and their relationship with reality and simulation. This paper, further, examines the social and business implications of virtual exhibitions and immersive art experiences, noting their growing popularity and influence on the art market. It discusses the viewpoints of artists, critics, and scholars, both supportive and critical, regarding technology’s role in art and its effects on the viewer’s experience. Virtual exhibitions and immersive art experiences represent an evolving landscape in the art world, offering opportunities for innovation and debate. Their impact on the perception and consumption of art remains a subject of ongoing discussion. The paper concludes with a review of successful virtual exhibitions, highlighting their role in expanding access to art and cultural experiences globally.

NFT: An Episode in Digital Arts

The development of digital art has been marked by numerous transformative phases, with the rise of NFTs (non-fungible tokens) representing a pivotal moment in its evolution. This paper posits that the ascent of NFT art is closely linked to the COVID-19 pandemic, which catalyzed a shift towards digital mediums and redefined the relationship between art and technology. NFTs not only revolutionized the creation, distribution, and monetization of digital art by embedding databases and data archives into the artwork itself, but they also challenged traditional notions of ownership and value in the art world. This study examines how NFTs altered the perception of digital art, particularly during the pandemic, and investigates the factors contributing to the subsequent decline in their prominence after the initial surge of interest.

Martha Argerich and the Queer Histories of Feminine Pianism

Charges of eccentricity have long clung to the Argentine pianist Martha Argerich. Flouting many of the conventions governing classical performance, Argerich has openly resisted professional and identitarian confinement, admitting that she “[doesn’t] want to be a pianist” and has never “felt like a woman.” Indeed, reviews of her performances are littered with impressions of disorientation attributed to the subtleties of her gendered transgressions coupled with her corporeal stillness in performance. This fixation on stillness invokes a history traceable to eighteenth-century music criticism, wherein descriptions of stillness policed the borders of palatable gender expression. This phenomenon of stillness would come to condition the figure of the “virtuosa” and, persisting into the twentieth century, complicates prevailing narratives centering the great men of piano performance history. This article takes Argerich’s performances as invitations to look back toward the tradition of feminine virtuosity to which she belongs, while exploring the ways in which she challenges its gendered limitations. I argue that the tensions underpinning her self-professed gender ambivalence and professional dissatisfaction are enacted through the virtuosic choreography she fashions in performance—a choreography that both reinscribes and traverses the borders of feminine virtuosity. I thus read her performances as queer enactments of her gender disidentification. I then turn toward Argerich’s world of artists misaligned with the demands of classical performance. Her commune has provided refuge not only for this community of outcasts but also for those who have never shared a space with Argerich, yet nonetheless stumble upon the traces of her aberrant desires.

Fair Games—Curating New Music

The authors of “Defragmentation: Curating Contemporary Music,” a special issue of the Darmstädter Beiträge zur Neuen Musik published in 2019, considered all aspects of any given artistic event as fair game for curation. They suggested that not only could the choice of pieces, soloists, conductors, and ensembles be (re)tooled (including even site-specific aspects), but the roles of the musicians and audience and even value regimes could be instrumentalized to accord with the artistic demands of the curator. In her introduction to the special issue, Dorothee Richter argued that curation should be a “practice that is deeply involved in the politics of display, politics of site, politics of transfer and translation, and regimes of visibility.” If we understand politics with Jacques Rancière as “giving form to the social,” then Richter suggests that every thinkable manner in which people relate can, and should, be weighed when programming a concert. Curators need to reflect and act upon the way relationships in our world are displayed, the interplay involved on site, the participation or lack thereof of an audience, the participants’ ability to understand, enjoy, and be entertained, and even the audience’s and presenter’s perceived positions in society and how they play out in concert. Writing as a performer-researcher, a cultural-sociologist, and a musicologist, and drawing on previous research in the visual arts, we discuss the impact of the curator within the European new music world. We question the curator’s central role and probe shifts in power relations between festival directors, receptive venues, and performing ensembles. In our view, the rise of the curator in the new music world leads us in at least two distinct directions. First, as in the visual arts world, the individual curator may assume the role of the new protagonist, displacing the performing artists from their throne. When this occurs, curating takes place in a game of mutual competition, distinction, and exploitation, in which illustration of an abstract idea or concept prevails over musical experience. Alternatively, curating may become a collective affair and responsibility along the lines of commoning principles, in which curating returns to its etymological roots as a form of caring for each other and for both the tradition and the future of music.

