Posted by artradar on October 20, 2010
VENICE BIENNIAL CENTRAL ASIAN PAVILLION ART CURATORS
How and with whom does the contemporary art of Central Asia communicate? To whom is it addressed? In which language does it speak? Does it use a lingua franca, the language of most effective communication, or does it twist its language towards outsiders?
This is the proposition set down by the curators for the Central Asian Pavilion at next year’s 54th Venice Biennial. Georgi Mamedov (Moscow) Boris Chukhovic (Montreal) and Oksana Shatalova (Rudnyi) have sent out an open call to artists from Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan and Uzbekistan to submit work under the theme of “Lingua Franca”. The project has been commissioned by Asel Akmatova (Bishkek) and Andris Brinkmanis (Venice) with Beral Madra (Istanbul) and Gulnara Kasmalieva and Muratbek Jumaliev (Bishkek) as special consultants.
Oksana Shatalova, 'Red Flag', 2008, five lambda prints on dibond, 180 x 155 cm each.
The focus of the pavilion looks to play upon the gap in artistic communication, similar to the project Making Interstice that featured at Venice two years ago. The curators maintain that in communicative terms, the contemporary art history of Central Asia is balanced between two poles; communicating with the international “Western” art scene and with the “local” community.
How far are these respective forms of communication effective? Next year’s project will explore not only this gap in communication but how they might be brought together.
Installation view of Making Interstices, Central Asian Pavilion, 53rd Venice Biennial, 2008. Image taken from centralasiaart.org.
Related Topics: Central Asian artists, Kazakhstani artists, biennials
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Posted in Biennials, Central Asian, Communication, Curators, Venice | Tagged: 54th Venice Biennial, Andris Brinkmanis, art curator, art curators, Art East, art projects, Asel Akmatova, Beral Madra, Boris Chukhovic, Central Asian art, Central Asian artists, Central Asian contemporary art, Central Asian Pavilion, Central Asian Pavilion 54th Venice Biennial, communication, curators of Asian art, Graphy, Gulnara Kasmalieva and Muratbek Jumaliev, Hugh Govan, Kazakhstan, Kyrgyz art, Lingua Franca, local community, Making Interstice, Oksana Shatalova, Red Flag, Stills.kg, Tajikistan art, Turkmenistan, Uzbekistan art, Western art scene | Leave a Comment »
Posted by artradar on October 20, 2010
USA MUSEUM SHOWS CHINESE PHOTOGRAPHY
AW Asia, a private organisation that promotes the field of Chinese contemporary art through institutional loan and museum acquisitions, curatorial projects, publishing, and educational programs, has released a press release announcing that three major US institutions – The Metropolitan Museum of Art, The Museum of Modern Art, and the J. Paul Getty Museum – will include works by Chinese contemporary photographers in major group exhibitions.
Exhibiting artists include: Weng Fen (exhibiting at The Metropolitan Museum of Art in New York), Ai Weiwei and Zhang Dali (both exhibiting at The Museum of Modern Art in New York), Hai Bo, Liu Zheng, Song Yongping, RongRong, Wang Qingsong, Huang Yan, Qiu Zhijie, and Zhang Huan (all exhibiting at the J. Paul Getty Museum in Los Angeles).
For more details on each exhibition, read the press release below:
For Immediate Release
June 15, 2010
MAJOR U.S. MUSEUMS EXHIBIT
CHINESE CONTEMPORARY PHOTOGRAPHY
THIS SUMMER SEASON& BEYOND
Contemporary Chinese photography is becoming increasingly prominent in the field of international contemporary art. In the coming months, three major US institutions – The Metropolitan Museum of Art, The Museum of Modern Art, and the J. Paul Getty Museum – will include works by Chinese contemporary photographers in major group exhibitions.
The Metropolitan Museum of Art in New York recently acquired a collection of photographic works by Chinese artists from an anonymous donor. Contemporary Chinese artists whose photography is now represented in the Met’s permanent collection include Hai Bo, Sheng Qi, Song Dong, Zhang Huan, Hong Hao, Wang Qingsong, Xing Danwen, and Weng Fen. The upcoming group exhibition, Between Here and There: Passages in Contemporary Photography (July 2, 2010 – February 13, 2011), explores themes of dislocation and displacement in our progressively global society, and will feature work by Chinese artist Weng Fen. The exhibition will also feature works by international artists Dennis Oppenheim, Robert Smithson, Jeff Wall, and Thomas Struth, among others.
At The Museum of Modern Art in New York, The Original Copy: Photography of Sculpture, 1839 to Today (August 1 – November 1, 2010) will feature photography by Chinese artists Ai Weiwei and Zhang Dali. This show examines the intersection between photography and sculpture, investigating how one medium informs the analysis and creative redefinition of the other. Bringing together over three hundred photographs, magazines, and journals by one hundred artists, the exhibition showcases work by both sculptors and photographers, including Auguste Rodin, Constantin Brancusi, Man Ray, David Smith, Bruce Nauman, Barbara Kruger, Hannah Wilke, and Robert Smithson. Photographic works by Ai Weiwei and Zhang Dali entered MoMA’s permanent collection in July 2008; this is the first show in which these works will be displayed at the museum in a group-exhibition context.
