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Archive for the ‘Conference’ Category

New project on Chinoiserie and contemporary art to launch at London’s Victoria and Albert Museum

Posted by artradar on October 7, 2010


CHINESE CONTEMPORARY ART CHINOISERIE CONFERENCE

Originating in the 17th century to describe the Western fascination with Chinese art and design, the phenomenon of Chinoiserie will be the focus of a new three year project SINOPTICON: Contemporary Chinoiserie in Contemporary Art which opens with a symposium at London’s Victoria and Albert Museum (V&A) in early October this year.

 

Genuine American Chop Suey Served With Some Hokey-Pokey!, Paper, 33 x 33 cm, Karen Tam, Source: SINOPTICON

Karen Tam, 'Genuine American Chop Suey Served With Some Hokey-Pokey!', 2006, paper, 33 x 33 cm. Image courtesy of SINOPTICON.

 

Project founders Eliza Gluckman and Gayle Chong Kwan will chair sessions, including a keynote speech by Beijing-based curator and writer Philip Tinari, alongside sessions featuring Ben Schmidt (University of Washington), Ying Kwok (Chinese Arts Centre, Manchester, UK), Glenn Adamson (V&A), Sarah Teasley (Royal College of Art, London) and artists Wu Chi-TsungEd Pien and Erika Tan. Each will set out the key themes of the project, identified as: politics and trade, authorship, interpretation and cultural misunderstanding, fantasy, escapism, fiction and design.

In the words of SINOPTICON, the project aims “to use the metaphor of Chinoiserie to expand the discourse of artistic exchange between the two sides of the globe”. As well as the symposium, Philip Tinari will write a series of critical articles for the SINOPTICON website. Major new works are to be commissioned, including a collaborative pavillion featuring Gayle Chong Kwan and Stephanie Douet in late 2010. Art residencies and a touring exhibition can also be expected as the project unfolds.

 

SINOPTICON is part-funded by Arts Council England and supported by the National Trust’s ‘Trust New Art’ programme. Places for the symposium are now fully booked but those interested can still contact Eliza Gluckman via the SINOPTICON website to receive updates on future events.

 

 

Shot Through: Journey of Connections, 2008, DVD still, Erika Tan, Source: SINOPTICON

Erika Tan, 'Shot Through: Journey of Connections', 2008, DVD still. Image courtesy of SINOPTICON.

 

HG/KN/KCE

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Posted in Chinese, Chinoiserie, Classic/Contemporary, Collaborative, Conference, Crossover art, Events, Globalization of art, London, Projects, Research, Residencies, Styles, UK | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »

Important ArtInsight conference on Middle Eastern art market in London – event alert

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.

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.

MS/KN

Related Topics: Middle Eastern artistspromoting art, art market

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MoMA Asia Art Archive collaborate, launch Chinese art projects with public programmes

Posted by artradar on September 8, 2010


CONTEMPORARY CHINESE ART PUBLICATION

Asia Art Archive (AAA) and The Museum of Modern Art (MoMA) celebrate the completion of two documentary projects that are essential to a deeper understanding of the history of contemporary Chinese art: AAA’s Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990 and MoMA’s publication of Contemporary Chinese Art: Primary Documents. These milestone projects focus on the dramatic development and growth of Chinese contemporary art over the last three decades by documenting, collecting and translating critical discussions, primary materials and key texts.

Left: AAA's archiving project, "Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990." Right: MoMA's publication, "Contemporary Chinese Art: Primary Documents. Courtesy of AAA and MoMA

Left: AAA's archiving project, 'Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990'. Right: MoMA's publication, 'Contemporary Chinese Art: Primary Documents'. Image courtesy of AAA and MoMA.

From the press release:

Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990

The 1980s was a seminal period in China’s recent art history. During this time, many of China’s most celebrated artists attended art academies, held their first exhibitions, and developed the intellectual foundation for the art practices that have contributed to their present success. In order to foster research into this transformative moment in Chinese history, AAA has undertaken a four year focused archiving project; collecting, indexing and preserving rare documentary and primary source materials.

AAA’s largest and most systematically organised archive of documentary material on the period will be freely accessible and open to the public from AAA’s physical premises. It will also be available through a dedicated web portal www.china1980s.org starting this month.

Contemporary Chinese Art: Primary Documents

Despite the liveliness and creativity of avant-garde Chinese art in the post-Mao era and its prominence in the world of international contemporary art, a systematic introduction to this important work in any Western language is still lacking… Arranged in chronological order, the texts guide readers through the development of avant-garde Chinese art from 1976 until 2006.

It is edited by Wu Hung, Director of the Center for the Art of East Asia and Consulting Curator at the Smart Museum of Art at the University of Chicago. The book will be available at MoMA Stores and online at http://www.MoMAStore.org starting this month.

