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国际艺术市场包括高级阶段（全球主流艺术）和满足全球主流艺术的某些初级阶段（有特殊性，如电影、电视艺术、多媒体艺术、中国传统艺术、拉丁艺术等等），对于中国艺术市场的经营者、艺术家、画廊、拍卖公司、收藏机构或个人、最重要的是解艺术市场运作机制，这是能否成功的关键，否则一切努力都将付诸东流。

高级阶段（全球主流艺术）：

含有大约 100 名艺术家的作品，他们代表主要的展览、艺术媒体、收藏和最主要的拍卖。在某种程度上，这个群体的组成是由处于基础阶段的人群临时或重新组成的。 20 多年前，主流艺术只限于绘画和雕塑，现在摄影、影视的装饰作品也被认同，处于相同的地位。在市场上，他们占据着一些存在异议高价位的作品，通常有以惊人的速度发展壮大。尝试市场运作并不是以作品质量为基础的，还有许多其他因素，这个时期，生活在中国的艺术家没有一个可以稳步的进入这个市场阶段，一小部分生活在国外的中国艺术家已经处于进入高级阶段的边缘。

什麽因素在引导这个市场阶段？

它是画廊经营者、艺术家、上流社会、评论家、以及媒体的关注等的质量、战略组合，特别是成为网络的一部分引导进入这一阶段。一些生活在中国的艺术家处在这个阶段的门槛上。

在这个阶段的中国艺术，意味着生活在中国的艺术家从事艺术工作需要考虑国际需求，存在不同的特性，过去是一个领域，主要是亚洲之外特殊的收藏家和自发的购买者。今天我们看到进入这个领域的是中国、亚洲的收藏家，他们与精于市场的全球艺术主流的眼光比较接近。

他们参加 99 年威尼斯的展览会，了解国际艺术市场情况，无可置疑，他们了解这一现象不是暂时的。一些人仔细审视进入这个领域并开始注意收集满足于他们标准的艺术家 -- 有潜力的进入全球主流艺术领域的艺术家。这对于以后进一步进入这个阶段的艺术市场是非常重要的，他们沿着次要的艺术领域，然后进入国际拍卖市场。对国外收藏者来说面临着这样一个严肃的问题：相似地位的西方艺术家的作品与之相匹配的高价位。

对于中国当代艺术来说，在国际艺术市场没有成功的更好条件，然而，对于中国当代艺术领域各方面的经营者来说，成功绝对需要更多战略上的思考。

The positioning of Chinese contemporary artworks in the international art market (outline)

The international art market consists of a top segment (global mainstream art) and several base segments feeding into this global mainstream art (with specific characteristics such as video art, multimedia art, or Chinese art and Latin American art etc.).It is crucial to understand the mechanics of this international art market system for Chinese market players to succeed, be they artists, gallerists, auction houses, collecting institutions or individuals, or authorities facilitating or hindering this endevour.

The top segment (global mainstream art) is made up of the works of a group of around 100 artists. They are continuously represented in the major exhibitions, artmedia, collections and ultimately auctions. The group composition is somewhat fluid and reconstitutes itself with infeed from the base segments. Till 20 years ago restricted to painting and sculpture, photo-,video- and installation works have now reached similar status. They command with a few exceptions the highest prices in the markets, with usually breathtaking rate of increase. The market taste is not driven by quality only, but by a number of factors. At this stage no artist living in China has made a stable entry into this market segment. A small group of Chinese artists living abroad has entered it at the periphery.

What are the factors driving this market segment? It is a mix of quality, strategy chosen by the gallerist and/or artist, fashion, curator- and media attention and in particular being part of one of the networks driving the process. Some artists living in China are at the doorsill to this segment.

Looking at the segment Chinese art, meaning art works made by artists living in China , international demand now takes on a different dimension: In the past it has been a territory mainly for a few specialised collectors and spontaneous buyers from outside Asia . Today we see new entrants such as Chinese collectors, Asian collectors, and in particular the sophisticated collectors of global mainstream art taking a closer look. They have determined that the exposure in an international art context to a broad public as in Venice 99 and subsequent comparable venues is not a temporary phenomenon but here to stay. Some will after careful examination enter the field and start to collect artists that satisfy their criteria – having the potential to enter the global mainstream art segment. They will be very important to take this segment of the art market one step further. They will pave the way for a secondary art market and the subsequent entry of international auction houses. High pricing in comparison to peer works from Western artists of similar ranking is becoming a serious issue for international collectors.

Never have the conditions for success in the international art market for contemporary art from China been better. Yet succeeding will definitely require more strategic thinking from all players in the contemporary Chinese art scene