Later this year the J. Paul Getty Museum in Los Angeles will present Photography from New China (December 7, 2010 – April 3, 2011). Offering a contrast to the nineteenth-century views of China and other parts of East Asia by Felice Beato concurrently on view in the Getty Center for Photographs, this exhibition offers a cross-section of Chinese photographs produced since People’s Republic leader Deng Xiaoping ushered in a new era of opening and reform in the late 1970s. Highlighting the Getty’s recent acquisition of photographs by Hai Bo, Liu Zheng, Song Yongping, Rong Rong, and Wang Qingsong, Photography from New China showcases several approaches that are characteristic of recent Chinese contemporary art, including performance for the camera, the incorporation of family photographs, and an emphasis on the body. Supplemented by loans of work by Huang Yan, Qiu Zhijie, and Zhang Huan, the exhibition explores such themes as pre-revolutionary Chinese literati, vestiges of the Cultural Revolution, and newly rampant consumerism.
Related Topics: Chinese artists, photography, USA venues
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Posted in Chinese, Photography, USA | Tagged: Ai Weiwei, art press release, Auguste Rodin, AW Asia, Barbara Kruger, Between Here and There: Passages in Contemporary Photography, Bruce Nauman, Chinese art, Chinese artists, Chinese contemporary art, Chinese contemporary photographers, Chinese contemporary photography, Chinese literati, Constantin Brancusi, consumerism, Cultural Revolution, David Smith, Deng Xiaoping, Dennis Oppenheim, group exhibitions, Hai Bo, Hannah Wilke, Huang Yan, J. Paul Getty Museum, Jeff Wall, Liu Zheng, Man Ray, photography, Photography from New China, press release, Qiu Zhijie, Robert Smithson, RongRong, sculpture, Song Yongping, The Metropolitan Museum of Art, The Museum of Modern Art, The Original Copy: Photography of Sculpture 1839 to Today, Thomas Struth, USA venues, Wang Qingsong, Weng Fen, Zhang Dali, Zhang Huan | 1 Comment »
Posted by artradar on October 19, 2010
AI WEIWEI CHINESE ART TATE MODERN UNILEVER SERIES INSTALLATION SCULPTURE
Ai Weiwei – artist, architectural designer, curator and social commentator – unveils his work for the prestigious Unilever Series for Tate Modern’s Turbine Hall – Britain’s largest contemporary art commission. It features the first living artist from the Asia-Pacific region to be commissioned for this series. Guest poster Pippa Dennis provides an in-depth look into the production and exhibition of this breakthrough installation.
Sunflower Seeds by Ai Weiwei is a sensory and immersive installation which sees the vast 1000 square meters of the Turbine Hall covered with over a hundred million porcelain replicas of sunflower seeds, ten centimetres deep and weighing in at 150 metric tons. Each seed is individually made, intricately handcrafted by over 1600 expert artisans brought together specifically for this project in the city of Jingdezhen, home to porcelain manufacturers since the days of Imperial China.
Each ceramic seed goes through a process of twenty to thirty steps in its production, they are molded, fired and ultimately hand painted. The artist jokes that he made a few himself, but his contribution was hastily rejected by the artisans in charge, such was the level of craftsmanship involved.
Ai Weiwei. Image courtesy of Tate Modern.
“Ai Weiwei has created a truly unique experience for visitors to this year’s Unilever Series. The sense of scale and quality of craftsmanship achieved in each perfectly formed sunflower seed is astonishing. In trying to comprehend their sheer quantity, Ai provokes a multitude of ideas, from the way we perceived number and value, to the way we engage with society at large.” Sheena Wagstaff, Chief Curator, Tate Modern
Initially, the audience was invited to touch, walk on and listen to the seeds shifting beneath their feet. Image courtesy of Pippa Dennis.
The effect is a highly simplistic and subtle creation, yet complex and powerful in its depth and potential for interpretation. The sunflower itself is a profoundly symbolic object for Chinese people. A common street snack shared by friends and enjoyed by everyone, but requiring a certain skill in breaking the husk and releasing the seed in a singular movement of the teeth and tongue. For the artist it has more personal significance as he remembers it as a staple during the Mao years when material goods were virtually non-existent and food was in short supply. At this time he remembers the sharing of them as a gesture of human kindness and generosity in a period of extreme poverty and uncertainty. It was also a symbol adopted by the Communists. Propaganda pictures from this era depict Mao as the sun, and the mass of people as sunflowers turning towards him.
Ai has used the sunflower seed repeatedly in his work since his period in New York, such as Hanging Man (1983), and here this simple motif works to examine the concepts of mass production and traditional craftsmanship, an important aspect of Ai Weiwei’s work. The phenomena of “Made in China” and the association that accompanies it – repetition, copying and mass production – are all themes deeply rooted in Chinese tradition whilst recently they have taken on a new significance in the current geopolitics of cultural and economic exchange.