Public Programme

The co-launch will be accompanied by a series of discussion forums with artists, curators and scholars:

PAST Hong Kong, 7 September, 6.30 pm, Hong Kong Arts Centre

Speakers include: Chen Tong (Artist), Doryun Chong (Associate Curator of Painting & Sculpture at MoMA), Jane DeBevoise (Chair of Board of Directors of AAA), Wang Aihe (Associate Professor, School of Chinese, The University of Hong Kong), Wu Hung (Director of the Center for the Art of East Asia, and Consulting Curator at the Smart Museum of Art at the University of Chicago) and Xu Tan (Artist)

Beijing, 9 September, 6.30 pm, The Central Academy of Fine Arts

Speakers include: Doryun Chong, Jane DeBevoise, Song Dong (Artist), Huang Rui (Artist), Wu Hung and Xu Bing (Artist)

Shanghai, 11 September, 4 pm, MadeIn Company (formerly BizArt)

Speakers include: Doryun Chong, Jane DeBevoise, Wu Shanzhuan (Artist), Shi Yong (Artist), Wu Hung and Yu Youhan (Artist)

New York, 15 October, 6:30 pm, The Museum of Modern Art, New York

This program presents Jane DeBevoise, Sarah Suzuki (Assistant Curator of Prints & Illustrated Books at MoMA) and Wu Hung in conversation with leading artists and critics. The event will be followed by a reception, where the book will be available for purchase.

Organisers of co-launch: ArtHub Asia (Shanghai), Asia Art Archive (Hong Kong), The Central Academy of Fine Arts (Beijing), and The Museum of Modern Art (New York)

SXB/KN

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Is Hong Kong a cultural desert? How can you become a better collector? Answers revealed at Asia Art Forum

Posted by artradar on June 30, 2010


ART PROFESSIONALS HONG KONG ART INDONESIAN ART ART COLLECTING

Guest writer Bonnie E. Engel, a Hong Kong freelance journalist, presents Art Radar Asia readers with her perspective on the talks of two speakers at the this year’s Asia Art Forum, held in Hong Kong in May. Hong Kong art critic and curator Valerie Doran discusses the question, “Is Hong Kong a cultural desert?” and Indonesian private art collector Dr. Oei Hong Djien divulges his collecting secrets.

Engel attended the third edition of Asia Art Forum’s three day gathering of talks and artist studio visits, designed for emerging and established collectors and presented by influential curators, collectors and experts. This year’s forum focussed on Chinese art. Read more about why organiser Pippa Dennis set up the Forum here.

Valerie Doran: Hong Kong curator and art critic

Curator and art critic Valerie Doran spoke on Sunday morning at Hong Kong’s Ben Brown Fine Arts. She covered the history of fine art in Hong Kong, trying to answer the question, “Is Hong Kong a Cultural Desert?”

 

Art curator and critic Valerie Doran.

Art curator and critic Valerie Doran.

 

This perception is fed by the lack of facilities in the city in which to show Hong Kong contemporary art and relatively few full-time artists who are more or less invisible unless collectors hunt them out. These artists are nourished on the peripheries of the territory, out in the new territories like Kowloon and the industrial sections of Hong Kong Island, rather than in Central or Causeway Bay.

The audience was grateful to see works by the older generation of artists in Hong Kong, who seemed driven to create art without a market or venue, artists such as Luis Chan and Lui Shou-kwan, who were born at the beginning of the 20th century, and Wucius Wong, Gaylord Chang, Ha Bik Chuen and Chu Hing Wah, all born before World War II. Most of their works are small, possibly reflecting the lack of space in Hong Kong.

Doran explained that Hong Kong’s art industry developed outside the concept of the art market. A lot of the art made in Hong Kong is installation (temporary) or conceptual, mainly due to a lack of space and resources, and the need for a supportive community rather than one so focused on making money.

Post-war artists also failed to rise to any great heights, but after the 1989 incident artists rose to the occasion and responded by creating conceptual and performance art pieces, perhaps a pivotal moment in the development of Hong Kong art.

As Doran relayed, part of the problem is the lack of governmental policy regarding artists, or rather that the official policy seems to be to ignore the arts. Recently, with the newly created West Kowloon Cultural District, built on reclaimed land, artists and curators are beginning to worry that the government will begin to establish arts policy, much to the detriment of arts development in the territory. To date, the government has sponsored performing art shows and events more substantially than the visual arts, perhaps a legacy of the culture-starved colonials from the UK before 1997.

She highlighted one successful governmental project, the art space Para/Site, which receives some funding from the rather new Arts Development Council, an organisation not noted for promoting local arts or artists without a lot of red tape and many meetings. The city’s major museum, the Hong Kong Museum of Art, is closed to outside curators (unless you are Louis Vuitton or other big money sponsors), so it was unique that Doran was allowed to create the Antonio Mak show there. Although many people agree that Hong Kong needs a contemporary art museum, Doran sees more hope in the integration and cooperation of the Pearl River Delta cities, an action that could sweep Hong Kong up into the larger regional arts scene.