Visibility in the Italian Art World: How Far Along We Are

Even though the concept of “nationality” when we talk about an internationally acclaimed artists is more and more blurred and has little to do with the importance of the artworks, it is evident how small the Italian art presence in great international art manifestations is, sometimes almost negligible. It is then necessary to understand the causes of this situation, to draw a map of the current state of the contemporary Italian scene and state some resolutions from it. The first 2022 Report “How (well) known is Italian art abroad?” by BBS-Lombard Benefit Corporation, together with Arte Generali has investigated how much Italian contemporary artists are (in)visible in the international art market, laying the groundwork for a much more in-depth research of the art system, with the ultimate purpose of giving new solutions to overcome this situation, wandering whether Italian art has a business model with (still) some gray areas - unlike almost all other product sectors – and how building an economy to bridge the gap, having a market strategy and being attractive in the international positioning can be a strategic move. The study was conducted carrying out both qualitative and quantitative analysis throughout more than 20 interviews to Italian curators internationally known that have helped us understand causes, strengths and weaknesses of the Italian art system and a big data collection about the presence of Italian artist in international museums, art manifestations, biennials, such as Biennale di Venezia and documenta, international art galleries and auctions. The global media coverage of Italian artists was analyzed with the help of Artiker and through the artificial intelligence of Wondeur AI, partner of Arte Generali, it was possible to analyze the relationship between art development and cities, considering the city’s overall success rate (percentages of artists showing growth in the city) and the city’s risk propensity (ability to attract artists). The instrument of the Italian Council was also studied, the main MIC project (Italian Ministry for Culture) in support of Italian art and the initiatives of Italian cultural institutes abroad. From the overall analysis some relevant names have emerged: Francesco Vezzoli, Monica Bonvicini, Enrico David, Paola Pivi, Tatiana Trouvè, Roberto Cuoghi, Rosa Barba, Massimiliano Cattelan (above all) and a few others, all united by a time of study or work abroad which allowed them to create valuable relationships with curators, galleries and museums abroad.

Palimpsestuous Fragmentation in James Cahill’s Tiepolo Blue

ABSTRACT This paper delves into James Cahill’s debut novel, Tiepolo Blue (2022), as an updating of postmodern gay novels like Alan Hollinghurst’s Booker-Prize winner The Line of Beauty (2004). To prove the postness of Tiepolo Blue, some aspects will be addressed. First of all, the novel revises the relation between ethics and aesthetics, for Don, the protagonist, is able to overcome the aporia that blocks many of Hollinghurst’s main characters. In this sense, Kristeva’s concept of the abject is meaningful because Don shifts from the horror of encountering an “abject” piece of art to embracing the Dionysian. Likewise, the article moves from postmodernist intertextuality. For Dillon, the palimpsest is a relational event that conjures up former and new texts on a palimpsestuous surface. Pentimenti, a similar concept referring to the different layers on canvas, are also addressed as long as Tiepolo Blue is set in the world of art. In this conflict between the surface and the subterranean of palimpsests and pentimenti, the protagonist eventually chooses the underworld. This he does by rearranging his aesthetic assumptions and welcoming a fragmented version of art. In this process of middle-age awakening, he loiters London and its layers in a Felliniesque fashion.

Creating value for objects‐in‐waiting

AbstractIn much anthropological reflection on value creation through objects, value is conceptualized as created in circulation. Yet objects’ social lives are punctuated by periods of waiting as much as they are by movement. Waiting can thus be theorized and examined as a critical pause in the circulation of objects, one that enables their value transformation and creation via social actors, institutions, and valuation processes. Demonstrating this can be accomplished ethnographically by following the consignment, exhibition, and sale of a group of objects—in this case by the artist Maqbool Fida Husain via a Mumbai art gallery. As objects wait, the art world turns around them, setting valuation and other value‐making processes in motion. This moment of waiting is precisely when our methodological and analytical gaze should turn to the object's social relations and to the collective activities of the art world.

