Tyler Rollins names top Asian artist line-up for new season

CONTEMPORARY ART SOUTH EAST ASIA ART PROMOTION EXHIBITION SCHEDULE

Tyler Rollins Fine Art has announced its 2010-2011 exhibition schedule. The gallery will present solo exhibitions by four of the most highly respected artists from the Southeast Asian region starting from 16 September, this year.

Tyler Rollins Fine Art is a gallery in New York’s Chelsea area that has a primary focus on contemporary Southeast Asian art; one of the art world’s most culturally diverse and dynamic areas. As the gallery says, its objective is to put the spotlight on some of the most exciting trends in contemporary art, drawing attention to the interconnectedness of today’s globalised art world and fostering inter-cultural dialogue between the East and West.

“Rollins’ timing is perfect: while prices for Chinese works dropped in the fall auctions, Southeast Asian art broke records.” Contemporary Art Philippines

The gallery will first show the Filipino artist, Manuel Ocampo, the most internationally-know contemporary artist from the Philippines. Ocampo has been a vital presence on the international art scene for over twenty years and is known for fearlessly tackling the taboos and cherished icons of society and of the art world itself. Marking his sixtieth solo show, Ocampo will be presenting new paintings and woodcut panels featuring traditional Christian iconography combined with secular and political narratives.

“The theme that comes up again and again is of figures that connect to a sort of myth-induced stereotype, rendered iconic but bludgeoned into a farcical conceptual iconoclasm made absurd by its exaggerated impotence as a carrier of meaning or the esthetics of politics. The paintings are a comment on desire, as painting itself is an object accustomed to this wish of being desirous, yet in the series they have a knack of providing some difficulty to the viewer as the conventions of painting are dismantled to the point of ridicule.” Tyler Rollins Fine Art

Following Ocampo, is Vietnam’s most prominent female contemporary artist, Tiffany Chung. Chung, noted for her sculptures, videos, photographs and performance work, will showcase her works at Tyler Rollins from 14 November to 31 December this year. Inspired by maps of urban regions, Chung’s solo show at the gallery explores the topographic after-images of some of the past century’s most traumatic conflicts.

'Berlin Wall', 2010, embroidery, painted metal grommets, and buttons on canvas. The maps that Chung is showcasing tell us about our relations with the past and our visions of the future. Image courtesy of Tyler Rollins Fine Art.

 

Moving away from Southeast Asian art, Tyler Rollins Fine Art will also present works by Tracey Moffatt, an Australian artist who is one of today’s leading international visual artists working in photography, film and video. Many of her photographs and short films have achieved iconic status around the world; Moffatt takes her inspiration as much from popular culture and the idea of fame and celebrity as she does from art history.
In January 2011, Tyler Rollins will be featuring her recent photographic series, Plantation, as well as Other, the final work in her video series inspired by Hollywood films.

'Plantation (Diptych No. 1)', 2009, digital print with archival pigments. 'InkAid', watercolor paint and archival glue on handmade Chautara Lokta paper. Tracey Moffatt's eerie pictures delve into a troubled history of exploitation. The man in the image is an alien, an outsider who is not welcomed into the colonial-style house. Image courtesy of Tyler Rollins Fine Art.

As a finale to this artist line-up, Tyler Rollins will be presenting Agus Suwage from March to April, 2011. Suwage is often named as one of the most important Indonesian contemporary artists. Although little of his work has been seen in the U.S., it has been exhibited around the world over the past few decades and is included in most major collections and surveys of Indonesian contemporary art.

Suwage's paintings explore the predominant theme of the self-portrait, employing the artist’s own body and face in a number of guises to address questions of identity and change in his surrounding socio-cultural condition. 'Playing the Fool' (2004) is the artist’s continuing exploration into violence, pain and joy. Image courtesy of Tyler Rollins Fine Art.

JAS/KN/HH

Related Topics: promoting art, Southeast Asian artists, gallery shows

Related Posts:

• 27 contemporary Southeast Asian artists featured in ASEAN-Korea photo exhibition – July 2010 – lists and discusses the work of these artists
• Unapologetically political Burmese artist Chaw Ei Thein discusses her country and her art: Asia Art Archive interview – June 2010 – the artist speaks about the connection between her art and the politics in Myanmar as well as her hopes for the future of Burmese art
• New York gallery Tyler Rollins holds rare showing of Thai artist Jakkai Siributr – May 2010 – an overview of the exhibition accompanied by some great imagery
• Top 14 books on South-east Asian art by Adeline Ooi – April 2009 – an invaluable resource when searching for research material
• Four Asian artists nominated for NYC PULSE Awards – March 2010 – Southeast Asian artists recognised abroad for stand out talents

Subscribe to Art Radar Asia for more on top gallery line-ups

Advertisement

Busan Biennale pushes for new discoveries in contemporary Asian art – artist list

KOREA ART EXHIBITIONS BIENNALES ART EVENTS EMERGING ARTISTS

The Busan Biennale 2010 will be held from 11 September until 20 November at several locations in Busan, including the Busan Museum of Art, as well as at the nearby Yachting Center and Gwangalli Beach, under the theme of ‘Living in Evolution’.

The Biennale’s website describes the theme as such:

The official 2010 Busan Biennale poster, designed by Lee Pooroni and based on the theme ‘Living in Evolution’.

We are living individual lives. Yet at the same time, we are living in the processes of evolution. Evolution will continue. But no one knows the direction of this evolution.

This exhibition will try to think through the relations between art, society, world, history and the future by considering the dual time axes in which we are living today.

Featuring 161 works from 72 artists, the art festival will make a new attempt of integrating three existing exhibitions – “Contemporary Art Exhibition”, “Sea Art Festival” and “Busan Sculpture Project” – into one.

