http://muratartcourse.blogspot.com.br/
http://muratartcourse.blogspot.com.br/
As obras de Murat têm decorado hotéis no exterior. Entre eles estão os hotéis Fundador em Guimarães,Browns em Dartmouth - Devon e NH Bálago em Valladolid, le Reve Hotel Boutique em Santiago e Loi Suites Recoleta Hotel que exibiram algumas de suas peças em seu acervo e em selected collector private sales and marketing sessions por ocasião de Expo Murats exclusivas.
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| Portugal |
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| Hotel NH Bálago - Valladolid Espanha |
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| Le Reve Boutique Hotel Providencia Santiago |
DÍPTICO NA BARRA DA TIJUCA RIO DE JANEIRO
Já no Rio de Janeiro seus quadros estarão permanentemente dando suporte a artes decorativas dos apart Hotéis da DOMINUS, desde o stand de vendas, ao apartamento modelo e a todos os quartos.
OBRAS DE MURAT NA REGIÃO OLÍMPICA
DÍPTICO DOMINUS MARRIOTT
em tons FENDI DARK, OCRES, MARRONS, Mostardas,
Pretos e Brancos em código Pantone ENGINEERS
O primeiro AC Hotel by Marriott no país é na Barra da Tijuca.
As expo Murat como as ilustradas abaixo também atraem colecionadores e investidores corporativos.
A obra de Murat integrada com a de
outros artistas nas coleções
particulares
David
Rockfeller, banqueiro e presidente do Museu de Arte Moderna de Nova York: “Não
gosto de falar com banqueiros; só querem saber de arte. Gosto de falar é com
artistas; só querem saber de dinheiro”.
Para criar
uma ponte necessária entre estes dois mundos sem perder a ternura nem o
pragmatismo Murat desenvolveu um modelo de negócios que tem garantido a seus
colecionadores além de uma valorização constante de seus quadros, mas também
uma atenção ao olhar, personalidade e gosto dos compradores. A co-criação que a
multimídia permite dá a ele esta vantagem em suas obras. Todavia com tem feito
em suas EXPO MURAT ele recomenda complementos decorativos de outros artistas também.
Considerando
que suas obras de arte são também mercadorias tem obtido de leiloeiros, marchands,
galeristas e avaliadores certificados que definem valores
pecuniários que garantem sua liquidez. Analistas de investimento têm dado
suporte a criação de carteiras de aplicações equilibrando comodities, ações,
Letras do Tesouro Nacional, moedas, ouro e em obras de arte. Talvez, as mais
sólidas estas últimas ficam em mixes que sempre contam alguma obra de Murat, por sua
penetração nos meios corporativos. Por
outro lado em suas consultorias de arte decorativa Murat integra seus trabalhos
com os de outros artistas em coleções particulares, harmonizando-as num ambiente como se faz com o vinho ou com os perfumes.
O s Adquirentes da obra de Murat em
diversos países (Inglaterra, Argentina, Brasil, Rumânia, Colômbia,
Alemanha, Itália, Iran, Estados Unidos, Portugal, Espanha, Canadá, Suíça,
Uruguai, Holanda, Venezuela, Chile, China, Dinamarca, Finlândia, Turquia.) têm
verificado o valor da sua obra em si, por sua técnica, cor,
profundidade, beleza, mas também pelo que ela pode retornar em termos de ganho
de capital. Isto é particularmente verdadeiro quando, como consultor, ele
complementa seus trabalhos com os de
outros artistas.
Como
consultor e avaliador de arte Murat também tem ajudado a customização de coleções
fazendo com que os colecionadores escolham educadamente, com seus próprios
olhos no universo de possibilidades que a arte oferece. Graças a esta metodologia
original Murat tem aconselhado colecionadores a formar algumas das mais
apaixonantes e inusitadas coleções particulares. Eventualmente aconselhando a
compra cuidadosamente equilibrada entre
os artistas do mainstream, com aqueles ainda em ascensão e os totalmente
marginais de qualidade, ele cria conjuntos significativos, singulares,
referenciais. Isto previne grandes danos e perdas devidas às oscilações de
mercado que ocorrem com o surgimento de novos padrões, com as mudanças
culturais, com as flutuações da moda, com as manipulações de mercado, etc... .
Atuando também como perito forense Murat mantém pesquisas de campo para avaliar flutuações de valor de obras de alguns artistas destacados ao longo de suas respectivas carreiras. Abaixo vê-se dois exemplos de amostras colhidas em leilões entre 2005 e 2010 que mostram tai variações ao longo da vida artística dos autores Di Cavalcanti e Scliar.