What makes a successful artist?

ABSTRACT This study seeks to identify which factors of an artist’s background and demographic characteristics (age, race, gender, education, location as a child, and family SES) correlate with successful career outcomes (quality of gallery representation, representation in museum exhibitions and collections). Using a sample of 930 artists, created by random sampling from a catalog of represented artists merged with public data on demographic, SES, and educational backgrounds, we conducted a multivariate analysis on differences in artist outcome. Findings suggest a substantial female penalty in gallery representation and museum exhibitions. While an education premium exists, measured by attending top-tier BFA/MFA programs, it does not affect all artists similarly – female artists do not receive gains in the same way that male artists do, while artists from lower SES backgrounds are less likely to attend such programs. We also find that previous cohorts of artists are more established in the modern art world.

“Floral Ornament of Reality”: Flowers in Worldview of E. T. A. Hoffmann and N. A. Polevoy

The relevance of this study is grounded in the scholarly significance of the issue of Russian-German literary connections as a crucial factor in intercultural interaction. This article analyzes works in which the authors articulate a mystical sense of nature, based on the natural philosophical ideas of F. Schelling. The focus of the investigation is the national distinctiveness of Romanticism, manifested in the peculiarities of nature perception, particularly floral imagery. It is demonstrated that the Romantic writers of Germany and Russia perceived love, within the value-emotional framework of the Romantic universe, as a mystical feeling that enables one to penetrate the mysterious forces of nature. The floral motifs within the works contribute an additional allegorical meaning to the artistic worlds of E. T. A. Hoffmann and N. A. Polevoy. The “floral background” of the characters in the analyzed texts (the tulip Gamachea, the thistle Pepush, the bride Tis — Little Rose; Emma — cornflower; Italy — “poor forget-me-not,” among others) establishes a symbolic language of nature. Attention is also given to motifs traditional to German literature: yearning, soul affinity, reminiscence of a “different world,” and the union of lovers in death, which are reflected in the examined works of Russian literature. The novelty of this research lies in its consideration of N. A. Polevoy’s dialogue with the German literary tradition represented by E. T. A. Hoffmann as a result of his philosophical and poetic explorations.

Digital Dreams and Dubious Dollars: The Challenge of Immersive Van Gogh

The purpose of this study is to discuss the popularity, questions, and controversies surrounding art-themed digital immersive exhibitions based on the life and paintings of Dutch painter Vincent Van Gogh (1853-1890). Since 2019, art-themed immersive exhibits have become extremely popular, with attendance that outstrips many museums showing the same artists, spawning controversy and challenging the fine art world. This study examines the rise of immersive art experiences, arguments for and against immersive spectacles as a way of experiencing artwork, and theoretical perspectives. Methodologies include research into historical, cultural, and commercial contexts including reviews, analyses, critiques, and participant observation. The study discusses components of the exhibition and presents specific arguments for and against them by producers, art critics, critical theorists, and spectators. Questions considered include: Are these exhibitions offering authentic art experiences, or are they exploiting great art for profit? Are they making art more accessible, or are they leading people away from seeing original paintings? Is the way people relate to art fundamentally changing in the age of social media, and if so, how will museums adjust? This study is novel in that it presents and evaluates diverging viewpoints on these controversies and proposes a more flexible approach that centers participant experiences over marketing claims and critical objections.

The Aesthetic Expression of Abstract Calligraphy: Emotion and Form between Brush and Ink

