Archive for the ‘Events’ Category
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 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.
Related Topics: non-profit, art spaces, events, curators, Hong Kong venues
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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 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 13, 2010
PERFORMANCE ART HONG KONG FESTIVALS
Art Radar Asia would like to notify you of what we consider an important and interesting Asia Art Archive performance art festival, Action Script – Symposium on Performance Art Practice and Documentation in Asia, which will be held in Hong Kong later this month. We have copied the press release below to give you more information:
Event flyer for Action Script: Symposium on Performance Art Practice and Documentation in Asia, to be held in late October this year and organised by Asia Art Archive.
“Performance art” or the production of “live art” by artists has become a vital element in the flourishing contemporary art scene throughout Asia. Festivals celebrating performance art proliferate in Asian cities and provide significant platforms for interaction, activism, and creative development. In addition toquestions concerning the presentation, contextualisation, and reception of performance art, there are many issues surrounding the documentation of the ephemeral art form. Over the course of a few days in October, internationally respected performance artists, archivists, and researchers will gather together to critically discuss the various challenges associated with performance work. The aim is not only to provide better resources and a deeper understanding of performance art, but also to further encourage its cultivation.
21-22/10 [Thu & Fri]
Experts from around the world will come together to exchange ideas concerning the practice and preservation of performance art. Special attention will be given to such topics as festival as a platform for performance art, challenges faced by artists in the region, technical complexities of documentation, and the philosophical dilemmas ofarchiving/historicizing art creations that are inherently impermanent.Participating professionals include Martha Wilson of Franklin Furnace Archive (USA), Paul Clarke of Live Art Archives (UK), Farah Wardani of Indonesian Visual Art Archive, Thomas Berghuis who researches Chinese performance art, Ray Langenbach, a scholar and artist, and Wen Yau of Asia Art Archive. The 2-day roundtable discussion will be moderated by Debra Wacks, an art historian who specialises in performance art, and Ko Siu-lan, an artist and curator who has participated in numerous festivals across Asia. They will be joined by artists and festival organizers from the region to analyse past experiences and to consider the possible future of performance work in Asia.
Enquiry & registration：2815 1112 / email@example.com
Artist Talk by Tehching Hsieh: In conversation with art critic Lee Weng-choy
23/10, 2:30pm [Sat] Agnès b. CINEMA!, Hong Kong Arts Centre
The exceptional series of actions entitled One Year Performances by Tehching Hsieh from 1978 to 1986 have played a significant role in the history of performance art: for one year the artist locked himself inside a cage, another year he methodically punched a time clock every hour on the hour, one year he lived completely outdoors, one year he conducted his life while tied to another artist without ever touching, and for an entire year he did no art. Along with his Thirteen Year Plan of doing art without publishing for 13 years, Hsieh’s body of work explores essential concerns of life, time, and being. Hsieh will talk about his lifeworks in conversation with the Singapore-based art critic, Lee Weng-choy. (The talk will be conducted in English and some Mandarin.)
Seats are limited and on a first-come-first-served basis. Please make reservations in advance：actionscript＠aaa.org.hk / 2815 1112
23/10 [Sat] 4.30pm Outside Hong Kong Arts Centre 24/10 [Sun] 3pm McAulay Studio, Hong Kong Arts Centre
An opportunity to witness Asia’s vibrant performance art scene will be offered by local and regional artists presenting their exciting and thought-provoking work to the Hong Kong public. Some of the artists include: Lee Wen (Singapore), Chumpon Apisuk (Thailand), Wang Mo-lin (Taiwan), Shu Yang (Mainland China), Aye Ko (Myanmar), Yuan Mor’O Ocampo (the Philippines), Sanmu (Hong Kong), Yuenjie (Hong Kong), Mok Chiu-yu (Hong Kong), Ko Siu-lan (Hong Kong).
Tickets：$90 / $70* full-time students, senior citizens aged 60 or above, or people with disabilities) Enquiry：2891 8482 / 2891 8488 / firstname.lastname@example.org
Tickets will be available at URBTIX from 20/09/2010 onwards.
23/10/2010 [Sat] 10am-1pm McAulay Studio, Hong Kong Arts Centre
International and local performance artists will host a workshop to explore their creative processes involved. Suitable for anyone actively interested in doing performance work.