Estas avaliações mercadológicas são baseadas em amostras homogêneas, mas mesmo assim estes valores estão sempre variando em função dos negócios em andamento representando um snapshot do cenário de artes que precisam estar permanentemente observados.
Atuando também como perito forense Murat mantém pesquisas de campo para avaliar flutuações de valor de obras de alguns artistas destacados ao longo de suas respectivas carreiras. Abaixo vê-se dois exemplos de amostras colhidas em leilões entre 2005 e 2010 que mostram tai variações ao longo da vida artística dos autores Di Cavalcanti e Scliar.
Este método
de Murat garante, com o portfólio variado, que por exemplo, nomes que foram importantes numa
época, quando deixam de o ser, não provoquem desvalorização irremediável da coleção.
Sabe-se que em algumas praças, Antonio Bandeira, nos anos 80, valia menos da
metade de um Antonio Parreiras. Hoje, o Antonio modernista vale 20 vezes mais
em alguns lugares. Amanhã esta tendência pode se reverter.
Assim, o
colecionador orientado por Murat consegue, perceber e dialogar com suas obras,
estabelecendo casos de amor, desejos e busca, para poder dar continuidade e
sentido a sua coleção e a seu
colecionismo de forma esclarecida e auto-confiante. Com isto estabelece-se por
intermédio do culto a uma Beleza pictórica personalizada
um significado e sentido de eternidade
à existência efêmera. A persona do colecionador, seu gusto, seu poder financeiro
e sua visão de futuro ficam expressos em
sua coleção e assim extraindo desse caleidoscópio
de arte os signos, símbolos que o representam como indivíduo sensível e de
poder, poderá passar a partilhar com todos um pouco de sua história. Nestas
coleções assim formuladas a obra de Murat se destaca por sua universalidade e complementaridade.----------------------------------------------------------------------------------------------
Presença em eventos internacionais
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Rio´s Digital Atelier Murat under
Verrochio´s Spell
Abstract
This paper presents a pioneering
experiment in digital art carried out in Brazil, UK, USA since the years 1970. An account of the origins, development of the
achievements of methods, disciples and partners in the advance of the use of
technology in art and art historic legacy. An analysis of the overall action
philosophy identifies the convergence with the renaissance ideals of Verrochio’s Bottega. A summary of main works
commissioned by corporate and collector clients is presented with
considerations on future activities and overall market trends. The overall
framework of the atelier Murat has been used as a pattern to implement similar
organizations as a consulting service.
Digital Art
in principle
Digital Arts in Murat
Atelier combine new media and visual art theory with strong technical
sophistication, a rich sense of visual design, and an ability to articulate
artistic research, by emphasizing creative thinking, experimentation, visual
communication delivery systems and intense research. In so doing the
inspiration was the revival some of
Verrochio´s Bottega atmosphere at least in five-up aspects (Quintella, 1994):
a)
On demand production
b)
complete production and value chain
c)
multidisciplinarity by integrating past and future
d)
research environment integrating
arts, technologies and sciences
e)
permanent learning environment.
According to Vasari,
Verrocchio was not only Commission-oriented but highly devoted to details. He
practiced deeply and occupied himself with studies of horses, and regularly took
casts in gesso of different parts of the body, arms, legs, hands and feet, in
order to study them with more facility. Verrochio sets an example for
thosewhowork in digital art to exercise thoroughly all sorts of computing techniques
and their software tools. Following Verrochio’s philosophy atelier Murat works exclusively
on-demand and offers courses and laboratories emphasizing intense testing and experimenting
with various stechniques searching optimization of result. (Covi, 2005),
(Vasari, 2008), (Cast, 2014)
This new media art tackled by Murat Atelier is a genre that encompasses artworks
created with new media technologies, including digital art, computer graphics, computer animation, virtual art, Internet art, interactive art technologies, computer robotics, and art as biotechnology without abandoning traditional and conventional art whenever necessary.