Ai Weiwei believes the role of the artist is not only about raising issues but transforming them. Here the seeds also raise questions about ourselves and society, what does it mean to be an individual in China, an individual in this world? Individualism in China was heavily criticized during the Mao years but now with its radical economic and urban transformation China’s attitude is starting to shift, particularly amongst the younger generations. Ai has commented “From a very young age, I started to sense that an individual has to set an example in society. Your own acts and behaviour tell the world who you are and at the same time what kind of society you think it should be”.
Each seed is individually made, intricately handcrafted by over 1600 expert artisans brought together specifically for this project ... and goes through a process of twenty to thirty steps in its production, they are molded, fired and ultimately hand painted. Image courtesy of Londonist.com.
Ai Weiwei’s work has always had an element of political and social commentary and he has not only become an important contemporary artist on the international stage but also a leader of social thought in China and the world. He comments, “My art may be political but I never intended to create political art”. However in recent years these themes, particularly for public commissions, have become increasingly prominent and in interviews and on his blog he openly criticises the Chinese government, calling for freedom of press and speaking up for human rights. He has always said his life is ready-made, “I’m my own ready-made”, acknowledging his most significant influence, Marcel Duchamp.
Life for the artist is art, politics and exchange. The act of individuals voicing their opinions and communicating with one another is of great importance to him and his practice. In Remembering (2009), he harnessed the powers of the Internet to recruit two hundred local and regional participants in the research and archiving of the names of the children who lost their lives in the Sichuan earthquake. This project resulted in five thousand names being collated and recorded and is considered the first civil rights activity in China.
In Sunflower Seeds, he harnesses the powers of social media to take his “social sculpture” to another level. Combining online and video technologies, this commission has enabled the artist to engage in a global dialogue about the work. Below the Turbine Hall, Ai Weiwei has installed a series of video booths to record questions and comments to the artist, whilst outside the Turbine Hall the audience can connect with the artist via Twitter. One to One with the Artist also marks a milestone in the Tate’s use of new media technology and the Internet, transforming the Turbine Hall at Tate Modern into a hub of global conversation.
Marc Sands, director of audiences and media at the Tate said,
“In recent years, Tate Media has found a variety of new ways for visitors to engage with the Unilever Series commissions, from iPhone apps to interactive websites. Ai Weiwei’s own passion for new communication technologies has made it possible for us to develop something really special this year, which we hope people around the world will enjoy”.
'Sunflower Seeds' (2010). Image courtesy of Tate Modern.
Originally, the audience was invited to touch, walk on and listen to the seeds shifting beneath their feet. However, after a very enthusiastic response from visitors, staff noticed a fine dust rising off of the seeds, and after it was confirmed that the dust “could be damaging to health following repeated inhalation over a long period of time”, the Tate was forced to cordon the sculpture off. Visitors are still invited to view the installation “from a walkway above the hall.”
The immediate critical response has been extremely positive. The Guardian’s Adrian Searle comments, “I love it. It is a world in a hundred million objects. It is also a singular statement, in a familiar, minimal form – like Wolfgang Laib’s floor-bound rectangles of yellow pollen, Richard Long’s stones or Antony Gormley’s fields of thousands of little humanoids. Sunflower Seeds, however, is better. It is audacious, subtle, unexpected but inevitable. It is a work of great simplicity and complexity. Sunflower Seeds refers to everyday life, to hunger (the seeds were a reliable staple during the Cultural Revolution), to collective work, and to an enduring Chinese industry.”
The Telegraph’s Richard Dorment observes, “For the 11th commission in the Unilever Series, Tate Modern has offered the poisoned chalice to the Chinese artist and political activist Ai Weiwei – and he’s come up with a masterpiece.”
With the seeming success of this event and Tate Modern’s curatorial commitment to show art from new territories, we can look forward to more opportunities to see art from the Asia-Pacific region in such significant spaces as London’s premier contemporary art museum.
About Pippa Dennis
Pippa Dennis is a Chinese art specialist based in London. She has an MA in Art History and spent ten years making documentaries for the BBC before living in Shanghai and working at Eastlink Gallery. She subsequently set up Asia Art Forum, an educational platform to promote the understanding of Asian contemporary art.
Related Topics: Chinese artists, installation art, participatory art, political art, London art
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Posted in Ai Weiwei, Ceramics, Chinese, Installation, London, Pippa Dennis, Sculpture | Tagged: Adrian Serle, Ai Weiwei, Asia Pacific, Chinese art, Chinese contemporary art, contemporary art, Hanging Man, Jingdezhen, Made in China, Mao, Marc Sands, Marcel Duchamp, mass production, One to One, One to One with the Artist, Pippa Dennis, porcelain, Remembering, Richard Dorment, sculpture, Sheena Wagstaff, Sunflower Seeds, Tate Media, Tate Modern, traditional craftmanship, Turbine Hall, Unilever series, video booths | Leave a Comment »
Posted by artradar on October 19, 2010
INDIA FESTIVALS NEW MEDIA ART
Artists, critics, historians and art lovers gathered at the First National Art Week of New Media in late September this year at the Government Museum and Art Gallery in Chandigarh, India, through the collaboration between the National Lalit Kala Akademi and Chandigarh Lalit Kala Akademi. The six-day panorama is a showcase of contemporary artists exploring new mediums and possibilities when it comes to visual art. According to the Akademi’s chairperson Diwan Manna, “Art lovers will be amazed at the myriad possibilities in art.”