Calligraphy is one of the most important visual art forms inherited from China for thousands of years. The visual formal resources contributed by the dots and structures of Chinese calligraphy are one of the wonders in the world art history. Among them, abstract calligraphy, as a unique art form, contains rich emotional expression and formal aesthetic exploration between brush and ink. This study adopts a qualitative research paradigm, through in-depth interviews with senior abstract calligraphers, art critics and scholars, combined with on-site observation of the creative process of calligraphy, literature analysis and interpretation of works, in order to comprehensively analyze the emotional connotation and formal vocabulary of abstract calligraphy, and to clarify the intrinsic connection and tension between the two. The results of the study show that in abstract calligraphy, the subject's emotional experience is the root power of modeling. Through the refinement and sublimation of life experience, the calligrapher injects the vibration of individual consciousness and philosophical thoughts into the brush and ink with the help of visual elements such as brush strokes, lines, and compositions. The brush and ink become the direct speech of the mind, and the viewer can feel the rhythm and bitterness of life, the struggle and emptiness of desire, the pursuit of tranquility and other rich emotional experiences in the works. At the same time, the careful construction of formal language is also the core of abstract calligraphy exploration. Through the mastery of brush and ink materials and writing momentum, the use of wet and dry contrast, white space, texture and other techniques, to create a shocking visual tension, giving people a strong experience of formal aesthetics. The study emphasizes that abstract calligraphy realizes a high degree of unity between emotion and form. On the one hand, the form itself carries the spiritual experience and inner emotion of the calligrapher; on the other hand, the emotion gives life and inner tension to the form. The two integrate and echo each other, forming an organic whole. It is this perfect combination of mind and form that makes abstract calligraphy become the visualization of human emotion and spiritual world, and triggers endless thoughts and resonance in the viewers. The researcher comprehensively analyzes the emotional core and formal qualities of abstract calligraphy from both theoretical and empirical levels, providing a new perspective for a deeper understanding of the unique aesthetic value of this art form.

Crypto-aesthetics: towards a New Materialist theory of NFT art

ABSTRACT The advent of non-fungible tokens (NFTs) in the art world has led to the emergence of a unique aesthetic sensibility, ‘crypto-aesthetics.’ This nascent phenomenon is marked by the amalgamation of digital and traditional art forms, the exploration of decentralisation and blockchain themes, and an emphasis on scarcity and digital ownership. This article proposes to examine the crypto-aesthetic phenomenon of NFT art through the lens of New Materialism, in particular the key concepts of two major New Materialist thinkers, namely Karen Barad and Jane Benett. Our application of New Materialism elucidates crypto-aesthetics as a distinct occurrence stemming from the interplay of object-reality, agency and networks, sociomateriality, and cultural and historical contexts. Utilising the New Materialism perspective to investigate crypto-aesthetics sheds light on the intricate relationships, processes, and consequences shaping the art market vis-à-vis NFTs and digital art. By acknowledging the agency of matter and the entwined nature of human and non-human entities, a more holistic comprehension of crypto-aesthetics’ transformative potential for artistic expression, value generation, and cultural dynamics can be attained. Our theoretical framework offers a novel lens through which to explore and understand the burgeoning world of NFT art and its crypto-aesthetic tendencies.

Contradictions of Culture and Oppression

Abstract Few early eighteenth-century Caribbean paintings survive. Among them is an important pair of previously unpublished Jamaican portraits of Chief Justice Thomas Fearon Jr., of Clarendon, and of his wife, Mary Peters Fearon, with their oldest son, Thomas Peters Fearon, from the 1730s. Colonial reflections of London art and society, although distorted by distance, occupied unique spaces where fantasies and realities collided. This article examines the historical context, provenance, and interpretation of the large, three-quarter-length paintings by an unidentified artist as well as the little that is known about the Jamaican art world at the time. Two unpublished drawings by Pierre du Simitière of Black West Indian women—one enslaved, one free—provide a counterpoint, as do other colonial depictions. The Fearon portraits form a rare pictorial record of a family at the apex of a transatlantic human pyramid of visible privilege and unseen pain, a century before that world ended.

Exploring the Visual and Performative Appropriation of Shakespeare in Pakistani Theatres

This research paper examines the experimental nature of appropriation focusing on The National Academy of Performing Arts (NAPA) renditions of Shakespeare’s Hamlet (1603) and Richard III (1597). It investigates how these adaptations bring about changes in both dramatic structure and artistic expression, dissecting visual and performative elements to uncover diverse meanings within live performances. The research delves into how NAPA’s creative choices offer new ways to examine Shakespeare’s universal themes—jealousy, incest, ambition, and hatred— through unconventional theatrical presentations, viewed from a post-dramatic perspective. Using Hans Thies Lehmann’s Post-dramatic theory (1960), it analyses alterations dramaturgical and aesthetical presentation such as plot construction, sign and symbol presentations. By bridging the gap between the art world and stagecraft, this study aims to deepen our understanding of how appropriation, aesthetics, and performance intersect. It also explores how these adaptations contribute to the global presentation of Shakespearean plays, offering insights from Pakistan’s theatrical landscape.