The Busan Biennale has been held every two years since the beginning of 2000. This year’s biennale makes an attempt at new discoveries and insights on relations between individuals and mankind, past and future and arts and society.

Kiichiro Adachi, 'Antigravity device', 2009, tulip, soil, neodymium magnet, stainless steel, halogen light.

In an unusual move, the 2010 Busan Biennale will have one single director, Azumaya Takashi, planning for all exhibitions. As an independent curator hailed for his experimental approach to exhibitions, Azumaya has held curatorial posts at the Setagaya Art Museum and the Mori Art Museum in Tokyo. He was commissioner of the 2002 Media City Seoul and guest curator for the 2008 Busan Biennale.

The art festival aims to help forge a closer link between the public and contemporary art through creating connections between the featured works and exhibition venues. Large-scale installations will be placed at several key spots in the city to serve as landmarks, depicting the exhibition theme and symbolising civilisations.

Along with the main exhibition, directed by Azumaya, the 2010 Busan Biennale will be composed of special exhibitions such as “Now, Asian Art” and joint exhibitions such as “Gallery Festival” and “Exhibition at alternative spaces”.

Featuring young and experimental artists from Korea, China and Japan,”Now, Asian Art” aims to tighten regional networks in Asia and strengthen contemporary Asian art. “Gallery Festival” is a set of special exhibitions presented by local art galleries, again featuring artists from Korea, China and Japan.

Educational programs, including a contemporary art course called “Art Story”, will be available. The course is scheduled to open in October and targets adult art lovers and aspiring artists. In addition, a conference of art editors in Asia will be held on September 12 under the title of the “Asian Editors’ Conference”.

Asian artists participating in the 2010 Busan Biennale include:

Donghee Koo, 'Souvenir', 2008, wood, light fixture, mirror, and artificial plant.

Korea
Min-Kyu KANG
Tae Hun KANG
Donghee KOO
Dalsul KWON
Eunju KIM
Jung-Myung KIM
Shinjung RYU
Bal Loon PARK
Sung Tae PARK
SATA
Moo-kyoung SHIN
Sangho SHIN
Dayeon WON
Kibong RHEE
Byungho LEE
SongJoon LEE
Young Sun LIM
Seung JUNG
Jinyun CHEONG
Hye Ryun JUNG
Jung Moo CHO
Ki-Youl CHA
Bongho HA

Thaweesak Srithongdee, 'Zoo', 2009, acrylic on canvas.

Japan
Kohei NAWA
Saburo MURAOKA
Kiichiro ADACHI
Kenji YANOBE
Miki JO
Akira KANAYAMA
Tomoko KONOIKE
Kosei KOMATSU

China
MadeIn
Shun YUAN
Anxiong QIU

Thailand
Imhathai SUWATTANASILP
Thaweesak SRITHONGDEE

Turkey
Emre HÜNER
Inci EVINER

UK, Israel
Yishay GARBASZ
Zadok BEN-DAVID

Mongolia
Amarsaikhan NAMSRAIJAV

Vietnam
Dinh Q. LÊ

Philippines
Christina DY

Taiwan
Shih Chieh HUANG

Egypt
Doa ALY

VL/KN

Related Topics: Korean venues, biennales, emerging artists, promoting art

Related Posts:

• 27 contemporary Southeast Asian artists featured in ASEAN-Korea photo exhibition – July 2010 – Southeast Asian contemporary photographers showcase their work in Busan
• Korean art hit and miss at Seoul Auction Hong Kong: New York Times – July 2010 – summary of a New York Times article explaining the market trends of auctions held by Seoul Auction
• Touring Taiwan: 50 of Taiwan’s top artworks on display at the Busan Museum of Arts, Korea – January 2010 – Taipei Fine Arts Museum Collection shown in Busan
• Performance of Asia tops West for first timers at auction in 2008/09 – November 2009 – ArtPrice: Asian artists outperformed their Western counterparts
• Troubles for Korean art at home, better reception abroad – Korean Herald, New York Magazine – January 2009 – report of a downward trend in the local Korean art market

Subscribe to Art Radar Asia for more on art exhibitions in Asia

27 contemporary Southeast Asian artists featured in ASEAN-Korea photo exhibition

KOREAN ASEAN CONTEMPORARY PHOTOGRAPHY EXHIBITION

Created to showcase the range of dynamic contemporary photography coming from Korean and Southeast Asian artists, “Emerging Wave“, currently on view at the GoEun Museum of Photography in Busan (South Korea), features works from 27 artists ranging from emerging creators to established veterans.

Established in March 2009, the ASEAN-Korea Centre promotes both cultural and economic cooperation between Korea and the ten ASEAN (Association of South East Asian Nations) member countries. The organisation  recently partnered with Seoul Art Centre’s Hangaram Art Museum to open their 2010 photo exhibition which features 27 artists from 11 countries.

The exhibition, which is the second since ASEAN-Korea Centre’s launch, exposes the international community to new work by some of Southeast Asia’s brightest contemporary photographers. While many of the participants are veterans, the exhibition gives younger artists exposure to the contemporary art scene of a major city such as Seoul.

“Emerging Wave” attracts artists from all over ASEAN region

For example, for emerging Bruneian photographers Hirfian Hussain and Akmal Benangsutera, the exhibition is an opportunity to showcase the budding photography scene in their home country, as well as a chance to connect with dedicated artists from outside of Brunei.

Artists well-established in other media also make up this year’s selected names such as Burmese performance and installation artist Po Po. While not considered a prolific artist – he has had only two solo exhibitions since 1987 – his work is thoughtful and full of depth. As an artist who works with different media there is much crossover within his work. With his photography he employs elements of cubism, a movement he considers to be painting’s “highest state of intellectual approach.”