The first four days featured lectures and slide shows by some of India’s best known contemporary artists. For the first day Bharti Kher whose work encompasses sculpture, paintings and installations, delivered her talk. Her featured works tackled the topic of “traditional vis-à-vis modern” while at the same time explored the issues of feminism, class, identity and race.
Bharti Kher, 'Solarium Series I', 2007-2010, fiber glass and metal. Image taken from artnet.com.
Day two presented Sudarshan Shetty and his innovative and uncanny installations that re-establish his reputation as an acclaimed conceptual artist.
Sudarshan Shetty, 'Untitled' (from the Stab-series), 2009, wood and scissors. Image taken from artnet.com.
The third day was for Raqs Media Collective, a group of three media practitioners – Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta. In addition to their degrees in Mass Communication, the trio has extensive experience when it comes to curating exhibitions and planning events, as well as working with various writers, architects and directors that have greatly contributed to the contemporary art of India.
Jiten Thukral and Sumir Tagra’s collaborative work in several diverse media such as painting, sculpture, video and fashion have also been well-received.
On the fifth day, Dr. Alka Pande, curator, professor and author on Indology and art history delivered her lecture. The sixth and final day featured a panel discussion with professors Dr. Alka Pande and Dr. Awadhesh Misra, journalist Rahul Bhattacharya, writer and art critic Dr. Rajesh Kumar Vyas, and artists Sheba Chhachhi and Vibha Galhotra.
Jiten Thukral and Sumir Tagra, 'Now in Your Neighbourhood', 2008, plastic bottles. Image taken from artinfo.com.
The event was an interactive and absorbing series inviting guests, students, critics and art lovers to explore more than the usual two or three-dimensional way of experiencing art. Talks from the artists themselves provided an insight into artistic creation and people from different areas of the industry provided another kind of perspective in viewing the works and Indian art in general.
The National Lalit Kala Akademi and its Chandigarh chapter, the Chandigarh Lalit Kala Akademi are institutions established for the promotion and preservation of the fine arts of India.
Related Topics: Indian artists, new media, Indian venues, festivals
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Posted in Events, Festival, Indian, New Media | Tagged: art critics, art history, art scholars, art writer, artist groups, Bharti Kher, Chandigarh, Chandigarh Lalit Kala Akademi, class, CMMS/EN, collaborative art, conceptual art, contemporary indian art, contemporary indian artists, Diwan Manna, Dr. Alka Pande, Dr. Awadhesh Misra, fashion art, feminism, festivals, First National Art Week of New Media, Government Museum and Art Gallery, identity, India, Indian, Indian artists, Indology, installations, Jeebish Bagchi, Jiten Thukral, Lalit Kala Akademi, Mass Communication, Monica Narula, National Lalit Kala Akademi, New Media, New Media Art, Now in Your Neighbourhood, paintings, race, Rahul Bhattacharya, Raqs Media Collective, sculpture, Sheba Chhachhi, Shuddharbrata Sengupta, Solarium Series I, Stab-series, Sudarshan Shetty, Sumir Tagra, traditional vis-à-vis modern, Vibha Galhotra, Video art | Leave a Comment »
Posted by artradar on October 19, 2010
ART AUCTION FUNDRAISER HONG KONG CURATOR INTERVIEW
Para/Site Art Space, a non-profit organisation located in Sheung Wan, Hong Kong, will hold its annual Para/Site Fundraising Auction in early November this year. It will take place in the Kee Club, who also support the event, and is one of the most important fund-generators for the space. Para/Site is devoted to the exhibition of local and international contemporary art. It is also a space where seminars, talks and workshops take place regularly.
We had the opportunity to talk with the Para/Site Director and Curator Alvaro Rodriguez Fominaya who has been working for the space for one-and-a-half-years, half of his contracted commitment. We wanted to know more about him, Para/Site Art Space and what special surprises the upcoming auction will have for attendees.
Alvaro Rodriguez Fominaya, director and curator of Hong Kong's non-profit Para/Site Art Space. Image courtesy of Para/Site Art Space.
Fominaya and Para/Site: small scale projects with international interaction
How long has Para/Site Art Space been running for?
Para/Site was founded in 1996. It was one of the first organisations of its kind to be created in Hong Kong. In 1997, other organisations like 1Artspace were created. Para/Site started as an artists’ collective, providing a space for member artists to exhibit. Very soon it became a space for other artists coming from abroad to show their work. Para/Site started an international programme and this has continued until now. Para/Site, in a way, was a pioneer in inviting curators to work full time. I am the second curator who has joined the space. (Editor’s note: Before Fominaya, Para/Site employed Tobias Berger, a German curator who worked for the space for three years from 2006 to 2008.)
