This day and age proven that digitalisation is the new globalisation for any establishment that has its eyes set on the world. In the art world, the conventions of brick-and-mortar white cube galleries are still ever present and ever relevant to the scene. Even so, the digital presence in the form of social media and online sales platforms of such organisations have seeped through the cracks in the walls and congealed itself around the overall art business models, to a point that the former conventions of artwork-on-walls showcase could almost be done away with completely. While the immediate concern for such models come in the form of an absence in tangibility, its far-reaching advantage of stretching the viewership across continents without being rooted to a single location quickly keeps the naysayers in check. How else, pray tell, would one with the ravenous appetite of a seasoned collector be able to remain up to speed with the rapidly shifting landscapes of the artworld?
One such gallery that has found its way onto the screens of art patrons around the globe is Studio-ID Gallery. Acronyms for “Inner Dimensions”, Co-Founder Nidhi Samani explains that inner dimensions exist in everyone, which is personal to every individual and connected to our very purpose and existence through both the mind and the soul. With its roots extending across borders into Taipei, Taiwan, Studio-ID Gallery’s representation there homes in on increasing visibility for the artists. Of course, the gallery is much aware of the imperatives in the need for physical spaces, so it leverages on multiple collaborative platforms via exhibition and events to better offer art to collectors and enthusiasts in both local and international markets. Affordable Art Fair Singapore, Affordable Art Fair Hong Kong, and Art Podium are rostered into its list of prestigious participations. The gallery also shows no sign of slowing its advancement into the fray with its ongoing efforts to exhibit in ArtSG 2021, Art Revolutions Taipei, and Art Taipei 2021. “The oeuvres and narratives of the emerging artists in South East Asia can make a mark and statement in the international art scene. We invite them to partner on our online platform and make the world its market,” declares the other Co-Founder Ketan Samani. Indeed, the duo has spent the first 2 years dipping their toes into the market to understand the needs of buyers and artists. This comprehension of the industry helps them to provide service to both the buyer and the seller online and offline.
The Samanis have, on multiple occasions, underscored the art sector to be an ecosystem. This means that no stakeholder should be left to operate alone and that growth in the industry is in direct relation to the, well, relationships forged between the players. With that in mind, Studio-ID Gallery’s partnership with the international art publication Art Herald Magazine is a strategic collaboration that not only keeps printed media alive, but also ensures that the visual narratives intended by the artists are faithfully translated into text that binds the intelligibility of Contemporary Art into an accessible topic for anyone. The cross-platform operation has also recently materialised as a global art competition entitled The Collector’s Award, whereby winners of each category will have their artworks featured within the magazine and the top prize, sponsored by Studio-ID Gallery itself, is a one-year free gallery contract that potentially grants the artists access to the myriad of art events Studio-ID partakes in.
Of course, the physical gallery space will and shall be here to stay for the long haul, for the very thought of phasing it out completely is an absolute bewilderment and utter blasphemy for the art community, but perhaps it could scooch over some to make space for technological advancements to complement its cause. Afterall, an ecosystem does require all of its factors to stay afloat before it can function and thrive as a living, breathing whole; so that all of us can live and breathe art as a whole.