ARTISTIC AXIOLOGY OF THE IMAGE OF THE «NEW KAZAKH WOMAN» IN ABAY’S POETRY

The main leitmotif of this study is the artistic existence of the "new kazakh woman” in the creative context of Abai, their features and axiological character, which have their own gender consciousness. In addition, the content and semantic meaning of the category “value” is analyzed in revealing the axiological facets of Kazakh women, embodied by the poet. The author draws attention to the spiritual world of the kazakh woman and the ontological aspect of female consciousness, which first appears in Abai’s discourse, beyond the stereotypes and cultural clichés of women that once existed in kazakh literature. For centuries, beauty, grace, and external portraiture have been glorified as a way of conveying individuality, personal facets of a kazakh woman and mental phenomena in her spiritual world. Also in the national literature, the emancipatory point of view of Abai, who was the first to sing of women's liberation and women's happiness, is considered. In the literary, cultural, historical context, the asocial realities of kazakh women and their “changed” behavioral strategies are considered, which violate the generally accepted standards of traditional society in Abai’s poetry and introduce new views, new values. It also formulates the artistic world of female characters who openly express love passions and intimate desires in Abai’s works, and a poetic position illustrating feminist traits in accordance with the female worldview. The “new kazakh woman” created by Abai boldly challenges the established conventions of patriarchal society, protesting against the stereotypical views imposed on him (everyday, family, life). Realizing the meaning of her life, her “I,” she manifests herself in the image of the desire to act, to live as she wants for herself. The purpose of the study was also to determine the women's problem in Abai's work, which was previously considered in various aspects, the evolution of their social, psychological, aesthetic and artistic image and the novelty of the poet in interpreting the female theme. Therefore, the article consistently differentiates a new image of the Kazakh woman, who in the previous literary discourse has transformed from a spiritually weak, passive personality into a versatile, mature, active personality.

THE ESTATE TOPOS OF YASNAYA POLYANA IN THE NOVEL BY B.SH. OKUDZHAVA “THE ADVENTURES OF SHIPOV, OR STRANGE VAUDEVILLE”

The article analytically comprehends the role of the estate topos of Yasnaya Polyana in the novel by Bulat Okudzhava “The estate topos of Yasnaya Polyana in the novel by Bulat Okudzhava “The Extraordinary Adventures of Secret Agent Shipov in Pursuit of Count Leo Tolstoy, in the year 1862”. It is noted that the characteristics of the composition, stylistics of the novel, and the key principles of the organisation of the literary text are unthinkable without assessing the role of the estate topos. In the artistic world of the work, there are two images of Yasnaya Polyana – fictional and real. The first appears immediately and exists until the final trip of the gendarmes with a search to Leo Tolstoy’s estate; the real image of Yasnaya Polyana is realised in the text through short excerpts from Leo Tolstoy’s letters to his family and friends. In relation to the novel, the work characterises the semantics of the estate supertext and describes its levels. The topos of Yasnaya Polyana promotes a harmonious combination of the genres of historical and adventure-psychological novels, allowing Bulat Okudzhava to build a whole system of oppositions of heroes, points of view, and attitudes to events.

Fungal Intelligence and the Posthuman

Fungi have become paradigmatic for the wonders, the adaptability, and the resilience of the nonhuman in publications, ranging from Anna Tsing Lowenhaupt’s anthropological analysis of the matsutake mushroom (2015) to Merlin Sheldrake’s popular take on the ‘world-making’ capacity of fungi (2020). This article explores different conceptualisations of ‘fungal intelligence’ and the posthuman in art, (popular) science, and literature. In a three-step argument, it moves from the world of contemporary art to the recent flurry of textual production about fungi in anthropology and (popular) science and the concomitant construction of fungal intelligence. Readings of Aliya Whiteley’s The beauty (2018) and Silvia Garcia-Moreno’s Mexican gothic (2020) are then used to scrutinise how these literary texts create a posthuman ‘other’ intelligence that is depicted as threatening in its uncanny otherness. In both texts, the monstrosity of the posthuman fungal other is positioned as a new iteration of the classic gothic monster.