Why did you decide to join Para/Site Art Space?
Several reasons made me want to join this space: I wanted to distance myself somewhat from the European gallery/art space model. I wanted also to be able to curate all major parts of a project. In Europe, the scale of the projects I was working on was very different. I was used to working on big projects within a large team. I wanted to experiment with small scale projects, as they give me a much closer relationship with the artist. But, we also have a minor budget here! It is very challenging (smiles). The logic of culture working in a large scale organisation or in a small one is very different. I have to say that it was very shocking for me at first! I had to adapt to a different scale of project and to a different culture.
What has changed since you first joined Para/Site Art Space?
We have worked harder to develop our facilities for our Hong Kong artists and also to increase our public programme by developing some workshops…. [We are] promoting local art abroad and making dialogue between the art and artists possible in and outside Hong Kong. An example of a workshop has been the participation of the director of education at MoMA, Philip Yenawine, who talked about museums and education. [Past] workshops weren’t that much focused on artists but more on art administrators, curators, etc..
Zhang Dali, 'AK-47 (V.7)', 2010, acrylic on canvas, 102 x 82 cm, unique edition. Image courtesy of Para/Site Art Space.
What have you been doing before you joined Para/Site Art Space?
Before coming to Para/Site I worked in a very different type of environment. I was working as a curator in a contemporary and modern art museum in Spain for six years. It was a different type of organisation; it was much larger and we covered all the twentieth century. At Para/Site Art Space … it’s a totally different type of environment, being a micro non-profit organisation with only four people working on our projects. Most of those projects are commissioned works that the artists develop for us. We have a very active international programme, which is very different from [the programme we had in] my previous job. That’s one of the challenges.
How is it funded?
The money raised in the auction covers almost half of our annual budget. That’s why it’s a very important event for us. We want to fundraise approximately HKD1,000,000 during this event. [We have organised] this kind of event for almost ten years now and we always had a very successful response. The rest of the budget is covered by the government, a French petrol group and smaller sponsors like corporate entities.
Rem Koolhaas, 'Lagos', 2007, photographic paper, 112 x 84 cm, special edition for Para/Site Art Space. Image courtesy of Para/Site Art Space.
Para/Site Fundraising Auction to sell one-off and special edition works
Can you explain the fundraising event to me in a few words. How do you get the artwork? What happens on the night? How did you select the artists?
The event is basically a fundraising auction. We are very cheeky and we ask the artists to donate their work to Para/Site. Some of the participating artists have worked with us and the others just want to support us in a generous way. During the event, the idea is to sell all the works in a pleasant atmosphere. From the 28 artists that participate in the events, around ten of them will attend the event. Those ten artists are based in Hong Kong. Unfortunately we don’t have the budget to fly all the artist here but we’ll have a very good representation of the selection we made. This night is very special, because it gathers different kinds of personalities together: curators, art gallery owners, artists and art lovers. Make sure to RSVP to attend to the auction as the event, with 100 people expected, will have limited places.
For this fundraising auction, 28 artists will participate. This selection of artists is a good representation of what we do. It is a mix of local Chinese, Asian and international artists. Some are very established and others not so. We’ll have secured the participation of a very established artist, Rem Koolhaas, who is donating a photograph titled Lagos. He has never sold his work before. You know what to do if you want to get it: Come to the Kee Club and it’s yours! We also have Ai Weiwei, a very interesting artist who we already exhibited last April and May. [We have] Zhang Dali, one of the pioneers of the Chinese avant-guarde and a very established artist. We have also a good representation of artists from Hong Kong. This event is a great opportunity to get artworks of a very good quality. I want to highlight also the big support from some galleries and foundations that have donated works to Para/Site, such as Cat Street Gallery. All the works that will be part of the auction will be shown here in Para/Site space.
It’s a big challenge as we curate a large number of art works and deal with artists from all over the world,… almost thirty artists, most of whom do not live in Hong Kong. The process is really like curating a show, the only difference is that the artists donate their work instead of selling it. Surprisingly, most of the artists we approached, even those who didn’t have any past relationship with Para/Site, had heard about this space and wanted to help and support us. It is a big responsibility; it has to go well for us, but it is at the same time a celebration.
Ai Weiwei, 'Swatter', 2007, brass gilded, 0.5 x 50 x 7cm.
Fominaya on running a non-profit art organisation
How do you choose which artists to represent Para/Site Art Space’s regular exhibition?
For the most part I invite the artists I want to work with. I do review the portfolios that we receive but the process I follow is mostly by invitation. I generally focus in the region, working with Hong Kong artists on international projects as a mission. I’m really focussing on Chinese, Asian and South Asian artists. We use the fact that Hong Kong is a door between the West, China and the south of Asia to get our inspiration for creating our programme. We want to show what Hong Kong means in a political, geographical and economic sense. At the same time, I try to stay away from what you can find in a commercial gallery. Actually, that’s one of the reasons why we don’t work that much with painters. Most of the work [we show] is installation and moving image. Personally, I’m very interested in moving image art.