In order to achieve and promote this the atelier - school develops multiple
communication skills capable of mashing up any product based in a
common digital language to reach both local and universal ideas of
individual artists for the collective mind. The philosophy that guides the
activity can be translated by Francastel´s words:
Art and
technology are not set against each other, nor are they in an all-encompassing
correspondence. The conflict arises when the realm of the imaginary is
supposedly shielded from reality. It is in technology that art and other human
endeavor converge. Art’s domain is not that of the absolute but that of the
possible”. (Francastel, 2000 )
With this concept in mind this modern revival
of Verrocchio´s entrepreneurial spirit views the artistic object as a process - procedure – intervention
- collaboration – product digital
art aiming at an open dialogue with the viewers (Ligon, 2010). Embracing the
same experimental renaissance boldness, the atelier recognizes that since pre-historic era man (essentially a technology and instrument generator that
amplify his own physical, mental and sensorial potential) has been using
production and defense artifacts to produce art and pleasure, why shouldn’t today
artist use cameras, telescopes,
microscopes, computers, circuits, X rays, guns, pharmaceuticals, chemicals,
recyclable material, etc… together with conventional material? This New Digital
art is the convergence of every possible instrument to represent ideas and
feelings in art form.(Christensen,2001)
Brief historical
account of the atelier Murat
Experiments of the atelier
Murat started with mainframe technologies in the sixties maturing after successive developments and application of digital techniques together
with artificial intelligence to poetry, novels
and 2D visual art. In the first decade manual techniques were still dominant
approaching noir and indigenous Brazilian themes, combining mainly photo
techniques with enlarging lenses, with a few computing effects. Main
applications were illustrations for newspapers, educational strips and cartoons
with some experimental nudes for art expos. Inspirational and patrons of the
arts in this decade were mainly Schulz and Al Capp. In the 70’s the use of
software is intensified to cover more universal themes such as skylines, linear
landscapes, mostly black and white. The use of filters to photos to be
processed by computers used frequently as inspiration and patrons Hopper, Blake
and Di Cavalcanti. In the 80’s minicomputers and more powerful software started
to be used to transform hybrid manual
images that were applied to product and textile design an also to illustrations for childrens books. In the 90’s with the support of IBM a greater
cooperation of computerized methods with photos and conventional drawings covering naturalist and
amerindian themes improving the studies
of nudes with advances in the colour of the subtleties of female skin.
Inspirational artists and patrons of this decade were mainly Portinari and
Scliar. In the 2000’s the atelier dives fully in digital art with full integration with other
forms of art. Mosaics, street scenes,
sea views, sports and professionals at work exploring new colours mainly under
the inspiration of Rapoport, Escher and Rockwell. In the current decade the
corporate marketing has commissioned
regularly works of the atelier
after being awarded a number of important medals and participation in
international Expos. A small number of
disciples and partners were slowly being developed to establish the personality
of the atelier and assemble a reliable outsourced value chain capable of fast,
high quality response to the exacting
demand of corporate clients. Also some social efforts of education for the
needy were conducted together with local governmental bodies and universities.
Conceptualization, Style and Personality of the atelier
In order to
define a unique concept and personality the atelier viewed Digital art as a revolution and a
major progress in the potential to
redefine and amplify the creative process of art products. A number of vectors
propel this view:
• use of
multimedia connectivity to suppress boundaries among means of expression;
•endless
experimentation in search of quality and freedom of expression
•the
possibility of option for either elitist
unicity or democatice replication of the work of art preserving the quality
both in process and in product;
•possible
elimination of intermediate agents in sale
•full
freedom of creation with no aesthetic, Philosophical or technical limitations
•continuous
upadte of technical resources
•potential mass customization and cost reduction of works of art
A rational productive process to
generate a digital work of art has been used consisting of a series of steps as
follows:
•definition
of a central Idea;
•build structures
or themes around the central idea;
•
introducing secondary elements to bring complexity and depth;
•define
purpose by either or both focusing, stabilizing, varying and repeating themes;
•organize
and position the elements to
provide logic e fluidity to the work of art.
The style of the atelier had
an organic birth and keeps under constant development to adapt to market
conditions and demand. The freedom required for creativity imposed the idea
that traditional and digital elements should be combined in any sequence envisaging
the aesthetic goal, not some rigorous program. However some guidelines were discovered along
the years that resulted in better products and processes:
1 Dilemma of the center of
interest – There are always
two alternatives in a digital composition: either select an area to be more
important and unique at first glance or equalizing and distributing points of
interest for the viewer. The advantage of digital approach is that simulations
with multiple tools can be carried out and tested before final rendition in a
variety of values, colours, sizes, forms etc… to elect the best possible
design in 1D, 2D, 3D, 4D in optimum time
and cost.
2 Harmony pattern – the integration of the elements of the composition with other similar units can be achieved by a smart combination the software cocktail tools to provide the viewer with the various levels of a unifying sensation of degrees of harmony.