Po Po, 'Searching for Identity: Bottle # 1', 2002-2007, C-print, 167 x 305 cm.

“How can I make cubist photos which present every aspect of a thing? These works are not objects of material.  They are objects of mind”.

Although in an article on the Myanmar Times website Po Po states his distinterest in “flashy technology or visual hype”, his selected photos demonstrate his willingness to experiment with newer media to create complex, visually stimulating images without losing the sincerity of his message.

Like Po Po, Singaporean artist Mintio incorporates multiple overlapping angles in photos from her “Concrete Euphoria” series (2008-2009).

Mintio, 'Kuala Lumpur City Centre', 2008, D-print, 152 x 122 cm.

In spite of being relatively young Mintio, who got her start at a major commercial studio at age 16, has already created a stir with her documentation of Asia’s largest cities using long-exposure techniques. For Mintio, the process is about both rediscovery and finding the unknown in familiar things.

“At the end of the day, no matter how familiar we think we are with a person or a place, there always will be jewels left undiscovered. Perhaps the answer of what a place or city means might just be a continuous journey of finding those jewels.”

Also on display is work by fellow Singaporean Zhao Renhui, a resident artist and member of the Institute of Critical Zoologists. Zhao channels his fascination with man’s perception of animals into photos sometimes depicting live or taxidermy creatures, and other times depicting man’s often futile attempts to be at one with nature. In an interview with Asian Photography Blog, Zhao expresses the idea that photography is a medium through which people “relate to animals and the world”. At the same time it is a medium which “blurs the distinction between fact and fiction”. In one particular image he presents a zoologist who appears nearly invisible with the aid of a camoflague cloak and photo manipulation.

Zhao Renhui, 'Tottori Sand Dunes', 2009, archieval piezographic print, 84 x 121 cm.

In doing so, Zhao presents a surreal image as reality and challenges the validity of photography as a medium for depiciting truth. For the artist, reality in photography is illusory and constantly in flux. Viewers must try to make sense of the natural, scientic world through a manipulated, and possibly false, image.

A fascination with perceptions of truth also permeates the photographs of Thai artist Dow Wasiksiri and Vietnamese artist Richard Streitmatter-Tran. While Streitmatter-Tran makes no attempt to hide the artifice of his composite images, Wasiksiri’s saturated photos capture a side of Thai culture that he feels foreigners are not exposed to when viewing the “styled and staged” images of Thailand. According to the artist’s statement on his website:

“Visitors are presented with contrived, idealized images of Thainess by Thais ourselves … countless published views of Thailand are staged and styled. The contrivance and the reality rarely match, leading to startling juxtapositions”.

In presenting what he calls the “unexpected moments”, Dow aims to show unabashed ‘Thainess’ with humor and unself-consciousness.

Indonesian photographer Angki Purbandono makes use of what he calls a “freestyle” approach which allows him to employ methods ranging from collage to the scannography technique used in “Avocado Horse” (2010). Even so, Purbandono doesn’t separate himself from other photographers too much.

“Just like other people working with photography, I play with objects, considering light as important and employing a dark room to print my work.”

Angki Purbandono, 'Avocado Horse', 2010, scannography, 100 x 100 cm.

Korean artists well represented in “Emerging Wave”

Although most of the eleven countries are represented by two artists, organisers made sure to give Korean artists plenty of additional exposure. Bright candied flora populate the work of Koo Seong Youn while Hyun Mi Yoo seems to suspend falling objects in time with skillful compositions. The warped perspectives of Zu Do Yang, Wawi Navarroza’s impersonation of Mexican artist Frida Kahlo, and “real vs. unreal” themes explored by artist Lee Yeleen add to the diversity of subject matter and style. Given that they were chosen for their talent and thoughtful innovation, it comes as no surprise that “Emerging Wave” participants turn the idea of photography on its head. With their photos they call on viewers to question the factual nature not just of the images they view but also the experiences which they have come to accept as normal and routine.

Koo Seong Youn, 'Ht01 (+ Ht02), C-Prints, 2009, 120 x 150 cm.

Other artists included in the show are Koreans Choi Jung Won, Lee Won Chul, and Nanda; Laotians Manichanh Pansivongsay and Phonephet Sitthivong; Indonesian artist Arya Pandjalu; Filipina artist Bea Camacho; Malaysian artists Liew Kung Yu and Tan Nan See; Burmese artist Thit Lwin Soe; Tanapol Kaewpring; Vietnamese artist Le Kinh Tai; and Cambodians Sok Sophal and Tralong Borin.

The exhibition has moved from the Hangaram Art Museum to the GoEun Museum of Photography in Busan and will close on 8 August.

EH/KN

Related Topics: Southeast Asian, photography, museum shows

Related Articles:

• Unapologetically Political Burmese artist Chaw Ei Thein discusses her country and her art: Asia Art Archive Interview – June 2010 – discusses the Myanmar art scene and her experiences making art under the military junta
• Pop culture references abound in Indonesian art: curator Eve McGovern discusses Indieguerillas’ Happy Victims and the Southeast Asian art climate – June 2010 – offers some insight into what art is being created in the region and why
• Korean National Museum of Contemporary Art Young Korean Artists restrospective spans 30 years – May 2010 – highlights from a Korean contemporary art retrospective
• New York gallery Tyler Rollins holds rare showing of Thai artist Jakkai Siributr – May 2010 – about Southeast Asian artists gaining global recognition
• Four Asian artists nominated for NYC PULSE Awards – March 2010 – Southeast Asian artists recognised abroad for standout talents

Subscribe to Art Radar Asia for more on current exhibitions and shows in Asia

Rise of the celebrity artist: Vietnamese artist Trong Nguyen featured on Bravo TV reality series

CONTEMPORARY ARTISTS CELEBRITIES REALITY TV

From dance competitions to rehab, it seems that no subject is left untouched by reality television producers. Even the act of finding a spouse has been successfully commercialised for audience entertainment. Now, with Bravo TV’s new series, Work of Art: The Next Great Artist, viewers can get a glimpse inside of the often misunderstood world of contemporary art. But at what cost?