Has the mission of Para/Site Art Space changed over time?
We continue with the same philosophy as before my arrival. In these two years, we have been developing more international projects with Hong Kong artists. We have also done a few projects with artists from outside Hong Kong, creating a dialogue between all of them. An example is the exhibition we curated with Joseph Kosuth and Tsang Kin Wah in 2009.
Has Para/Site Art Space always been in Po Yan Street? Or has the gallery been in another location before?
In April 1997, Para/Site Art Space was located in Kennedy Town before moving to its present location in Sheung Wan District, but it looks like we will have to emigrate. Sheung Wan is an area of Hong Kong that is getting very expensive. Next door, a luxurious apartment building is being built. The prices in the area are getting as expensive as the Peak. I think we need to move to a larger space to develop different types of projects with different scales. For the moment, the space that Para/Site has suits the type of exhibitions shown, but also the human resources and the budget we have available.
Sometimes you can find very famous artists in Para/Site. They don’t do the same kind of work they usually do in big museums as they have to adapt their work to the space. They also don’t have so much pressure and they tend to use this space to experiment, trying out different types of work.
How would you like to see Para/Site Art Space grow?
The artist community in Hong Kong is very active and developed. There are many commercial galleries but most of them are small and Hong Kong needs powerful galleries that can support its artists. What we would need in Hong Kong would be a larger number of non-commercial art spaces. A bit like Para/Site but on an even larger scale in order to allow the local art community to develop their projects.
The desire we have for Para/Site is to have a larger budget and a bigger venue that will help us achieve our larger goals. We want to make possible more dialogue with other art spaces around the world in order to develop projects. But this is not a short-term idea. This needs to be done over time to assure its sustainability.
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Posted in Alvaro Rodriguez Fominaya, Art spaces, Curators, Events, From Art Radar, Funding, Hong Kong, Interviews, Nonprofit, Professionals, Venues | Tagged: Ai Weiwei, AK-47 (V.7), Alvaro Rodriguez Fominaya, art administrators, art auctions, art collectors, art foundations, art funding, art museums, art seminars, Asian art, Cat Street Gallery, contemporary art, contemporary Chinese art, corporate funding, curator, exhibition, funding, fundraising, fundraising events, gallery director, government funding, hong kong, Hong Kong art, installation art, international contemporary art, Joseph Kosuth, Kee Club, Kennedy Town, Lagos, MOMA, Nadim Abbas, non-profit, non-profit art organisation, Painting, Para/Site Art Space, Para/Site Fundraising Auction, Philip Yenawine, Po Yan Street, Rem Koolhaas, Sheung Wan District, Swatter, Talks, Tobias Berger, Tsang Kin Wah, Video, Video art, workshops, Zhang Dali | Leave a Comment »
Posted by artradar on October 19, 2010
EMERGING YOUNG ASIAN ARTISTS
The “Alternate-Friday Top Series” is a series of lists, produced fortnightly by Artprice, which provide artist ranking on various themes. The September 10th edition lists the top ten artists aged under thirty that have achieved the highest auction results in the first half of this year. Asian artists overwhelm artists from other areas and we name them here.
Artprice has listed ten artworks by eight artists, Peng Si and Kao Yu appear twice in the list, and of those ten, nine have been created by artists from Asia. The number one spot, however, goes to an artwork by American Dash Snow.
As Artprice summarises, “What do these artists from such different backgrounds and cultures have in common? They have all managed to carve a place in the art market before reaching their thirtieth year, have all exhibited their work in numerous exhibitions … and all have plenty of potential to continue their artistic careers.”
Peng Si (ranked 2 and 3 out of 10)
Peng Si, a Chinese artist based in Beijing, holds second and third ranking, with Portrait of a Man in Red (2006) and Portrait of a Man in Yellow (2006) which sold for USD51,359 and USD48,791 respectively at Christie’s May 2010 sales in Hong Kong (Asian contemporary art). Peng Si produces oil paintings that have a dreamlike quality, mixing classical Chinese imagery, while equally expressing a unique modern value.
Peng Si, 'Portrait of a Man in Red', 2006, oil on canvas, 188 x 118 cm. Image taken from artnet.com.
Erinç Seymen (ranked 4 out of 10)
Erinç Seymen, a Turkish artist who lives and works in Istanbul came fourth. His Untitled (2010) fetched USD32,306 at Sotheby’s in London in April’s sale (2010). The work combines car paint, aluminium, steel and fibreglass and represents a pink butterfly with a body in the form of a grenade. Untitled (2008) and Civilian (2006) bear the same pink tonality.
Yang Na (ranked 5 out of 10)
Chinese artist Yang Na’s Gold Coined Hibernation (2008) (acrylic on canvas), sold under the hammer for USD31, 381, at 33 Auction in Singapore in May, 2010. Yang Na is part of the new wave of artists that grew up during rapid economic expansion in China, becoming exposed to a technological world of new media. The art communicates the artist’s experience of this technology and media. She often creates simplified characters, with exaggerated features that lie between the metaphysical and irreality.
