Archive for the ‘Hong Kong’ Category
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 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 / firstname.lastname@example.org
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 / email@example.com
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 / firstname.lastname@example.org
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 10, 2010
ART PRICE DATABASE DEALER NEWS
Artnet group, the leading art price database and online art auction company has chosen the year 2010 to branch out into a brand new venture: art dealing. And it chose a surprising venue for its debut.
Artnet booth at Hong Kong International Art and Antiques Fair 2010.
In a brief chat with Max Wolf, Modern and Contemporary Specialist in the Artnet booth at Hong Kong International Art and Antiques Fair 2010, Art Radar learned more about the ambitious plans Artnet has to break into high-priced art dealing and what has surprised the Artnet representatives about the collectors they have met on their first visit to Hong Kong.
Most people know you from your Price Database but this is a new venture?
It has spawned from our online auctions. We found a need to extend from our private treaties with dealers and collectors and a lot of the galleries on our website who perhaps don’t want to sell the work on the website, perhaps because it is a more significant work.
Yes, so this is the first time that we are showing work which we are not necessarily putting online for sale.
This is the first time you are in a fair?
Why did you choose this fair?
It seemed to align itself with this collection we are offering … this complete set of Warhols.… Hong Kong seemed like an ideal venue and it just serendipitously worked out with the timing that it just made sense…
Right. So how has your experience been?
Great, we have had considerable interest from a handful of collectors. We shall see; today should be pretty revealing…. We took the less-is-more approach and I think this has worked out well for us. We have this Warhol portfolio, a Haring, another Warhol and two Ashers.
What do you propose to do with this new arm? What do you hope for your new venture?
Sales! Of course. (laughs)
And apart from that (laughs) do you plan to go to more fairs in the future?
Which fairs would you like to try?
Well, depending on how this works out…. But with our online auctions and our private treaty sector of the business this seems like the natural progression for us.
What is your background in art?
I am one of a handful of auction specialists with Artnet.
So you didn’t come from the art world to Artnet?
Yes, I came with an auction background and was hired by Artnet to become an online auction specialist. There are six of us specialising in photography, unique painting works and prints.
How is that going?
Our online auctions are doing really really well. It seems that we are a panacea for the economy in a downturn. We are useful to collectors who don’t want to wait six months to consign a piece to a bricks and mortar auction house and then wonder whether it will be bought in. And then they have to pay for shipping and insurance even if it is bought in. With us they send us a .jpeg and within two weeks have money in [their] pocket.
That is great, great for the art world, great for collectors.
It is great. We have really enjoyed seeing the diversity of buyers. We sell to a lot of dealers but we also sell to private collectors, new buyers [and] new young collectors from all over the world…. From Australia, Kazakhstan, from all over. You would be surprised at the breadth.
You must have a great deal of information about where new collectors are coming from, the data…
Yes, the data that our technical team can gather, where and when is pretty impressive…
Have you been to Hong Kong before?
What kind of collectors have you met over the last three days?
A wide variety but we have seen a considerable number of serious collectors from Taiwan. We were surprised…. We thought we would see more Mainlanders but we have seen Taiwanese and local Hong Kong collectors, some Koreans and Brits, but we were surprised by the size of the Taiwanese presence.
About Artnet services (source: Artnet website)
In the mid 1980s Artnet developed its first product, the Price Database. Today the Price Database has a broad base of customers dominated by major auction houses, art dealers, museums, and insurance companies. Representing auction results from over 500 international auction houses, the Price Database covers more than 4 million auction results by over 188,000 artists, ranging from Old Masters to Contemporary Art.In 1995 the company transitioned the Price Database to the Internet and introduced a second product, the online Gallery Network, building and hosting websites for art dealers and galleries on its platform. In 1999, the online auction business was launched and now has 60,000 collectors visiting the site each month.