Reality TV and contemporary art finally meet

While some shows bank on the star appeal of celebrities and athletes, others take virtual unknowns and catapult them to instant, albeit usually shortlived, fame. Some shows evoke groans of annoyance as others reign in viewers eager for enterainment or curious about the show’s focus. Bravo TV has churned out a string of successful competitive series in several disciplines including fashion, cooking, and modeling just to name a few.

As of June 2010, Bravo branched out into art with the premiere of it’s new series, Work of Art: The Next Great Artist. For executive producer Sarah Jessica Parker, the show is about making art accessible to audiences who may consider it to be a “rarefied” world. In addition to giving the fourteen featured contestants a shot at a substantial amount of cash, USD100,000 to be exact, the winner also wins an opportunity to exhibit their works at the Brooklyn Museum. Such high profile spaces are rarely made available to emerging artists.

The cast of Bravo TV's 'Work of Art: The Next Great Artist'.

But could all of this backfire? Some argue that reality TV oversimplifies certain disciplines or even presents a distorted idea of what it’s actually like to be a successful artist, dancer or model. There is also the question of whether critics and other artists will take the show’s contestants seriously. Even so, the series aims to show, in an entertaining manner, that art is not exclusive or elitist. It is something that everyone can experience, even on a daily basis. In an article published by Zap2It, Parker states:

I want to express that we all have art in our home, whether you save a postcard from a friend or put your son’s or daughter’s drawings up on the wall. That’s art, and you are part of it … and it shouldn’t be any less accessible to you than to anyone else.

As for contestants, there are those who view the competition as merely a starting point, regardless of whether they win or not. Reality stars are made quickly and can fizzle just as fast if their careers prove to be lackluster. Such possibilities don’t seem to daunt most of the artists on the show, many of whom seek to at least stand out and generate some buzz around their name. Most of the fourteen selected artists are in their twenties, few are experienced, and all are hoping that this chance of a lifetime is worth the risk of failure in front of thousands, if not millions, of viewers.

Profiles of the judges can be found here.

Vietnamese artist Trong eliminated in second round

Artist Trong Nguyen.

Brooklyn based artist and curator Trong Nguyen falls into the small category of contestants who have already achieved success. It was not enough, however, to guarantee him a spot in the third round. At only 38, he has had several international solo and group exhibitions, received numerous grants and is currently an editor for ArtSlant.

We’ve summarised below an interview with ARTINFO in which Trong discusses the artists’ attitudes towards the show, issues with judges and why he joined the cast.

When asked if he feels animosity towards reality programming, Trong expresses amibivalence, a sentiment that was reflected in his second-round installation, What Would Tom Freidman Do? (2010).

The piece itself was about my ambivalence … I thought that any serious artist,  when they’re talking about making a reality show about art, has to have subversive reasons for doing the show.

In regards to the anti-reality TV phrases written on the television sets, Trong states “… the truth kind of hurts sometimes”. The judges eliminated Trong in the second round; his truthful remarks may have indeed struck a nerve. That is not to say that the judges fawned over Trong from the start. Some snapped back with what Trong hinted were unhelpful critiques.

The judges are so defensive that they end up ignoring what you have to say, which I feel is so unconstructive … I think they actually dote on certain works and certain people on the show for whatever reason, and it hasn’t felt constructive to me.

As a more seasoned artist, Trong questions the usefulness of critiques especially when aimed at the younger contestants whom he “feels protective of”. Equally so, Trong questions the ability of these artists, many of whom are fresh from undergraduate studies, to make work with depth at such a young age.

At that age, no matter how talented you are, you just haven’t experienced life enough to really make art that has substance to it … An art career is such a long thing — you have emerging artists out there who are still in their 50s, it’s not like any other profession.

Not only does Trong feel that many of the artists are too young, but they are also putting themselves in a vulnerable position too early. The possibility of ruining ones’ career before it starts is all too real for these young unknowns, although Trong has the immunity of experience and reputation.

One of my main things I said to myself: ‘There’s no way this is going to affect my career negatively.’

Trong's piece from his eliminating round, 'What Would Tom Friedman Do?' (2010, installation).

With all this, one may wonder why join the cast in the first place? But for Trong, the answer is simple.

If someone asked you to do the show, would you do it? … you have this great opportunity to experience this, why wouldn’t you do it? It’s the difference between living an active life and living a passive life. So I always go for the route of active.

Seems like an easy choice but becoming a great artist is never that simple.  Mega-artists and art superstars are nothing new, but can one be made on television? The show’s intentions of giving aspiring artists a chance while exposing audiences to the art world are noble, yet using reality TV as a medium could be problematic.

Do you think the series can live up to its name and purpose or will it fall flat? Post your comments below.