Yang Na, 'Gold Coined Hibernation', 2008, acrylic on canvas, 150 x 150 cm. Image taken from artnet.com.
Kao Yu (ranked 6 and 9 out of 10)
Chinese artist Kao Yu, takes third and ninth place in the rank, Love Tear Gas (2004) fetched USD30,217 in June, 2010 at the Shanghai Hosane Auction Co. and Ultimate Taste of Capitalism (2009) fetched USD23,038 in April, 2010 at Phillips de Pury in London.
Zakaria Ramhani (ranked 7 out of 10)
Zakaria Ramhani, a Moroccan artist holds seventh place with Faces of the Other (2008) that fetched USD30, 000 at Christie’s April, 2010 sale in Dubai. Living and working in Tangier and Montreal, he uses his mother tongue and the language of the Other, French. Moving between speaking the two languages inspired him to create visual and audio portraits. The portraits explore human identity, investigating issues of self and other by establishing a dialogue between painting, writing and sound.
Noriko Yamaguchi (ranked 8 out of 10)
Noriko Yamaguchi, a Japanese artist, holds ninth position in the rank. The three telephone girls Keitai girl suit 3 (old model) Keitai girl suit 4 (silver) Keitai girl suit 5 (white and red) fetched USD25 679 in Christie’s Hong Kong in May, 2010. The “Keitai Girls” are futuristic archetypes that explore the future development with the human body and its interaction with technology.
Ariadhitya Pramuhendra (ranked 10 out of 10)
The final artist on the list is emerging Indonesian artist Ariadhitya Pramuhendra. Memorable 2 (2008) fetched USD21,827 in May, 2010 at Christie’s in Hong Kong. The charcoal portrait on canvas reflects his continual questioning of his religious, social and art world identities.
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Posted in Emerging artists, Lists, Trends | Tagged: 33 Auction, Alice Nava, Alternate-Friday Top Series, Ariadhitya Pramuhendra, art, art auctions, art market, Artprice, Chinese art, Chinese artists, Christie's auctions, Civilian, contemporary art, Dash Snow, Emerging artists, Erinc Seymen, Faces of the Other, Gold Coined Hibernation, Keitai girl suit 3 (old model) Keitai girl suit 4 (silver) Keitai girl suit 5 (white and red), Keitai Girls, Lists, Love Tear Gas, Memorable 2, Noriko Yamaguchi, Peng Si, Phillips de Pury, Portrait of a Man in Red, Portrait of a Man in Yellow, Shanghai Hosane Auction Co., Sothebys, Turkish artists, Ultimate Taste of Capitalism, Whitney Biennial, Yang Na, Yu Kao, Zakaria Ramhani | 1 Comment »
Posted by artradar on October 15, 2010
NEW MEDIA ART FESTIVAL INSTALLATION
Akbank art centre, Istanbul continues with its exhibition “The Rhythm of Istanbul“, in collaboration with the Akbank Jazz festival. Marking the twentieth anniversary of this world renowned music festival, it will feature installations by six internationally acclaimed artists working in sound and new media.
Julian Opie, 'Rod and Verity Walking', 2010, lightbox installation. Image courtesy of Akbank Art Centre.
Curator Gisela Winkelhofer is using the commission to approach the use of sound and rhythm and to explore how movement combines with the architectural spaces of the festival, shedding new light on the confrontation between mass media and the individual.
Angela Bulloch, 'Progression of 8 Peverted Pixels', 2008, 7 DMX modules, 1 black box module. plexiglas, printed aluminium panels, DMX cables, 1 RGB lighting system DMX controller, size 52 x 52 x 52 to 62 x 70 x 62 cm. Image courtesy of Akbank Art Centre.
Accordingly, artists with a reputation for transforming the spatial encounter will be present. Canadian-born Berlin-based Angela Bulloch is showing her Progression of 8 Perverted Pixels (2008), taking the light transmitted from ordinary TV programmes, abstracting them beyond recognition and projecting them as shape-changing beams.
Specially commissioned by the festival, Tony Oursler‘s new work also evokes the spectator’s virtual relation to their surroundings. Both movement within the work and the transgression of different media takes central place in the exhibition. Another new work Rod and Verity Walking (2010) by Julian Opie positions itself on the fringes of two distinct mediums, in this case film and drawing.
Tony Oursler, 'Marlboro, Camel, Winston, Parliament, Salem, Marlboro Light, American Spirit', 2009, PVC tubes, video projection, dimensions varied. Image courtesy of Akbank Art Centre.
Related Topics: festival, installation, sound art, crossover art
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Posted in Electronic art, Festival, Laser, Light, New Media, Turkey | Tagged: Akbank, Akbank Jazz festival, Angela Bulloch, architecture, contemporary art, exhibition, festivals, Gisela Winkelhofer, Hugh Govan, installation, installation art, Istanbul, Julian Opie, Light art, Marlboro Camel Winston Parliament Salem Marlboro Light American Spirit, movement, New Media, Peter Kogler, Progression of 8 Peverted Pixels, rhythm, Rod and Verity Walking, Sound art, space, Stephan Reusse, the individual, The Rhythm of Istanbul, Tony Oursler, Turkey, Video art | Leave a Comment »
Posted by artradar on October 14, 2010
ART GALLERIES JAPAN ART EXHIBITIONS CHINESE ARTISTS
MEM, an art gallery based in Tokyo that represents mainly Japanese contemporary artists, has moved to a new gallery space in NADiff a/p/a/r/t in Tokyo. MEM announced this news in early September so should now be settled into the new space.