Related Topics: auctions, Market watch, collectors, Hong Kong
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Posted in Auction staff, Auctions, Business of art, Hong Kong, Interviews, Market watch | Tagged: art auctions, art dealers, art dealing, art fairs, art Hong Kong, Artnet, HKIAAF, Hong Kong International Art and Antiques Fair, Max Wolf | 2 Comments »
Posted by artradar on October 7, 2010
ART AUCTION RESULTS SOTHEBY’S HONG KONG PRESS RELEASE
We present you with the latest press release from Sotheby’s Hong Kong on their autumn sale of modern and contemporary Southeast Asian paintings:
SOTHEBY’S HONG KONG
MODERN AND CONTEMPORARY SOUTHEAST ASIAN PAINTINGS 2010 AUTUMN SALE
TOTALS HK$78 MILLION / US$10 MILLION
(high estimate: HK$45 million / US$5.7 million*)
THE HIGHEST TOTAL FOR A VARIOUS-OWNER SALE
IN THIS CATEGORY AT SOTHEBY’S HONG KONG
ACHIEVING NUMEROUS ARTIST RECORDS AT AUCTION
“FATHER OF INDONESIAN MODERNISM” –
S.SUDJOJONO’S A NEW DAWN SOLD FOR AN IMPRESSIVE
HK$10.7 MILLION / US$1.4 MILLION
OVER 4 TIMES THE HIGH ESTIMATE
FILIPINO ARTIST RONALD VENTURA ’S NATURAL-LIES FETCHED
HK$2.5 MILLION / US$326,000
9 TIMES THE HIGH ESTIMATE
Other artist records were set for works by Indonesian artists including
Gede Mahendra Yasa, Ay Tjoe Christine, Samsul Arifin, Hendra Gunawan and Filipino artist Andres Barrioquinto, among others
Following the tremendous success of the Spring sale, Sotheby’s Autumn sale of Modern and Contemporary Southeast Asian Paintings today commanded a stunning total of HK$78 million / US$10 million (high estimate: HK$45 million / US$5.7 million*), the highest sale total for a various owners sale in this category at Sotheby’s Hong Kong. Today’s sale provoked active participation in the room and over the phone. There was particularly strong interest in top-end Southeast Asian contemporary paintings, which led to two auction records set for two artists – S. Sudjojono , Father of Indonesian Modernism, and Filipino artist Ronald Ventura.
MOK Kim Chuan, Sotheby’s Head of Southeast Asian Paintings, commented: “Top end Contemporary works fetched strong prices today with many pieces bringing multiples of their pre-sale high estimates. Among Modern works, the supreme highlight was the S. Sudjojono, a museum-quality example of the artist’s work which spurred a fierce bidding battle among nine bidders before selling for HK$10.7 million, a price which was four times the top estimate and set a record for the artist at auction. These results confirm the strategy of using conservative estimates to attract competition and let the market set the price level.”
The sale of 20th Century Chinese Art and Contemporary Asian Art continue in the evening.
Attached please find the relevant press releases, top-ten list as well as an image of the saleroom for your use. Should you need further information, please do not hesitate to contact Sotheby’s Hong Kong Press Office on +852 2868 6755 /Winnie.email@example.com.
* Estimates do not include buyer’s premium
Sotheby’s Hong Kong Press
Related Topics: Southeast Asian art, market watch – auctions, business of art, collectors
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Posted in Artist Nationality, Auctions, Business of art, China, Collectors, Hong Kong, Market watch, Medium, Painting, Southeast Asian, Venues | Tagged: Andres Barrioquinto, art auction results, auction, auctions, Ay Tjoe Christine, Gede Mahendra Yasa, Hendra Gunawan, MOK Kim Chuan, Ronald Ventura, S. Sudjojono, Samsul Arifin, Sothebys, Sothebys Hong Kong, Southeast Asian art, Southeast Asian paintings | 1 Comment »
Posted by artradar on October 6, 2010
HONG KONG STREET ART URBAN ART SERIES
While the street art gallery scene in Europe has been pushed into maturity by world-renowned and highly sought after urban artists such as Banksy, it is only in recent years that it has started to emerge in Hong Kong. In response to the burgeoning street art scene in the city, Art Radar Asia is launching a Hong Kong Street Art Series to introduce to you Hong Kong galleries which show urban art. With the prominence of a number of local street artists and the founding of at least three urban art galleries in the city in the past couple of years, we will observe how street art is being taken into new contemporary art galleries in Hong Kong.
We introduce this series with a brief interview with Jasper Wong, co-owner of Above Second art space, in which he presents his views on Hong Kong street art and the urban art business, and how the Hong Kong scene compares with other more established communities.
Jasper Wong wouldn’t call himself a street artist, as he doesn’t like being restricted to any particular form of art. After studying graphic design in Portland, illustration at the California College of the Arts in San Francisco and manga (Japanese comic books) in Kyoto Seika University, he returned to Hong Kong to work on various art projects. Earlier this year, he started Above Second with his partner May Wong.
Jasper Wong (middle) at Above Second's September show "Nebula". Image courtesy of Above Second.