EH/KN

Related Topics: celebrity art, crossover art, Vietnamese artists

Related Posts:

• Top 20 Asian artists June 2010: Art Radar Asia’s most-searched artists – July 2010 – many of the listed artists fall into the “celebrity artist” category
• Pop culture references abound in Indonesian art: curator Eva McGovern discusses Indieguerillas’ Happy Victims and the Southeast Asian art climate – June 2010 – McGovern relays how Indonesian artists are reinventing Javanese folklore
• Animamix Biennial- an alternative biennial pushes aestetic of comic art- interview curator Victoria Lu – February 2010 – Victoria Lu talks about the lack of creative scope in today’s art events
• Louis Vitton, A Passion for Creation review – the fine art of branding in Hong Kong – July 2009 – How did artists use the LV logo to reflect modern urban international culture?
• Iranian artist Farhad Ahrarnia picked as one to watch – Canvas – September 2008 – discusses the work of now high-profile artist Ahrarnia who uses celebrity as a subject

Subscribe to Art Radar Asia for more on celebrity artists

Leading non-profit institutions gathered by Tate Modern for art event: Art Radar Asia lists Asian participants

TATE MODERN ARTS FESTIVALS ASIAN ART INSTITUTIONS LISTS

In celebration of the Tate Modern‘s tenth birthday, thirteen Asian art institutions were invited to join global arts festival No Soul For Sale: A Festival of Independents in early May this year. The event brought over seventy independent art spaces, non-profit organisations and artists’ collectives from across the world to the Turbine Hall, indicating which institutions the Tate considers leading in the global art scene.

Read on for more about the thirteen Asian art organisations in attendance at No Soul For Sale. (Listed in alphabetical order.)

98 Weeks – Beirut

Initiated in 2007 as an artist organisation devoted to research on one topic in depth for 98 weeks, 98 Weeks has also become a non-profit project space since 2009 and has been organising workshops, seminars, reading groups and other art activities in Beirut. The project space is committed to providing a gallery for artists to research and develop ideas, exhibitions and artworks; a platform where artists, cultural practitioners and neighbors are welcome to propose ideas and a space to enhance self organised initiatives and the sharing of artistic resources.

Arthub Asia – China

'Crazy English', a performance by the Shanghai-based Chinese artist Zhou Xiaohu, was staged in No Soul For Sale 2010

Being a multi-disciplinary organisation dedicated to creating arts in China and the rest of Asia, Arthub Asia is devoted to initiating and delivering ambitious projects through a sustained dialogue with visual, performance and new media artists as well as collaborations with museums and public/private spaces and institutions. It is a collaborative production lab, a creative think tank and  a curatorial research platform. Initially conceived to support the non-profit BizArt Art Centre through structural funding in 2007, Arthub Asia has facilitated more than 110 activities in China and the rest of Asia and has become the major provider of structural support not only for artists working in China and across Asia, but also for a global community of leading curators, art professionals and producers.

Alternative Space LOOP – Korea

Devoted to defining alternative Asian art and culture by confronting Western-oriented globalisation, Alternative Space LOOP is committed to the search for young defiant emerging artists, promotion of connections between visual arts and other genres, establishment of international networks of alternative spaces, support for creative activities and better environments for exhibition. The art space, which was established in 1999, has been planning to expand its size since 2005.

Arrow Factory – Beijing

Located in a small hutong alley in Beijing’s city center, Arrow Factory is self-funded, independently run art space that can be visited 24-hours a day, 7 days a week. It is committed to presenting works that are highly contingent upon the immediate environment and responsive to the diverse economic, political and social conditions of the locality. Founded in 2008, Arrow Factory was initiated as a response to commercially defined contemporary art in Beijing, which is also increasingly confined to purpose-built art districts in the remote outskirts of the city.

Artis – Israel

With the firm belief that artists are cultural emissaries and agents of social change, Artis aims at expanding the innovative practices of Israeli artists around the world and aiding them to reach global audiences by holding cultural exhibitions and events. Since its establishment in 2004, it has been running numerous art-related programs including curatorial research trips to Israel, a grant program for international exhibitions and events, international commissions, performances, events, talks and an active website with artist profiles, articles, videos, news, and events.

Barbur - Jerusalem

Barbur – Jerusalem

Founded in 2005 at the heart of Jerusalem, Barbur is an independent nonprofit space for art and artists with the aim of being a platform for critical debate that deals with social issues while developing projects with local communities through monthly exhibitions and weekly screenings, lectures, workshops, music performances and other events.

Collective Parasol – Japan

Founded in January 2010, Collective Parasol is a private organisation for art and social-cultural activity. It is run by its artists, curators, a filmmaker, an art law specialist and an art student. It provides an open-ended platform for a wide range of projects and aims to establish a new form of “collective” that questions the solidarity, essentiality and possibility of artist collectives/communities and alternative spaces. Each member organises his or her own projects, puts together an idea with other members and collaborates with guests from a wide range of fields who are working within creative projects. The platform can take the form of a café, gallery, theater, studio, residency, meeting place for local people… the list is essentially endless. Collective Parasol is open to non-members who can use the space, equipment, and technical support.

Green Papaya Art Projects – the Phillipines

Founded in 2000, Green Papaya Art Projects is the longest running independently run creative multidisciplinary platform in the Philippines which specialises in exploring tactical approaches to the production, dissemination, research and presentation of contemporary practices in various artistic and scholarly fields. It tries to be a platform for critical intellectual exchanges and creative-practical collaboration among the artistic community.

PiST///Interdisciplinary Project Space - Istanbul

Para/Site Art Space – Hong Kong

Founded in 1996 in Hong Kong, Para/Site Art Space is devoted to bringing leading international practitioners to Asia, increasing the visibility of Hong Kong artists and facilitating East-West dialogues through an ambitious program of exhibitions, screenings, talks and events.  It is a platform for artists and other art practitioners to realise their vision in relation to their immediate and extended communities with the aim of nurturing a thoughtful and creative society.

PiST///Interdisciplinary Project Space – Istanbul

PiST///Interdisciplinary Project Space is a non-profit art space in Istanbul that produces new and experimental works which explore urban environments, everyday life and public/private space conflicts through collaborative experimental work with local and international art professionals. The art space acts as a runway for local and international art professionals to land on and take off from.