Fee：$300 / $150* (*full-time students) Enquiry & registration: 2891 8482 / 2891 8488 / email@example.com
Action Script at Lingnan University
Workshop, seminars and performances will be held at Lingnan University campus.
We hope to provide some coverage of the event in November for those readers who are not based in Hong Kong or cannot attend. Keep an eye open.
Related Topics: festivals, performance art, Hong Kong venues
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Posted in Endurance, Festival, Hong Kong, Performance, Taiwanese | Tagged: Action Script, Action Script - Symposium on Performance Art Practice and Documentation in Asia, art festivals, art scholars, art seminars, artist talk, Asia Art Archive, Aye Ko, Chumpon Apisuk, Farah Wardani, festivals, Franklin Furnace Archive, hong kong, Indonesian Visual Art Archive, Ko Siu-lan, Lee Wen, Lee Weng-choy, Lingnan University, live art, Live Art Archives, Martha Wilson, Mok Chiu-yu, Paul Clarke, performance art, performance artists, Ray Langenbach, Sanmu, Shu Yang, Tehching Hsieh, Thomas Berghuis, Wang Mo-lin, Wen Yau, Yuan Mor'O Ocampo, Yuenjie | Leave a Comment »
Posted by artradar on October 13, 2010
CONTEMPORARY ART EDUCATION
This autumn, Sotheby’s Institute of Art in London is offering four courses focussing on modern and contemporary art in the Asian region, mostly Russia, India and China.
Changing Dynamics in the Art Market, 12 and 26 October/2 and 9 November (night course)
Examines stakeholders, values and trade issues, focusing particularly on the BRIC (Brazil, Russia, India, China) countries and their respective art markets.
Russian Art: 1890 to Today, 12 and 26 October/2 and 9 November (night course)
Introduces participants to the major artists and artistic movements in Russia from the late 19th century until the present day.
Diaghilev and the Ballets Russes: Art, Revolution and Revelation, 12 and 26 October/ 2 and 9 November (day course)
Gives a panoramic overview of the extraordinary life and achievements of Sergei Diaghilev and the artists and artistes who came under his spell in the early decades of the twentieth century.
Contemporary Chinese Art: 1960 to Today, 11 November (day course)
Explores Chinese art, the evolution of artists’ careers and the unprecedented performance of recent Contemporary Chinese art at auction.
For those based in Asia, look to the art business and history short courses available at Sotheby’s Singapore throughout autumn and into winter, although none focus solely on Asian contemporary art.
Related Topics: resources, collectors, business of art
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Posted in Courses, Resources | Tagged: art courses, art education, Asian art, Asian Contemporary Art, business of art, Changing Dynamics in the Art Market, Chinese art course, Collectors, contemporary art, contemporary Chinese art, Contemporary Chinese Art: 1960 to Today, Diaghilev and the Ballets Russes: Art, Kate Nicholson, London, Resources, Revolution and Revelation, Russian art course, Russian Art: 1890 to Today, singapore, Sotheby's Institute of Art, Sotheby's London, Sotheby's Singapore | Leave a Comment »
Posted by artradar on October 6, 2010
MIDDLE EAST CONTEMPORARY ART LONDON CONFERENCES
ArtInsight, the events partner of leading art market research firm, ArtTactic, has organised what we think looks to be a very important conference for early October in London. State of the Art – Middle East [The Future of the Middle East Contemporary Art Market] will focus on trends and opportunities in the Middle Eastern contemporary art scene.
Artwork by Houria Niati. Image courtesy of Janet Rady Fine Art.
As detailed in the latest press release from ArtInsight, State of the Art – Middle East will include talks and in-depth panel discussions with leading figures from all facets of the Middle Eastern art world, including curators, gallerists, consultants, museum professionals, artists, patrons/collectors, auction house specialists and art market experts. With this event, ArtInsight hopes to provide an comprehensive insider’s perspective of both market and artistic trends in the Middle East today, and into the future.