4 Contrast – Digital tools have shown to be very powerful to produce visual dystonia by change in value, hue etc… or by eliciting differences in forms and depth specially with digital tools of texture and layering.
5 Directional Movement and Emphasis – Digital variation tests can be conducted to enable preview and fine tune the visual flow that crosses the composition suggesting movement and capture the attention of the viewer while the eye moves from one object to the other or even from ‘chiaros’ to ‘oscuros’. The important part or center interest can be emphasized by lines or colours to enhance its presence and visibility. The endless possibility simulation of various situationscan only be provided by the digital approach.
6 Rhythm – Specific software features allow for qualitative and quantitative measurement to permit the artist to assess the impact of various alternatives for the use of movement of elements such as form or colour as if was a dance or a music beat.
7 Cultural Symbolism, Image Semantics and emotional project– Various data bases of objects and patterns are currently available in libraries to obtain the perfect aesthetic anima and animum provided by the historical and cultural sinergy between the expression of the artist and the perception of the viewer. In the same manner the psychological messages can attract the targeted people by means of signs that reflect taste, ethics, behaviours, lifestyles, yearnings and desires of observers. Thus symbolism and semantics can effectively guide the transmission of emotions to do the magic trick of mobilizing the observer to be affectively linked to the design proposed by the artist.
8 – Inclusion of secrets and challenges - Art refinement is just as expressive as interesting as it contains characteristics and hidden ideas that are only perceived by diligent, cult, attentive and observant viewers. Powerful art provokes the viewer to question trivial, common and poor concepts or assumptions and seek world transformation. The digital catalogue of remarkable paintings present in the ateliers’s history, methodology and technology of art can help the artist in finding ideas for these refining aspects.
Methods and
partners
The Principles aligned with
Verrochio‘s Bottega Philosophy that were partially embraced and magnified by Leonardo - the most distinguished Verrochio disciple- (Covi, 2005) and were used as much as possible as
guidelines for Stratimidia were: Organization,
Focus on Objectives, Discipline, Excellence and Continuous Improvement, Strategic
Planning, Art -Technology and Science Integration, Teamwork, Learning and
Experiment Environment, Market Driven action. The strongest motives to adhere
and diffuse this spirit, expressed by Leonardo’s words: “Studia la Scienza
dell’arte, Studia l’arte della Scienza” are: first the conviction that this is a safe way of
peacefully overcome in the long range poverty, suffering, illness, caducity,
and eventually death; secondly that this is a rational and emotional path to respond to deep questions on the
origin of self, life, universe, human nature and other phenomena of mankind,
and finally that it is a secure way of aligning values and methodologies of
human ingenuity towards the freedom of the individual. Partners for this
endeavor are architects, associate artists, industrial 2 D and 3D printers,
framework artisans, specialized logistics firms. (CAVALCANTI, 1970), (Quintella, 2016).
The general
method of production starts with any element or object arising from data, voice or image
obtained by conventional manual gestures or by
photos or computer images. These elements are artistically transformed and digitized to
become what is defined as techno-bricks
which are handled by a software cocktail (both old discarded software mixed
with modern ones) to be used in isolation – as techno atoms- or combined with other techno bricks – as techno
molecules stored in a technotec. These techno elements are combined successively to map the virtual
world images thus created into real images that can be rendered and delivered
to clients.
The value
chain developed at the atelier makes it possible to involve the client
in the first steps of the design customize the final image to demand of the
aesthetic need of the interior. The overall rendering is then carried in the
imaginarium, and if the requirement is hundreds or thousands of paintings for a
hotel, for instance, they can be produced and delivered just – in - time at the clients site.
Innovative
goto market practices
Innovative purchase models such as
Art Leasing, Art Rental, Advance Art Acquisiton, Swop Art Sale or Art Trunk
Show allow a variety of art loving clients to enjoy what is best in Multimedia
and Digital Art by the highly prized and praised atelier Murat.
The Business model created at Stratimidia for
the atelier Murat encompasses not only the traditional direct sale in installments
ranging from one to sixty, but also makes it possible to offer varied size
batches of paintings to be delivered in record time. Themes are co-imagined and
/ or co-authored with clients customizing the art fully to client’s taste
and aesthetic needs to be produced
on-demand, after approval, in numbers,
sizes and shapes to be delivered just-in- time to specific locations of client’s choice. By working
together with highly acclaimed architects Stratimidia has had as typical
clients so far Hotels, large shops, Corporations, Condominiums, Government and Religious Institutions.