Post-Museum – Singapore

Founded in Singapore in 2007, Post-Museum is an independent cultural and social space dedicated to encouraging and supporting a thinking and pro-active community through providing an open platform for examining contemporary life, promoting the arts and connecting people.

Sala-Manca + Mamuta – Jerusalem

Sala-Manca is a group of independent Jerusalem-based artists who stage performances and create videos, installations and new media works which deal with the poetics of translation (cultural, mediatic and social), with textual, urban and net contexts and with the tensions between low tech and high tech aesthetics, as well as social and political issues. Having produced and curated Heara (comment) events, it has also published the art journal (H)Earat Shulaym without any external official, political or economic support.  It founded and directs Mamuta, a platform that promotes artistic experimentation as well as social and political engagement through providing studios, a residency program and production labs that facilitate exchange and dialogue between artists.

Sàn Art – Vietnam

Sàn Art is an independent, artist-run exhibition space and reading room in Ho Chi Minh City that supports the country’s thriving artist community by providing an exhibition space, residency programs for young artists, lecture series and an exchange program that invites international artists and curators to organise or collaborate on exhibitions.

CBKM/KN

Related Topics: Asian artists, non-profit arts, art events

Related Posts:

• Ai Weiwei is next artist in Unilever Series at Tate Modern – March 2010
• Four Asian artists nominated for NYC PULSE Awards – March 2010
• Will Vietnamese non-profit art space Sàn Art shift the art scene from Hanoi to Ho Chi Minh city? – interview Dinh Q Le – December 2009
• The Singapore Tyler Print Institute – international art collaboration at world-class print studio – profile – November 2009
• Embedding the Bed in Public Space – interview Hong Kong artist and ParaSite director Tim Li – August 2009

Subscribe to Art Radar Asia for more news on Asian leading galleries and artists

Will Vietnamese non-profit art space Sàn Art shift the art scene from Hanoi to Ho Chi Minh city? – interview Dinh Q Le

SOUTHEAST ASIAN CONTEMPORARY ART

Here is a useful Art Info interview with artist Dinh Q. Le, one of the four founders of the renowned Vietnamese non-profit Sàn Art. Multimedia artist Dinh Q. Le will be having a solo show at MOMA in 2010. Read on for his perspective on the Vietnamese art scene, the challenges and opportunities ahead and how San Art is already drawing artists away from Hanoi to create a new vibrant art scene in Ho Chi Minh City.

 Sàn Art was established in 2007 as an independent, non-profit, artist-run exhibition space located in Ho Chi Minh City. The contemporary art space is completely supported by grants and individual contributions, and dedicates itself to the exchange and cultivation of contemporary art in Vietnam.

 

Interior photo of the San Art exhibition space

The focus of the interview with Dinh Q. Le is about Sàn Art’s cultural context, history, and future in Ho Chi Minh City. After frustration with trying to fund a non-for-profit organization in Vietnam, Dinh Q. Le set up the Vietnam Foundation for the Arts (VNFA) in Los Angeles with the help of his dealers Shoshana and Wayne Blank, owners of Shoshana Wayne Gallery.

Dinh Q. Le

VNFA’s original programs were focused on disseminating information about art from outside Vietnam, lecture series, and grant programs. After realizing the need to showcase artists’ works, they switched some of the funding from the VNFA lecture and artist grant programs to fund the opening of Sàn Art.

Here are some questions and responses from the interview:

What was the art scene in Ho Chi Minh City (HCMC) like when you first returned to Vietnam in 1993? What inspired you to get involved?

The biggest reason I wanted to do something to help was because of the respect I felt for young artists at the time. They were well trained as painters and traditional sculptors and could actually make a decent living by creating works catering to the emerging tourist art market. But they decided to abandon their traditional training and try out installation and conceptual art, even when they had little information on these practices. I thought they were very brave.

How does Sàn Art fit within the Vietnamese art system? Is it recognized by the government?

Sàn Art acts as a bridge between local and international art scenes. We are nationally recognized. All our openings have been televised nationally by government stations and written up in the local and national newspapers. I guess, in a way, they are supportive. But at the same time, they are also keeping their distance and keeping a watchful eye on us.

Photo from current exhibition titled "Collection Show" running from December 1-28. Unknown Monsters; acrylic on canvas Dimensions Variable; 2009 Artist: Tyke Witnes

How do you think Sàn Art has impacted the local art scene?

The biggest impact is that Sàn Art created a community that was not here before. Hanoi used to be the place to go if you were an international curator coming to learn about the Vietnamese contemporary art scene, but today many artists from Hanoi are considering moving to HCMC.

Upcoming solo exhibition of American artist Hap Tivey, titled "Light Shreds - 2000 Car Paintings" opening on December 31st.

With new leadership in place, a new building, and two years of experience behind you, what does the future hold for Sàn Art?

We hope that Sàn Art will have a closer working relationship with the HCMC Fine Arts Association and the HCMC Fine Arts University so that we can reach out to the older members of the Fine Arts Association and to the students at the university. Sàn Art can contribute a tremendous amount of content to their programs through our international connections. Like many artist-run spaces, our most fundamental hope is for Sàn Art to be financially stable so we can keep serving the community.