The gallery has announced the opening in conjunction with an exhibition of RongRong & inri, a pair of artists who live and work in Beijing, China. They are also the founders of Three Shadows Photography Art Centre, an important institute for Chinese contemporary art and photography.
RongRong & inri, Untitled, no. 25, 2008, gelatin silver print. Image courtesy of MEM.
NADiff is an art bookshop and gallery located just off the fashionable Omotesando strip in Tokyo’s youth culture centre of Shibuya.
Related Topics: art spaces, gallery shows, Japanese venues, Japanese artists, Chinese artists
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Posted in Art spaces, Chinese, East Asian, Events, Gallery shows, Japan, Venues | Tagged: art exhibitions, art galleries, Chinese contemporary artists, gelatin silver print, Japan, Japanese art galleries, Japanese contemporary artists, MEM, NADiff a/p/a/r/t, Omotesando, photography, RongRong & inri, Shibuya, Three Shadows Photography Art Centre, Tokyo, Untitled no. 25 | 1 Comment »
Posted by artradar on October 14, 2010
TAIWANESE ARTIST VIDEO ART UK EXHIBITIONS
Following his successful exhibition in the United States, Chen Chieh-jen (b. Taoyuan, Taiwan, 1960), an internationally acclaimed video artist, presents the UK premiere of “Empire’s Borders II – Western Enterprises Inc.” at the Chinese Arts Center in Manchester, UK.
The first iteration of Empire’s Borders, Chen’s critical response to the convoluted systems implemented as a result of Cold War policies, was featured in the Taiwanese Pavilion at the 53rd Venice Biennale in 2009. In this commissioned work, Chen Chieh-jen examines the history of Taiwan within a globalisation context.
Chen Chieh-jen, Empire's Borders II, 2010, video still. Image courtesy of the artist.
The show, which runs from 2 October to 20 November this year, showcases a three-channel film installation including an autobiography of the artist’s father, a member of the Anti-Communist National Salvation Army (NSA), a list of NSA soldiers killed during the China offensive, an empty photo album and an old army uniform. Dr. Marko Daniel with Yu-ling Chou as assistant curated the show.
As profiled in the Taiwanese exhibition information on e-flux, “Chen Chieh-jen was born in 1960 in Taoyuan, Taiwan, and graduated from a vocational high school for the arts. He currently lives and works in Taipei, Taiwan. Chen created a series of photographic and video projects that re-imagine, re-write and re-connect his experience of living in a marginalised region and the intrinsic spirit of Taiwanese society, as well as propose possible ways of subverting dominant neoliberal logic.”
Chen Chieh-jen, Empire's Borders II, 2010, video still. Image courtesy of the artist.
On Taiwanese-UK art blog +8 the artist’s career highlights are described: “He represented Taipei in the Venice Biennale in 2009, has been selected for Artes Mundi 2010, was included in the curated shows at the 1999 and 2005 Venice Biennales, the Liverpool Biennial 2006 and is showing in the 6th Asia Pacific Triennial in 2009-10. He has had solo exhibitions at the Asia Society, New York, and the Museo Nacional Centro de Arte Reina Sofía 2008. In 2000, he was awarded the Special Prize at the Gwangju Biennale in Korea and in 2009 he was awarded Taiwan’s prestigious National Award for Arts for outstanding cultural achievement.”
The exhibition is produced as part of the Abandon Normal Devices (AND) Festival of New Media and Digital Culture in collaboration with the Chinese Arts Centre. It is also supported by the Council for Cultural Affairs, Taiwan.
Related Topics: Taiwanese artists, video art, art events
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Posted in Documentary, Family, Taiwanese, Video | Tagged: +8, 53rd Venice Biennale, 6th Asia Pacific Triennial, AND Festival of New Media and Digital Culture, Anti-Communist National Salvation Army, art blog, art exhibitions, Artes Mundi, Asia Society New York, autobiographical, autobiography, Chen Chieh-Jen, China, Chinese Arts Center, Cold War, curator, documentary, Dr. Marko Daniel, e-flux, Empire’s Borders II – Western Enterprises Inc., Family, festival, Globalisation, Korea, Liverpool Biennial, Manchester, Martha Soemantri, Museo Nacional Centro de Arte Reina Sofía, National Award for Arts Taiwan, Nationalism, New Media, NSA, political, Special Prize Gwangju Biennale, taiwan, Taiwanese artists, Taiwanese history, Taoyuan, UK, UK artist premiere, Video, Video art, video artist, video artists, Yu-ling Chou | Leave a Comment »