This collaborative work by Jasper Wong and his half-brother Wu Yue was shown in Above Second at the March show "Wham Bam Thank You Ma'am". Image courtesy of Above Second.
What do you think of street art in Hong Kong? How is it different from the street art in Europe?
I know a lot of street artists in Hong Kong. They are all doing their own thing in this city, so I really respect that. They get up all over the city and also pursue other creative outlets such as apparel, etc. They have their own styles. It’s not that much different from the rest of the world. The ones in Hong Kong are influenced by their own cultures growing up in Hong Kong, and [they] respond to it. Other artists around the world do the same and respond to their own individual cultures. Hong Kong is very small though. There needs to be more artists out there pushing like SFZ (Start from zero) and Graphicairlines, Invasion guys like Sinic and Xeme. (I meant the Invasion Magazine crew. Invasion Magazine was started by Sinic. They’re one of the few graffiti magazines in Asia and the only one in Hong Kong.)
What about the sticker culture here? Is it a global culture?
Sticker culture is global. It’s an aspect of street art. People do pieces with spraycans, wheatpaste, stickers, and sometimes even create installations by knitting. It’s about taking art to the streets. There are no rules. Look at Invader – he creates art with ceramic tile.
We have been told that in Hong Kong there are lots of limitations for street art. Do you agree with this statement?
The only limitation is yourself. You can do whatever you want, thanks to the Internet. You can get your art to people all over the world. So I don’t agree. I just agree on the point that people in Hong Kong don’t care about art as much, they think of it as useless. But they don’t see that they are surrounded by art from the clothes they wear to the movies they watch and the chairs they sit on.
But shouldn’t street art be in the street rather than the Internet? Or is it changing now?
I’m not talking about art being on the Internet persay. I’m talking about getting people to know about your art. You use the Internet as a tool to get the word out so people can learn about Hong Kong street art through the use of the Internet. The Internet changed the game for everything.
How would you describe the status of street art in Hong Kong?
Street art is up and coming out here. There is a small group of individuals seeking to get the word out about it and they get up strong around the city. It’ll take some time for it to be[come] bigger but it’s definitely happening.
What do you think about the street art business in Hong Kong?
Street art can’t be thought of as a business. The words together are an oxymoron. Street art is for the people. That’s why it’s on the street; you can view it for free. Some artist segway their art into products and that is a way to get the word out, an additional channel to inform people about your art. In that case, the business plays a role in supporting the art.
So apart from the street, street art business and the Internet, can you identify other channels for showing or promoting street art?
Everything can be a channel if you’re creative. Of course, there are the traditional ones like magazines and television, but there are no rules.
Who are the important street artists in Hong Kong?
Start from zero and Graphicairlines. Those are the two I know personally and they work hard here in Hong Kong.
Over the coming weeks we will be presenting a number of interviews with urban art gallery owners in Hong Kong. With these we hope to provide an in-depth study of the current and future aims of this constantly evolving community.
Related Topics: Hong Kong venues, street art, interviews
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Posted in China, From Art Radar, Gallerists/dealers, Hong Kong, Interviews, Professionals, Street art, Venues | Tagged: Above Second, art and the Internet, art spaces, Banksy, California College of the Arts, Carmen Bat Ka Man, contemporary art, Graffiti, graffiti art, graffiti magazines, Graphic Airlines, graphic design, Graphicairlines, hong kong, Hong Kong art spaces, Hong Kong street art series, illustration, independent art spaces, Invader, Invasion Magazine, Japanese comic books, Jasper Wong, Kyoto Seika University, manga, May Wong, Nebula, New gallery, series, SFZ, Sinic, Start from Zero, sticker art, sticker culture, street art, street art business, street art gallery, street artists, urban art, urban art gallery, urban artists, Wham Bam Thank You Ma'am, Wu Yue, Xeme | Leave a Comment »
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'. 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.