Related Posts:

• Acclaimed Vietnamese artist and collector Dinh Q. Le reveals which Vietnamese contemporary artists he is collecting now – interview Wall Street Journal– September 2009
• Vietnamese performance art – new research underway– August 2009
• Post Doi-Moi – Vietnamese Art After 1990 at Singapore museum to 28 September 2008– May 2008

Subscribe to Art Radar Asia for more market and auction house news

SF/KCE

Acclaimed Vietnamese artist and collector Dinh Q. Le reveals which Vietnamese contemporary artists he is collecting now – interview Wall Street Journal

by Dinh Q. Le

CONTEMPORARY VIETNAMESE ART

Dinh Q. Le, a Vietnamese-American artist and collector, is touted as one of the world’s most acclaimed Vietnamese artists, and his work will be featured in a solo exhibition by  the Museum of Modern Art in New York City next May. However, the journey to his impressive position in the art world has been tumultuous, fleeing violence in Vietnam for the U.S. at the young age of 10, and returning to Vietnam under better circumstances in 1993, 15 years later, to reside in Ho Chi Minh City.

Why does he collect?

He reveals in an interview with the Wall Street Journal that since his return to Vietnam collecting art has been his passion, and he suspects it is fueled from the loss he experienced when he fled to America and was forced to leave everything behind. Somehow, surrounding himself with objects may be compensating for this loss. However, he also comments:

“…A part of me worries that if I don’t buy these objects up, they will disappear from Vietnam. These objects are part of Vietnam’s history, my history. But the most important thing is that I just love to live with these beautiful objects.”

What does he collect?

His collection focuses on Vietnamese ceramics, and he estimates to have about 200-250 pieces from the following eras: northern Vietnamese (Chinese) Han Dynasty terra cotta (206 B.C.-A.D. 220), Oc Eo pottery (1st-7th centuries), ceramics from the Vietnamese Ly Dynasty (1009-1225), and the Tran Dynasty (1225-1400), and Chinese Han, Song (960-1279), Ming (1368-1644), and Qing (1644-1911) dynasties.

However, he presently focuses on collecting 12th century Ly Dynasty white ceramics, and 15th century Tran Dynasty tricolor works from the Hoi An hoard, found in an area shipwreck.

Who does he collect?

His contemporary collection includes works by Shirley Tse, Brad Spence, Christian Marclay, and Manuel Ocampo, ranging from photographs, drawings, paintings, video, ceramics, and books.

Of Vietnamese artists, he collects Tiffany Chung, Tuan Andrew Nguyen, Phu-Nam Thuc Ha, and Tuan Thai Nguyen.

Vietnamese art: not what you’d think

Mr. Le deplores the current (mis)conception of Vietnamese art, which has been reduced to decorative images that are popular with tourists. He has founded an arts organization, San An, which is actively working to change the perception of Vietnamese art.

View full interview with the Wall Street Journal here

-contributed by Erin Wooters

Related Posts

• Vietnamese Performance Art- New Research Underway– Aug 09
• More art, better art, riskier art at ART HK 09– May 09
• Internationally known Asian artists’ collaborative art project ends in Laos after 4 years- July 08

Subscribe to Art Radar Asia for the latest artist interviews

Vietnamese performance art – new research underway

VIETNAMESE PERFORMANCE ART

 

Performance art is regarded as one of the more esoteric branches of contemporary art and Vietnamese art is decidedly off the beaten track. But perhaps that is why Nora A. Taylor, a familiar name in Vietnamese art circles for nearly 20 years, believes a combination of the two merits deeper study. 

Taylor is professor of Southeast Asian art at a school of the Chicago Art Institute and is using her one-month summer vacation in Vietnam to research performance art in the country.

A performance by Dao Anh Khanh

In this extract from her interview with VietnamNet she describes how performance art is perceived differently in Vietnam and names some of her favourite Vietnamese performance artists.

Q: What is your definition of performance art?

Taylor: It is the art of using the bodies of artists as the tools of performance. Sometimes it is called body art or live art. But in Vietnam, performance art is understood more broadly. It comprises all kinds of performances, from the use of artists’ bodies as pillars to large-scale performances with dancers, music and light.

Q: Could you tell us about your research of performance art in Vietnam? 

Taylor: I’m interested in performances of individual artists, who use very simple tools or irreducible things, which is closer to live art rather than works with large backgrounds like Dao Anh Khanh performs.

I’m also interested in experimental performances, artworks and music works that challenge traditional arts and artworks which are a process, which means that final works are not the final goal.

Performance art has a close connection to the idea about the process of an artwork, and that is why I’m interested in this art.

Q: Which Vietnamese artists are you paying attention to?

 Taylor: I always admire Ly Hoang Ly. Her performances are always strong. Recently, I’ve become a fan of Nguyen Huy An and his works with dirty materials and graphite. Both of them use some materials besides their bodies but their works are rich in imagination, directness and humanity.

Read more at VietnamNet .

Related posts:

• What inspires Zhang Huan and why he is taking a break from performance art – video – Feb 2009
• Review of Tatsumi Orimoto’s performance Finger Dolls in Hong Kong – Jan 2009

Subscribe to Art Radar Asia for the latest developments in Asian contemporary art

Contemporary Asian art research grant 2009 – call for applications by Asia Art Archive

ASIAN ART RESEARCH GRANT

The first of its kind in the field, AAA Research Grant was created by Asia Art Archive with the generous support of Martell in 2005.

It was established to encourage understanding of the exciting developments taking place, provide much-needed resources to individuals wishing to carry out focused research projects in Asia, and to endow future generations with material on artists working today.

The grant is thematic in approach and requires the collection of rare documents, original materials and first-hand information on contemporary Asian art.

The US$10,000 grant is offered every two years.

Deadline for proposals 30 June 2009.

The interest in contemporary Asian art over the past decade has surged with an increasing number of Asian artists taking part in major international exhibitions, a growing art market and a mushrooming of art events and spaces in the region. Despite these developments, there has been a lack of research and in-depth writing, which is very important for the long-term understanding and healthy growth of contemporary art in the region.