Key issues and topics to be explored and debated at State of the Art – Middle East will include:
- The impact of substantial museum building plans and activities throughout the region
- Collector opportunities: The effect of the rapid and growing visibility of Middle Eastern artists across the international art scene and art market
- The significance of the roles of auction houses, art fairs and galleries, in the development of the region’s art market
Leading speakers listed are:
- Lulu Al-Sabah: Founding Partner, JAMM-Art
- Alia Al-Senussi: Collector, Curator and Advisor
- Bashar Al-Shroogi: Director, Cuadro Fine Art Gallery (Dubai)
- Maryam Homayoun Eisler: Leading Patron/Collector and Contributing Editor
- John Martin: Co-founder and former Fair Director, Art Dubai
- Ahmed Mater: Artist
- Jessica Morgan: Curator, Contemporary Art, Tate Modern
- Anders Petterson: Founder and Managing Director, ArtTactic
- Dr Venetia Porter: Curator, Islamic and Contemporary Middle East, The British Museum
- Janet Rady: Director, Janet Rady Fine Art
- Stephen Stapleton: Director, Edge of Arabia
- Steve Sabella: Artist
- Roxane Zand: Director, Middle East & Gulf Region, Sotheby’s
- Conference Moderator Jeffrey Boloten: Co-founder and Managing Director, ArtInsight
State of the Art – Middle East [The Future of the Middle East Contemporary Art Market] will take place on Friday 8 October this year and runs from 9:00 a.m. to 5:00 p.m. at Asia House in London. The £195 conference fee includes a Halal lunch and there is a student discount available. For bookings, visit www.artinsight.eventbrite.com.
Related Topics: Middle Eastern artists, promoting art, art market
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Posted in Advisors, Asia expands, Business of art, Collectors, Conference, Critic, Curators, Directors, Events, Gallerists/dealers, Globalization of art, London, Middle Eastern, Professionals, Resources, Scholars, Trends, UK, Venues, Writers | Tagged: Ahmed Mater, Alia Al-Senussi, Anders Petterson, art collecting, art collectors, Art Dubai, art market, art professionals, ArtInsight, Arttactic, Asia House, Bashar Al-Shroogi, Collectors, Conference, Cuadro Fine Art Gallery (Dubai), Dr Venetia Porter, Edge of Arabia, Halal, Houria Niati, JAMM-Art, Janet Rady, Janet Rady Fine Art, Jeffrey Boloten, Jessica Morgan, John Martin, lectures, Lulu Al-Sabah, Martha Soemantri, Maryam Homayoun Eisler, Middle East Contemporary Art, Middle Eastern art, Middle Eastern art scene, Middle Eastern contemporary art, panel discussion, Panel discussions, Roxane Zand, Sothebys, State of the Art - Middle East, State of the Art - Middle East [The Future of the Middle East Contemporary Art Market], Stephen Stapleton, Steve Sabella, Tate Modern, The British Museum | Leave a Comment »
Posted by artradar on September 28, 2010
CHINESE ARTIST SOLO EXHIBITION LIGHT ART NETHERLANDS
Li Hui at work. Image courtesy of Ministry of Art.
Following his impressive solo exhibition last year in Mannheim, Germany, young Chinese artist Li Hui brings yet another surprise to the European art scene. In the pitch-dark exhibition space provided by The Centre of Artificial Light in Art in the Netherlands, Li Hui presents a spectacular display of four of his light works entitled “Who’s afraid of Red, Amber and Green?“. The show, which runs from 16 July to 24 October this year, showcases Li’s experiments with laser and LED light.
The current show, the title of which may remind people of Barnett Newman‘s painting Who’s Afraid of Red, Yellow and Blue?, exhibits four of Li Hui’s works: Amber, Reincarnation, Cage and Everything Starts from Here. The works were selected jointly by John Jaspers (director of The Centre of Artificial Light in Art), Christoph and Cordelia Noe (co-directors of The Ministry of Art who represent Li Hui) and the artist.
In an interview with the museum, printed on the museum guide, Li Hui describes his works:
“I can imagine that if someone sees my work for the first time, it can have a very strong visual impact. Just like in Newman’s paintings, the bright colors first have to get stored in one’s brain. I also understand that there are elements in my works that might make people feel a little puzzled or even a little scared when first confronted with them. However, from what I have experienced, it is not just the visual impact, but also the ‘otherness’ or their mysticism that can have this kind of result. It is somehow similar to … Shamanism.”
Art Radar Asia spoke to Li Hui about the ideas in his works, the challenges he faces and his future plans.
