Mr. number 63 and five times jump up to 12b/5 secrets of buying expensive Aydin Aghdashlou’s paintin
TEHRAN –(Iranart) -The first and second buyers that both of them are well-known collectors recommended 8 billion and 100 then 8 billion and 200 but Mr. No.63 announced the psychological number of 10 billion in the first jump; look at the face of Hossein Pakdel, the auctioneer, he says excitedly and happily 'oh God'…' Let me come down'. Obviously, he does not expect this billion-dollar willow to continue any longer, but he continues the marathon in disbelief.
If you watch the video of hammering the 12 billion painting "Memories of Hope" by Aydin Aghdashloo, You will find that as the two (chasers) continued to pursue the number 63 (final buyer), he was willing to pay much more than that number to be the owner of the work. The well-known collector who owns the "Memories of Hope" today has several reasons for such a purchase that if you also look with the glasses of the art market and be familiar with its principles, you may find it logical; in the layers of these nine points, parts of this logic are mentioned.
ONE
Description of the story;
Please watch the moment of hammering of the most expensive painting in Iran, look at it once again carefully considering the impact of 12 billion; Mr number 63 who was listening to the command of his mobile phone, was in such a hurry to buy this sign that he jumped five times to defeat his two pursuers to give them the clear message that he does not have the patience of one hundred million, one hundred million price increase, with any price he wants this artwork and never step back to let it go.
The sale of this painting, according to the Tehran auction, a little lower than the initial estimate, started from one billion, and at first 7 buyers competed to buy this work, but at the height of the disbelief of the present population, a special event after exceeding 8 billion figures out, while probably all eyes were left on the competition of three buyers, Mr. No. 63 tuned his instrument in a different way: The first and second buyers that both of them are well-known collectors recommended 8 billion and 100 then 8 billion and 200 but Mr. No.63 announcement the psychological number of 10 billion in the first jump; look at the face of Hossein Pakdel, the auctioneer, he says excitedly and happily 'oh God'…' Let me come down'.
Obviously, he does not expect this billion-dollar willow to continue any longer, but he continues the marathon in disbelief; Two pursuers after seconds coming out from this great shock came to the rescue and offered 10 billion and 100 then 10 billion and 200 but Mr. No.63 without the slightest interruption recommended 10 billion and 500 million to the auctioneer to express his serious desire to buy with the second jump. This time, two pursuers put 10 billion and 600 and then 10 billion and 700 on the table with more intervals, but Mr. No.63 Without a moment's hesitation shouts 11 billion, this number has an interesting reflection in the resonant voice of Pakdel. In this number one of the pursuers leaves the arena of competition.
Now there is only one left in front of Mr. No. 63, his determination with his jumps has proved to everyone that he wants this painting at any cost, a few hundred million more expensive, does not matter to him. The last pursuers of Mr 63 offered 11 billion and 100 and Mr 63 immediately says 11 billion and 500; the last struggle of other buyer is 11 billion and 600 that for the fifth time Mr 63 jumps and says 12 billion and that’s it.
Have you noticed, Mr. 63, after eight billion, instead of one hundred million, the numbers are rendered and multiplied by 500 million? So that the pursuers can stop and obey his will. This is all that you can see in the released video of this historical scene. Now you must be asking yourself that; why Mr.63 should do such a thing and buy a 1.200 BT artwork 10 times more expensive than the initial estimate?
It is a good question; no one is aware of his inner and personal motives, but you agree with me that this Mr. No 63 with such financial ability, certainly has a high IQ in business, and he is certainly aware of the current price of a painting similar to this work, and probably He does not allow his hat to fall off. This is where you need to pay attention to the auction rules and the specific criteria of the art market and measure the purchase with those values, which are mentioned in the following text.
TWO
the more expensive the more valuable!