Previous grantees are

1. Leeza Ahmady, Unveiling Contemporary Art in Central Asia Afghanistan, Uzbekistan, Kazakhstan, Kyrgyzstan, and
Tajikistan

Afghanistan born and New York based curator Leeza Ahmady is currently director of Asian Contemporary Art Week New York. Click on the link above to see the results of the research online.

Leeza Ahmady organised an exhibition and symposium entitled “The Taste of Others: Contemporary Art in
Central Asia” in New York in March 2005, with the aim of closing the gap that exists between the international
and Central Asian art communities. With the support of the Research Grant, Ahmady traveled to Central Asia
in August and September 2005 to further conduct interviews with artists and curators, and collect up-to-date
materials of the developing art scene.

2. Richard Streitmatter-Tran, Mediating the Mekong 

Vietnamese artist and curator Richard Streitmatter-Tran has exhibited at Venice, Singapore, Gwangju and Hong Kong Biennales. He will be assisting the Queensland Art Gallery as a co-curator for the upcoming Asia Pacific Triennale in 2009 for a Mekong focused platform.
Richard Streitmatter-Tran’s research looked at the Mekong region, where he examined the importance of the media in effecting work produced in the region. Over the life of the project, Streitmatter-Tran travelled to Cambodia, Laos, Thailand, Myanmar and Vietnam. He proceeded by making a general assessment of the media infrastructure for each country and then seeking out artists that were either using, commenting or resisting media in the production of their work. Videos, images and documents were collected in the course of his research.

More information available on Asia Art Archive website.

Subscribe to Art Radar Asia for the latest news about people and events in Asia

Art professionals cautiously optimistic about Asian art – AFP

HONG KONG AUCTION SALES

The art world is eyeing Hong Kong for the latest litmus test of how prices are holding up amid the global financial crisis, with experts cautiously upbeat about the future of the Asian market.The frenzied scramble to own contemporary works has fizzled quickly as economic realities have started to bite.

London felt the chill in October when two big sales fell short of previous highs just a month after a record-shattering auction of works by Damien Hirst.

Earlier this month in New York, Sotheby’s slashed prices for much-hyped contemporary art works and Francis Bacon’s 1964 “Study for Self Portrait” failed to sell in a Christie’s auction in the city.

At the beginning of October, Sotheby’s autumn sale in Hong Kong, which included modern and contemporary Asian art as well as classical works, brought in 1.1 billion Hong Kong dollars (142 million US dollars), about half of the pre-sale estimate.

In a sale of modern and contemporary Asian art at the Sotheby’s sale, 40 percent of lots remained unsold and the figures were even worse for 20th century Chinese art, with 65 percent of lots failing to find buyers.

Now attention turns back to Hong Kong, where Christie’s is set to launch its five-day autumn sale from November 29.

Art prices have adjusted down 30-50%

Anders Petterson, managing director of London-based art market research company ArtTactic.com, said the contemporary art market has already corrected significantly since hitting peaks earlier this year.

“Prices have been adjusted down 30-50 percent depending on the work and the artist. This brings us back to 2006 levels, but prices are likely to have some time to go before we have reached an equilibrium. This will also depend on how deep the recession in the United States and Europe will become,” he said.

“The correction we see in the Western art markets will spread to emerging markets, with both China and India already starting to feel the pinch.

“Upcoming sales in Hong Kong and in India will give us a better sense of the market sentiment.”

Despite the barrage of gloomy economic news and the falling prices, Jonathan Stone, Christie’s international business director for Asian art, remains upbeat about his upcoming sale.

“It’s a slightly new world we’re in compared with six months ago and I think we need to see where we are. I think overall I am cautiously optimistic.

“There are some very good works and I do believe that any time there are good works will always provide solid results,” he said, adding that price falls could make it easier for collectors to come back into the market.

Stone picks out one of the highlights of the upcoming auction in Hong Kong as being a group of works of Chinese contemporary art from the collection of American filmmaker Oliver Stone.

Another star lot is Zeng Fanzhi’s “From the Masses, To the Masses,” expected to fetch about 30 million Hong Kong dollars.

Expanding interest in Indonesian and Filipino works

For Hong Kong-based art consultant Kate Evans, it is difficult to predict which way the market is heading in the short term, although she presents a more nuanced picture of the scene.

“There is still a market for Asian art, albeit at much lower prices,” she said. “Collectors’ interest is expanding into much more affordable Southeast Asian contemporary art, particularly Indonesian and Filipino art.”

This was shown at the Sotheby’s October sale in Hong Kong, where the modern and contemporary Southeast Asian paintings sale was a high point.

In that category, Indonesian artist I Nyoman Masriadi’s “The Man From Bantul (The Final Round)” sold for almost eight million Hong Kong dollars, a world record for contemporary Southeast Asian art.

Despite the bracing economic circumstances, Hong Kong gallery owner Katie de Tilly reports that business has been brisk in the past couple of months but adds: “We know it’s going to slow down a lot.”

Value in Vietnam and Thailand

The owner of 10 Chancery Lane Gallery said there was great value in works from countries such as Vietnam, Thailand and Indonesia and that the Chinese market will remain strong in the long term.

She said the price correction was “a really great opportunity to buy because important works will always be important works” and there is more room to negotiate.

Time of buying opportunities

Evans, who runs the Art Radar Asia advisory firm, agreed, saying: “I believe there is a strong case for buying now because the long-term trends support an increase in value for Asian art in particular.”

ArtTactic.com’s Petterson is also positive, saying he sees “this as a time of opportunities, there will be less competition, less hype”.

“The market will revert to focus on the art and its cultural and historical value and importance, so for the long-term player this is a buyer’s market,” he said.

Subscribe to Art Radar Asia