The 13th auction in Tehran was closed while it took a lot of margins. The sale of 12 billion by Aydin Aghdashloo and the 10-fold increase in the price of this work, led to speculations about the possibility of pre-determined planning by the authorities in cyberspace, and the auction and of course the artist himself have a lot of margins.
It was not long after the announcement of the sale of 12 billion by Aydin Aghdashloo in the thirteenth period of the Tehran auction that many social media users and art critics took to the pen and analyzed this high price increase. Some attributed it to Aghdashloo’s recent remarks, while others questioned the principle of Aghdashloo’s presence at an auction by raising issues such as the possibility of copying the work or other issues. On the other hand, some people attributed the multiplier price of this work to the custodians of this auction and the pre-planned plans.
However, in an interview with ISNA, the head of the Tehran auction said that the price increase was to the detriment of the auction and that the artist market was also at a standstill.
In this regard, Hossein Hashempour, a journalist in the field of visual arts, in a note provided to ISNA, while explaining the sales process of Aydin Aghdashloo’s work and the competition among the buyers of this work, has asked and answered some questions. The details of this note are as follows:
“If you watch the competition video for Aydin Aghdashloo’s 12 billion painting” Memories of Hope “, you will find that as the two Biders were still chasing No. 63 (the final buyer), he was willing to pay much more for this number. The well-known collector who owns the Omid diary today has several reasons for such a purchase that if you also wear the glasses of the art market and are familiar with its principles, you may find it logical;.
Description of the story
Please look carefully at the moment of the most competitive painting in Iran, the same 12 billion work, once again; Mr. No. 63, who was listening to the command of his cell phone, was in such a hurry to buy this sign that he jumped five times to defeat his two Biders to give them the clear message that he could do it at any cost. Will and will not have the patience of one hundred million, one hundred million price increase.
The sale of this painting, according to the Tehran auction, a little lower than the initial estimate, started from one billion tomans, 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 Toman was raised, while probably all eyes were on the competition of three buyers, Mr. No. 63 tuned his instrument in a different way: the first and second buyers, both of whom are well-known collectors, 8 Billion and 100 and then 8 billion and 200 are offered, but Mr. No. 63 announces the psychological number of 10 billion Tomans in the first jump; Look at the face of Hussein Pakdel, the auctioneer, he says excitedly and happily, “Oh My God,” “Let me come down again.” Obviously, he does not expect this billion-dollar bid willow to continue any longer, but the marathon will continue in complete disbelief.
Two Biders, after seconds of this great shock, come to the offer of 10 billion and 100 and 10 billion and 200 respectively, but Mr. 63 offers 10 billion and 500 million Tomans to the auctioneer without the slightest interruption To express his serious desire to buy with the second jump. This time, two Biders put 10 billion and 600 and then 10 billion and 700 on the table with more interruptions, but Mr. 63 shouts 11 billion Tomans without a moment’s delay, this number has an interesting reflection in the resonance of Mr. Pakdel’s voice. In this number, one of the Biders leaves the arena of competition.
Now there is only one Bider 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, it does not matter to him.
The last Bider Mr. 63 offers 11 billion and 100 million and Mr. 63 very quickly and immediately says 11 billion and 500 million; Bider’s last struggle is 11 million and 600 million, which for the fifth time Mr. No. 63 jumps and says 12 billion tomans and that’s it!
Have you noticed, Mr. 63, after the number eight billion instead of one hundred million Tomans, the numbers are rounded up and multiplied by 500 million Tomans so that the Biders stop and obey his will. This is all that you can see in the released video of this scene.
Now you must be asking why Mr. No. 63 should do such a thing and buy a work that the auctioneer has priced at one billion and 200 million tomans 10 times the initial estimate?
The question is appropriate; No one is aware of his inner and personal motives, but you agree with me that this Mr. No. 63, with such financial power, certainly has a high IQ in business, and he is certainly aware of the current price of a painting similar to this work, and perhaps permission Does not let the hat go loose; This is where you need to pay attention to the auction rules and the specific criteria of the art market and measure this purchase with those values, which are mentioned in the following text as criteria:
The more expensive, the more valuable!
One of the most popular tactics of art auctions is to buy expensive and buy loudly and even shockingly; Art auctions are like a market and follow the components of the market. The art market, however, also has its own tactics. A common example is expensive to buy.
The Qatari Islamic Museum, in order to attract the attention of the world, put its hands on 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 approach was taken 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 treasure 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 purchase. For their work, material and spiritual value and added value emerge.
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.
Probably many of you have not seen the wall sculpture of Persepolis Parviz Tanavoli, which was hammered in the Christie’s auction for 2.8 million dollars in 2008. But you have seen the Memories of Hope. How much budget and time do you think it took to achieve this level of fame?
Why do Aydin Aghdashloo paintings have the potential to grow?
One of the most well-known components of any market is “the lower the supply, the higher the demand” and in parallel, “the lower the supply, the higher the price”. Aydin Aghdashloo is one of the least skilled artists called “Master”. After six decades of painting, he was able to hold 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 also painted.
It is known that he has not finished his painting, it is sold and the so-called Waiting List is waiting for the buyers. It is obvious that such an artist has a favorable environment for the growth of the price of his works.
Did marginal issues create a 12 Billion Tableau?
To answer this question, I borrow from the argument of my journalist friend Mahmoud Nouraei, the editor of HonarOnline, who wrote last Saturday: “… Due to the rumors about Aydin Aghdashloo in recent months, many critics criticized the presence of a work by him in the Tehran auction, which is not accepted 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 growth of such a work, which was offered at the Tehran auction with a base price of 1.2 billion to 1.6 billion tomans, goes back to exactly the same margins created around its artist, which is also unprecedented in international auctions around the world. In fact, creating a margin for a work of art or its artist itself increases the excitement surrounding his work.
Also, creating a margin around an artist who has numerous works among art investors and collectors is a kind of jeopardizing a part of their capital, and this causes investors in such a market to defend their financial interests and even use such margins for added value. “They should give up their assets, which is normal in capital markets …”