One of the most popular tactics of art auctions is to buy expensive, loudly, and even shockingly; Art auctions are like a market and follow the components of the Bazar. The art market, however, also has its own strategies. One is to buy things expensive in it. The Qatar Islamic Museum, in order to attract the attention of the world, used the works of the great names in the history of art and consciously bought them several times over the estimates in order to attract the attention of itself and its collection. The same solution was followed by the buyer of Leonardo da Vinci's "savior", in which the Louvre of Abu Dhabi and its treasure trove of mysteries shone. Big collectors who are ambitious for their treasures insist on buying their favorite works from auctions that are credible and the media pays attention to them and is generous in the buying process because they know at the moment of buying values of their work personality, material, and spirituality are merged.
THREE
the most famous painting in Iran
It is not an exaggeration to claim that the painting "Memories of Hope" by Aydin Aghdashloo is one of the most famous paintings in Iran today. Thanks to sales of 12 billion, this work became a well-known Iranian icon in one day, which had an international impact. Many of you have probably not seen Parviz Tanavoli's statue of Persepolis Wall, which was hammered for 2 million and 800 thousand dollars at the Christie's auction in 2008, but you have seen the 'memories of hope'. How much budget and how long do you think it took to achieve this level of fame?
FORTH
why do Aydin Aghdashloo's paintings have the potential to grow?
One of the most well-known components of any market is: "The lower the supply, the greater the demand," or "The lower the supply the higher the price". Aydin Aghdashloo is one of the least talented artists called "Master", after six decades of painting, he was able to set up a solo exhibition three years ago. Because he is very selective and has little work, and among his various artistic pursuits, from writing and teaching to restoration, graphics, expertise in works of art, etc., he has sometimes drawn paintings. It is famous; He has not finished painting, it is for sale and has a so-called waiting list. It is obvious that such an artist has a favorable environment for the growth of the price of his works.
FIFTH
did the rumors create a $ 12 billion artwork?
To answer this question, I borrow from the argument of my journalist friend, Mahmoud Nouraei, the editor of Honar Online, who wrote last Saturday: "... Given the rumors that have emerged about Aydin Aghdashloo in recent months, many critics have criticized the presence of a work by him at the Tehran auction, which has been ruled out for various reasons. Because the margins created around this artist have no legal basis and no domestic or even foreign court (given the artist's presence in Canada) has yet sentenced him, the withdrawal of his work from the thirteenth auction is a kind of recognition of it was the margins that such an issue could have a negative impact on Tehran's auction record.
On the other hand, the price increase of such a work, which was offered at the Tehran auction with a base price of 1.2 billion to 1 billion 600, goes back to exactly the same margins created around its artist, which is unprecedented in international auctions around the world. Therefore it does not criticize the Tehran auction. Because creating a margin for a work of art or its artist, increases the excitement around his work.
Also, creating a margin around an artist who has multiple works among art investors and collectors is a kind of jeopardizing part of their capital, and this makes investors in such a market defend their financial interests and even use such margins for added value. "It is normal for capital markets to do so ..." Yes, I agree that undocumented marginalization would not have affected the art market of Aghdashloo's works over the years, but the New York Times's very unfair story, because of the importance of this medium, would certainly have had a direct impact on some art collectors.
SIX
why didn't auction managers get involved in making $ 12 billion?
There are very obvious and tangible signs that the sale of this work was in good health, and first of all, the auction managers of Tehran were completely unaware of this record. If the auction managers were to engineer Aydin Aghdashloo's painting to 12 billion Tomans and so-called consolation and support from the so-called master painter, they would surely have had several ways to make it logical and not create all these negative margins for themselves. First, like the other two works in the auction, which had a base price of $ 5 billion to $ 6 billion, and both artists are descendants of Aydin Aghdashloo, they raised the price estimate.