Conclusion and Trends in Digital Art
Digital art is complex, fast-changing, fuzzily bordered with other forms of art. In general its popularity goes back to Andy Warhol’s recently
rediscovered images made on his Commodore Amiga home computer in the mid-1980s
and other, less-famous artists who preceded him. However less popular but much
more structured, varied and
systematically produced are digital works of art from IBM Scientific
Centers linked and sponsored artists such as those associated to the atelier
Murat that started some 15 years earlier
than the popular issues. (IBM, 2006)
Currently the market for digital
is split between art that’s created and displayed on a screen and the paintings,
prints and photos that are generated digitally and then printed. The atelier
Murat has focused in the second area for the first one is still nebulous and
the market remains skeptical about the
commercial potential of art shown on a screen due to the practice of free downloading, it is a common sense belief
that a proper market exists only if
copies are securely limited, signed and numbered.
Art sales and auctions have happened
all over the world and the atelier Murat
has been present in some of them in Portugal, Spain, Buenos Aires, Brasilia and
Rio de Janeiro. The price of most digital works might not yet have reached a
high level in this open market because it depends on galleries and even with certificates of authenticity and the
appearance of a new group of
international collectors that proved to be more confident about five-figure purchases, this
market is small. The go to market approach of the atelier Murat has been to
address corporate sales especially to hotels, religious institutions, hospitals
and firms in general. The advantages are
that access to the client is without intermediation of galleries, but it is
done in cooperation with architects. As the market for “fine” (a better term
should be - aca - analogic conventional art) contemporary art becomes more and
more expensive, and as advances in the proliferation
of conventional artists trying their luck with doubtful competence and ingenuity,
it is clear that the sheer affordability
and accessibility of digital art subverts the market.
The global art market continued to recover
in 2011, with the market as a whole advancing 7% year-on year to €46.1 billion,
an increase of 63% from the market crisis of 2009 , (TEFAF, 2012), on the other hand the digital art
market (partly due to the fact that it is still small) has grown considerably
more. This progress is still invisible by conventional art market studies
because it is not based on galleries, but on-line, according to (Statista,
2016) Global on line art market grew steadily (1,57USD in 2011 to 2,64USD in
2014) with a forecast of 6.3 billion USD in 2019. How much of
it is actually digital art is not known. But artnet News gives a hint that some 50% digital print
ranks second in buyers preference. (Johnson, 2014)
This might in
the future cause the emergence of an art market bubble due to the expansion of digital art not only
in its pure form of paintings and 3d Printed sculptures , but also in the fields of restoration and
cultural legacy preservation.
Trying to follow Verrochio’s ideal the atelier has put forward a rather
practical, market driven and results oriented approach for sales and also an educational effort on
–line not only in techniques but also in history of art to prepare artists and
public alike for the digital art revolution that lies ahead.
BIBLIOGRAPHY
Cast, David, The Ashgate Research Companion to
Giorgio Vasari Ed Ashgate, Farnham, 2014.
CAVALCANTI. História da Arte. Civilização Brasileira: Rio de Janeiro, 1970
Christensen, C. O dilema da inovação, Makron / Mcgraw-Hill, SP, 2001
Covi, Dario A. (2005). Andrea Del Verrocchio:
life and work. Editrice Leo S.
Olschki Florence.
Francastel,
P. Art
& Technology in the XIXth and XXth
centuries, Zone Books, New
York ,2000.
IBM, Threshold gives a new face to digital
animation with an innovative, real-time
process, In Innovation that Matters, IBM
Corporation, Armonk, 2006.
Johnson, P. The Truth About the Murky Online Art
Market, Wednesday, July 2, 2014, https://news.artnet.com/market/the-truth-about-the-murky-online-art-market-53811. Artnet, Berlin, 2014.
Ligon, S.
Digital Art Revolution, McGraw-Hill, New York, 2010.
Mac
Andrew, C. TEFAF (The European Fine Art Foundation), The Global Art Market in
2011, TEFAF, Maastricht, 2012.
Quintella, H Manual de Psicologia
Organizacional da Consultoria Vencedora,
Makron / Mcgraw-Hill, SP, 1994.
Statista,
http://www.statista.com/statistics/284586/global-online-art-market-sales-2012/
Statista GmbH, Hamburg 2016
Vasari,
Giorgio, The Lives of the Artists (Oxford World'sClassics) Reissue Edition Oxon Press, 2008.
.
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