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)
Related Topics: books, events, resources
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Posted in Art spaces, Artist Nationality, Beijing, Books, China, Chinese, Conference, Events, Forums, Hong Kong, Museums, Professionals, Research, Resources, Reviews, Shanghai, Venues, Website | Tagged: archiving, art news, art research, art scholars, Arthub Asia, artists, Asia Art Archive, book launch, Center for the Art of East Asia, Central Academy of Fine Arts, chinese contemporary art documentary, contemporary Chinese art, Contemporary Chinese Art: Primary Documents, curators, documentary material, Forums, Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990, MOMA, Smart Museum of Art, Sylvia Xue Bai, The Museum of Modern Art, University of Chicago, Wu Hung, www.china1980s.org, www.MoMAStore.org | Leave a Comment »
Posted by artradar on July 21, 2010
HONG KONG KOREAN SCULPTURE ART EXHIBITIONS
Work by internationally renowned Korean sculptor, Lee Jae-Hyo, will soon be on show in Hong Kong for the first time. In a new exhibition, “From the Third Hand of the Creator”, to be held at Hong Kong’s Kwai Fung Hin Art Gallery from 31 July until 20 August this year, the gallery will present thirty pieces of representative works from Lee Jae-Hyo, including work from his “Wood” and “Nail” series.
Born in Hapchen, South Korea, in 1965, Lee Jae-Hyo graduated from Hong-ik University with a Bachelor degree in Plastic Art. Working with wood, nails, steel and stone as his primary media, Lee focuses his attention on exploring nature’s structural construction. The works are made from a process consisting of dedicated design and complex composing, sculpturing, grinding and refining. The wood pieces are assembled into curves, with which various futurist forms in hyper-modernist style are drawn. Each piece is still embroidered with growth rings. His method has been applauded for exuding a strong personal character and opening up a distinctive direction within contemporary Korean art.
New York-based art writer Jonathan Goodman describes the artist’s work in Sculpture Magazine:
Allowing the materials to speak to him, he builds self-contained worlds that mysteriously communicate with their outer surroundings. One of his most striking images is a photograph of a boat-like structure placed in the midst of a stream whose banks are covered with trees. Clearly a manmade sculpture put out into nature, the work contrasts with and succumbs to its surroundings. In the photograph, self-sufficiency is enhanced by the object’s position in a beautiful scene; the poetics of the sculpture lean on an environment that frames its polished surfaces, conferring a further dignity on a form in keeping with its forested setting.
Lee’s works are created through the assembly of a large number of units of the ingredient, and therefore become the respective images of the individual units. In their overall structures and forms, minimalist geometric lines can be found, rich in hyper-modernist imagination.
Lee’s art is built upon a typical oriental spirit – in the pursuit of unity and a harmonious co-existence between him and the universe, Lee attempts to demonstrate how humanity can continue to develop civilization with grace, on the basis of a mutual respect between the man-made and natural worlds.
Lee Jae-Hyo has exhibited widely: in Korea, Japan, China, the United Kingdom and the United States. He has won many awards, including the Grand Prize of Osaka Triennial (1998), Young Artist of the Day, presented by the Ministry of Culture of Korea (1998) and the Prize of Excellence in the 2008 Olympic Landscape Sculpture Contest. His artwork is collected by a number of prominent Asian, European, American and Pacific museums, hotels and universities.
“From the Third Hand of the Creator” will be on show at Hong Kong’s Kwai Fung Hin Art Gallery from 31 July until 20 August this year.
Related Topics: Korean artists, sculpture, gallery shows
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Posted in Art spaces, Gallery shows, Hong Kong, International, Korean, Nature, Sculpture, Utopian art, Venues, Wood | Tagged: art and nature, art exhibition, Asian Art News, Asian artists, Asian Contemporary Art, exhibition, From the Third Hand of the Creator, futurist, gallery show, Grand Prize of Osaka Triennial (1998), Hapchen, Hong Kong art exhibition, Hong-ik University, hyper-modernist style, Jonathan Goodman, Julie Anne Sjaastad, Korean artist, Korean contemporary art, Korean contemporary sculpture, Korean sculpture, Kwai Fung Hin Art Gallery, Lee Jae-Hyo, minimalist geometric lines, Nail series, nails, natural materials, Plastic Art, Prize of Excellence 2008 Olympic Landscape Sculpture Contest, sculpture, sculpture artists, Sculpture Magazine, Solo Exhibition, steel, stone, typical oriental spirit, wood, Wood series, Young Artist of the Day Ministry of Culture of Korea (1998) | Leave a Comment »
Posted by artradar on July 21, 2010
SEOUL AUCTION HOUSE RESULTS
A recent article by The New York Times explains the market trends of recent Hong Kong newcomer, Seoul Auction’s two highly successful auctions held in 2009: Korean collectors continue to acquire Western contemporary artists, Chinese artists buy modern Chinese paintings and Korean art sales are a hit and miss affair. Read on for more…
Seoul Auction was established in 1998, and was for many years was the city’s only auction house. In 2008, it opened an office in Hong Kong, and since then has been gaining international credibility as a top-rate Asian auction house. Seoul Auction uses the auction platform as a way to introduce Western art to the Asian market, as well as introducing relatively new work from South Korea and other Asian countries to the international market.