Light not an intended media
Specialising in sculpture at the Central Academy of Fine Arts in Beijing, Li Hui learnt to use stainless steel and wood but not light. In fact, he never meant to use light in all of his works, and would not call himself a light artist. It was in the process of production that he thought of light as a possible media for some of his works. He gives an example of how he came up with using LED light for Amber.
“I wanted the transparent material to glow, and I found that LED light is the only light that can produce the effect I wanted. The material is also thin enough for me to install inside the work, so I used it.”
Using LED light led to his discovery of the properties of laser light, a non-heating light which produces pure colors, and he started to experiment with it for other works. Light is not a usual medium for art in China or the world and Li says of this phenomenon,
“Light doesn’t seem like a material that can be used in art – if you do not handle it well, the outcome will be awful. Everyone can use light in their work, but light may not always be a good material to help them express what they want to express.”
"What I want to create is smoke rising from the bed softly and freely. It is a work that would evoke emotions, but this may not be obvious from photos," relays Li Hui. Readers who are interested in experiencing these emotions firsthand can click on the image to watch a video. (Please note that the video is presented in Dutch.) 'Reincarnation' (200 x 110 cm; height variable) is a sculpture made of laser lights, fog, metal and medical bandages. Image courtesy of Ministry of Art.
At this point, Li hasn’t thought about specialising in light art, and says that he would use whatever materials suit his concepts. Asked about what he is going to do next, Li says that he is interested in the spiritual and the inner world. When asked whether there are particular philosophies that Li Hui wants to convey in his works, he answers no.
“I want to create feelings which cannot be expressed in languages. There are just too many works attached [to] some kind of philosophy, but to me that’s not what art is about. You create feelings in art – if you can feel it, others will feel it too.”
Li Hui says about his work 'Cage': "There are two cages inside the work made of laser beams. Laser beams are special in a way that they look tangible while in reality they are not. The two cages appear alternatively so that a group of people who find themselves 'trapped' in the cage in one moment would suddenly find themselves outside the cage in the next. This work brings out the contrast between reality and illusion." 'Cage' (each 200 x 200 cm; height variable) is made of laser lights, mirrors and iron. Image courtesy of Ministry of Art.
Technological skill toughest obstacle
You may imagine Li Hui’s laboratory crammed with a lot of professional equipment to support his experiments, but in reality he has to seek technological support from others, such as LED light producers, to create his light works. In fact, technology is one of the greatest challenges in the artist’s production process.
“It is impossible to do the works in my own studio. I have to cooperate with others. I don’t have their professional equipment. It is very costly…. The most difficult [thing] is skill – I am not talking about artistic skill, but technological skill. Sometimes the problems are just impossible to solve.”
For Li Hui, every work is born from rounds of brain-storming followed by rounds of experiments in an effort to work through and predict potential problems.
“Experiments push toward the final outcome. At the initial stage of production, I may draw on the computer. Then I begin experimenting with materials. For example, I test a few shots of laser beams with smoke and find the proportion that suits what I want to express.”
Li Hui says about his work 'Everything Starts From Here': "This is a discovery in an experiment. The light beams strike through the transparent dining goblets to project a very impressive light image on the wall. Most of my works are large but this one is not because it is an experimental work." 'Everything Starts From Here' (20 x 30 x 20cm) utilises laser lights, a metal box with a crank, glass and projectors. Image courtesy of Ministry of Art.
Ministry of Art dedicated to Chinese art in Europe
Art Radar Asia spoke with Christoph Noe, one of the directors of The Ministry of Art, an art advisory and curatorial company based in China which represents Li Hui, to find out more about how European opportunities are secured for Chinese or other Asian artists.
“The Ministry of Art … has a broader scope than [just being] a gallery. Our idea is to give artists the opportunity to cooperate with museums or art institutions in Europe … as a lot of the Chinese artists have already had the opportunity to exhibit their works in China or Asia, and some of them lack the opportunity to exhibit in Europe. We come in with our expertise because of our European origins and networks with European institutions. Once we are excited about a Chinese artist we can find an institution that fits very well for that artist.”
Li Hui will participate in a group show called Internationale Lichttage Winterthur 2010 in Switzerland in November. He will present another solo exhibition in June 2011 in Berlin, Germany.
Related topics: Chinese artists, light art, museum shows, emerging artists
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