The Mediating Effect of Artificial Intelligence on the Relationship Between Cultural Heritage Preservation and Opera Music: A Case Study of Shanxi Opera

Cultural heritage preservation, as the approach is known, and the enduring role it plays in safeguarding the culture and cultural values of Shanxi Opera is becoming even more important these days. Despite uncertainty and apprehension about utilising artificial intelligence, this matter is worth scrutiny in relation to the field of opera music. This may be so, as apart from these two occurrences, this field does not receive mention. This research aims to explore the effect of AI as a conduit for message emulation between the Shanxi Opera tradition and the preservation of heritage and the opera music genre. The study employed a combination of qualitative and quantitative research methods, which used the survey data and cultural heritage preservation and opera music experts' perception data. I then employed partial least squares structural equation modelling (PLS-SEM) to interpret existing AI utilisation and to understand the role of AI as a mediator in this scenario. The outcome of the study implies that the existence of AI will not only boost the contribution of cultural heritage conservation but also positively impact the early stages of the contemporary revival of Shanxi Opera music. AI not only helps in heritage preservation but also makes it easier to include modern audiences. It introduces new musical trends and styles that are more engaging with the current audience. This paper lays out certain practical applications of artificial intelligence AI as a key to appreciating the human cultural heritage. It is the AI-driven contribution to opera music superiority that stands as the hallmark of technology. The outcomes showcase a one-of-a-kind perspective that indicates the ability of policymakers, cultural heritage preservers, and opera commuters to bridge the gap between traditional and modern technologies through AI. Research has stressed the essence of enlisting AI as a typical tool today to preserve cultural heritage. This, in turn, largely contributes to the development of dramatic genres such as opera. It serves as a rather remarkable point of interface between the cutting-edge realms of technology and cultural legacy, illustrating how AI can virtually reshape the artistic world.

Can the Alienated Helper Speak?

This autoethnographic study explores the often overlooked and undervalued roles of assistants in the contemporary art world, focusing on their experiences of alienation and burnout. Through a combination of personal narrative and theoretical analysis, it examines how support roles, despite being essential to artistic production, remain invisible within the dominant art discourse that idolizes creative authorship. I begin with a reflection on my experiences as both an assistant and a curator, highlighting instances of emotional labor and burnout among support staff. The narrative is contextualized within broader cultural and social frameworks, drawing on feminist theory and sociological studies that critique the hierarchical nature of artistic labor. Extending to autofictional literature, the analysis showcases how assistants articulate their alienation and critique the art world’s exploitative dynamics. By interweaving personal and literary accounts, the study underscores the paradox of interdependence in art, where the labor of assistants is both indispensable and disregarded. The conclusion advocates for a reexamination of artworld structures, urging greater recognition and support for those in support roles.

작가의 상징자본과 인공지능 미술의 정당성: 데미안 허스트의 「Beautiful Paintings」를 중심으로

This study aims to understand the linkage between an artist's symbolic capital (reputation) and the legitimization of that artist's AI art. Based on Bourdieu's concept of cultural capital, to do so, we theoretically reviewed symbolic capital. Then, the qualitative study was conducted by considering contemporary artist Damien Hirst's AI art project “Beautiful Paintings” as a case. Secondary data such as Hirst's career records, research papers, articles, reports, websites, and the artist's social media were collected and analyzed. The results indicate that the symbolic capital of Hirst has accumulated in the art world and the art market influences the acceptance of his AI art in the market. Hirst, to transfer his symbolic capital to AI art, highlights his role in producing the AI art via social media and connects his established image with the debate surrounding AI art. Furthermore, Hirst intends to generate a visual similarity between his recognized artistic style (Spin Painting) in the art world and Beautiful Paintings, as well as emphasizing the 'randomness' inherent in both AI art and Spin Painting. By doing so, the success of AI Art, supported by the symbolic capital of the renowned artist, implies that the hierarchical structure built within the art world for the legitimization of artworks is partially maintained even in art applying new technologies.