Doran concluded by noting that Hong Kong’s artists are beginning to participate in the Venice Biennale and other internationals shows, and collectors are gathering in the territory twice a year for major auctions of Chinese and Southeast Asian art. Artists such as Kacey Wong, Lee Kit, Stanley Wong (anothermountainman), Tozer Pak, Sarah Tse, Luke Ching Chin-waiAnthony Leung Po Shan, Chow Chun Fai, Lam Tung Pang and Warren Leung are starting to shine at local and international galleries.

Valerie Doran is a critic and curator who, after spending seven years in Taiwan, is now based in Hong Kong. She specialises in contemporary Asian art with a special interest in cross-cultural currents and comparative art theory. She is a contributing editor of Orientations Magazine. Her Hong Kong curatorial projects include Simon Birch’s multi-media extravaganza, “Hope and Glory” and the controversial exhibition “Looking for Antonio Mak” which showed at the Hong Kong Museum of Art in 2008 and 2009.

Art Radar Asia has published a number of articles on Valerie Doran, including this exclusive interview.

Dr. Oei Hong Djien: Indonesian art specialist and collector

 

Indonesian art specialist and collector Dr. Oei Hong Djien.

Indonesian art specialist and collector Dr. Oei Hong Djien.

 

Dr. Oei Hong Djien, the final speaker on Sunday, was born and is based in Indonesia. He has been collecting art for nearly thirty years, focusing on modern and contemporary Indonesian art. The collection comprises about 1500 works, a fraction of which is on public display in his private museum, known as the OHD museum, where he is the curator. A book about his collection by Dr. Helena Spanjaard was published in 2004: Exploring Modern Indonesian Art: The collection of Dr Oei Hong Djien.

More open than most collectors, perhaps because he already has a large collection and has built a building to house it, Dr. Oei’s presentation was refreshing and candid. His “essence of collecting” vocabulary should become the bible of collectors: money, knowledge, passion, patience, courage, relation, quality, timing, luck and experience. He expanded upon these words, giving sage advice, and combined this with a showing of some of the best examples of modern Indonesian art.

His insistence on courage was very telling, as he advised new collectors with limited funds to go after young artists, buy unpopular works that go against the mainstream, look up forgotten old masters and get masterpieces that include unsuitable subject matter. This advice is predicated on hard work, self-education and endless observing, reobserving and observing again, to learn what quality art is and how to buy it. Most importantly, he said not to be afraid to make mistakes because that is how a serious collector becomes better.

Bonnie E. Engel has been a freelance journalist in Hong Kong for about 25 years. She is an Asian art specialist, covering all forms of visual arts. She travels around the region to visit artists, galleries, auctions and art fairs, and meets international artists when they come to Hong Kong. She has written for Hong Kong Prestige, Hong Kong Tatler, Gafenku, Muse Magazine, Asian Art Newspaper and other publications.

Editorial disclaimer – The opinions and views expressed by guest writers  do not necessarily reflect those of Art Radar Asia, staff, sponsors and partners.

Related Topics: art collectors, events – conferences, art curators, Hong Kong artists, Indonesian artists, venues – Hong Kong

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Posted in Art districts, Art spaces, Artist Nationality, Bonnie E. Engel, Business of art, Collectors, Conference, Curators, Dr. Oei Hong Djien, Events, Hong Kong, Hong Kong Artists, Indonesian, Professionals, Promoting art, Valerie Doran, Venues | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »

Asia Art Forum 2010 meets growing demand for art collector education in China – Jing Daily

Posted by artradar on May 5, 2010


CHINESE ART COLLECTING

Jing Daily, an online news source covering “the business of culture” in China, spots a new trend: burgeoning demand for collector education.

According to Jing Daily,

Along with the growing interest in buying and collecting art in China — whether for personal or investment reasons — has come increased demand for information and educational resources from the country’s “new collectors.”

To address this information gap, new books and online resources, along with more forums and conferences, have appeared on the scene in mainland China and Hong Kong, designed with Chinese collectors and art enthusiasts — rather than just academics and curators — in mind.

The publication cites several recent examples:

  • The upcoming Asia Art Forum, to be held in Hong Kong from 21 to 23 May, 2010. This is the third edition of a three day gathering of talks and artist studio visits with influential curators, collectors and experts designed for emerging and established collectors. This year’s forum focuses on Chinese art, with luminaries Phil Tinari, Valerie Doran and Karen Smith speaking. Read more about why organiser Pippa Dennis set up the Forum here.
  • The Global Collecting Forum was held in October 2009 in Beijing. According to Redbox Review it was a “‘private forum [of] a star-selection of 25 invited international art professionals, curators and authorities from the US, Europe, Russia and China [who met] to discuss and exchange ideas on the topic of global art collecting.”
  • The first meeting of Chinese art collectors at the Songzhuang Art Festival in October 2009.

We have been watching this trend and spotting some new education sources, too. To explore further, read in the related posts section below about a well-regarded book surveying the next crop of Chinese born artists and an online resource which tracks the collecting activities of international museums in the Chinese art arena.

KCE/KN

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