Another thing is that if Aydin Aghdashloo was to be the first face of the 13th auction, it would have been enough for his work to sell 7 billion, which certainly did not have the volume of consequences today. Why should his work go up to 12 billion and create so much tension and rumors against the auction and the master? Of course, last weekend, with the official announcement of the Tehran Auction Office that Mr. No. 63, the buyer of "Memories of Hope" Aghdashlou, two other expensive works of that night, Parviz Tanavoli 6 billion and 700 million and a painting of 2 billion and 600 million Reza Derakhshani also bought and another one acquired the work of 5 billion and 900 million Tomans of Mohammad Ehsaei. Now, new addresses of this historical record have been registered.
SEVEN
the weirdness of being a copycat!
It is obvious that the needle of some marginalizers is stuck on the name of Master Aydin Aghdashlou, and it seems that any means is permissible in this direction; While skeptical of the $ 12 billion price tag, respected marginalizers abused the public's ignorance of contemporary art issues, saying that "Memories of Hope" was a copy of European classical paintings, especially by world-renowned painters such as Sandro Botticelli, or He is a follower of Della Francesco and Domenico Gerlandayo. This is really the funniest accusation that can be made against this work and the collection of "Memories of Destruction" by Aydin Aghdashlou; alas, the enmity with an art master goes so far that the slanderers knowingly ignore a common artistic style and context and give people wrong information.
A simple Google search informs the seeker that this is a contemporary way in which the artist enters into conversations with classical masters and works that are world icons to instill his worldview; While recreating the work, the artist transforms the identity and concept of the work by including his own meaning and creates a modern work; In this way, there are two serious challenges facing the artist, one is the power of the pen to be able to perform this recreation in the best way and the other is the fundamental change of the meaning of the work. From these two perspectives, it is clear that making new work from a world-renowned work that has been on display at the Ofitzie Museum for hundreds of years is a difficult and complex task.
EIGHT
Pessimism of a part of society
It is said that part of the public opinion does not believe that anyone paid 12 billion for Aydin Aghdashloo's "Memories of Hope" painting that is why they are cursing! I think this feedback is very unfortunate, but for Iran these days, it is not strange at all, this thick cloud of pessimism, misunderstanding, and the spirit of distrust is rooted in the Iranian soul for various reasons and manifests itself in all issues. The fountain of this view is manifested in the mass of insults and zombie-like attacks on virtual networks, which have become a natural daily occurrence for each of us, and we have become accustomed to it with complete shame.
In this chapter, let's review the last two examples: Persepolis team became the champion of Iran for 4 consecutive years, in the same period it reached the Asian final twice, then part of the public opinion does not believe at all, they do not even recognize these honors and by applying the government team tag to Persepolis, they try to Question win hundreds of matches. In the same way, the slander and obscenity market has even crossed the borders of Iran and sometimes led to international disgrace. Or recently a photo of a water splash on a statue of Alberto Giacometti was displayed at the Museum of Contemporary Art in Tehran. Part of the art community conquered the Instagram space with strange and norm-breaking literature, radical analysis was born in the same space, and…
But no one heard that the statue has not been in the museum for three years and is located inside the museum; this photo was related to a scene from a documentary film that is said to have been made in 2007.
NINE
two years later!
Memoirs of Hope by Aydin Aghdashlou is the most expensive painting in the history of Iran, but I am sure it will not be able to carry this impressive title for a long time. The post-Corona era of buying art will be surprisingly fast, and you do not need to have Nostradamus to predict price breaks. I remember in the second year of the Tehran auction when Sohrab Sepehri sold for 700 million, the 20:30 NEWS announced, "Why should the price of a painting be so expensive? What is amazing about it?" Now, a Pride of four or five million at that time is worth 100 million Tomans, and the same painting is worth several billion, only seven years later. Or when Sohrab hammered 5 billion, some people think that this record will last for several years and will be broken only by another Sohrab's painting, but you saw that this record was not eternal at all and in this 13th auction of Tehran, The works of four artists crossed the five billion mark.
Translated by
Abtin Javid