Damien Hirst, 'The Importance of Elsewhere – The Kingdom of Heaven,' 2006, butterflies and household paint on canvas, 292x243.9 cm.
Trends in Western art
Seoul Auction’s record-breaking 2.2 million dollar sale of Damien Hirst’s The Importance of Elsewhere – The Kingdom of Heaven, arguably its most notable achievement, and similarly pricey sales of other Western artists have revealed a flourishing market for Western Art in Asia. Works from Damien Hirst’s “Butterfly” series have proven very sell-able, although Seoul Auction has avoided his brush paintings – a pair of silk screen prints failed to sell at their April sale.
Donald Judd’s linear block sculpture Untitled (Progression 87-26) and Robert Indiana’s Eight from his number series are among those that fetched the highest prices. Roy Lichtenstein has also been introduced and has had a healthy reception.
According to the chief executive of Seoul Auction, Jun Lee, “Korean collectors are very sophisticated.” He adds that they had been collecting Western contemporary art “for the past twenty years, even when the market was not that active, even in New York. They are very open-minded. It’s a survival strategy under these circumstances, in periods of recession. We’re trying to persuade our contacts with whom we’ve built relationships over the past ten years to sell.”
Popular Asian contemporary artists
The “Infinity Nets” mixed media sculptures by Japanese artist Yayoi Kusama have been highly successful. Works by Anish Kapoor, introduced to Korea by Seoul Auction, have also been highlighted as having healthy sales.
A photographer takes a picture of Yayoi Kusama's 'Venus No.1, Statue of Venus, Obliterated by Infinity Nets' (1998) at the Hong Kong International Art Fair. Taken from freep.com.
Korean art hit and miss
Although Korean works account for forty percent of Seoul Auction’s offerings in Hong Kong, sales of Korean art have been hit and miss. Kim Whanki’s abstract geometry paintings have sold well, but video artist Nam Juin Paik’s work has failed to sell. The article accredits this to the relatively short history of South Korean art in the international market compared to that of Japanese and Chinese artists, although in recent years sales to Western collectors have increased.
Chinese collectors prefer traditional art
Chinese art has been undeniably popular among Chinese buyers. Sanyu’s Flowers in a White Vase, Wang Yi Dong’s Girl and Peaches and Zeng Fanzhi’s Mask Series no 21 3-1 sold for good prices, some even exceeding their estimates.
Also popular among Chinese buyers are traditional paintings, such as works by Impressionists Chagall, Renoir, and Picasso, but they are less interested in less familiar American pop artists. According to an article by the Hong Kong Trader, there is also a trend for crossover art.
With the growing trend for crossover art (Chinese buying Japanese art, Japanese buying Korean art, etc), Ms Shim expects more Asian auction houses will look to set up a base in Hong Kong. By moving early, she says, Seoul Auction will gain a strong foothold. ‘We are preparing now for the good times ahead.’
As expressed in The New York Times article, the buying power of China is told only too well through the popularity of traditional works when contemporary works are struggling to sell.
Read the full article here.
Related Topics: venues- Hong Kong, collectors, market watch – auctions
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Posted in Auctions, Business of art, Collectors, Hong Kong, Market watch, Promoting art | Tagged: American pop art, Anish Kapoor, art auctions, art auctions in Asia, art market, Asian art market, Asian collectors, auction houses, Butterfly series, Chagall, China, Chinese art, Chinese collectors, Collectors, consignors, contemporary art, Damien Hirst, Donald Judd, Eight (numbers series), Flowers in a White Vase, Girl and Peaches, hong kong, Impressionsts, Indian art, infinity nets series, Japan, Japanese art, Jun Lee, Kim Whanki, Korean auction houses, Korean collectors, Maya McOmie, Misung Shim, mixed media, Nam Jun Paik, Numbers series, Painting, Picasso, Pink Rose, Recession, Renoir, Robert Indiana, Roy Lichtenstein, Sanyu, sculpture, Seoul, Seoul Auction, South Korea, South Korean art, South Korean consignors, The Importance of Elsewhere – The Kingdom of Heaven, The New York Times, Tranquility, Untitled 06-1, Venus No.1 Statue of Venus (infinity nets), Wang Yi Dong, Western art, Western collectors, Yayoi Kusama, Zeng Fanzhi | Leave a Comment »