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Contemporary art trends and news from Asia and beyond

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Posts Tagged ‘American artists’

Ai Weiwei and Vito Acconci wrap up major collaboration at Hong Kong’s Para/Site art space

Posted by artradar on July 6, 2010


AI WEIWEI CHINESE ART HONG KONG ART SPACES ARTIST COLLABORATIONS

With a new project, Chinese art all-rounder Ai Weiwei, in cooperation with American artist Vito Acconci, has brought fresh dialogues between the East and West to Hong Kong, a monumental event in Ai Weiwei’s career and for the Hong Kong and the Asian art scenes.

installation view at para:site art space

A view of "Acconci Studio + Ai Weiwei: A Collaborative Project", an installation work recently shown at Para/Site art space in Hong Kong.

Acconci Studio + Ai Weiwei: A Collaborative Project“, held at Hong Kong’s Para/Site art space, has provided the opportunity for Ai Weiwei to meet and work for the first time with Vito Acconci, an American artist whom he admires.

Vito Acconci

Like Ai Weiwei, Acconci shifts between performance art and architecture, and has gained a global reputation for his bold art stunts.

In his 1971 performance entitled Seedbed, Acconci engaged his visitors in restrained sexual intimacy by masturbating continuously under a wooden platform in a gallery.

recent article published on Time Out Hong Kong describes the artist as someone who “works not as a singular artist but as an architect and ‘collaborator’ for Acconci Studios. The controversial questioning of his earlier career has been replaced with an intellegent whimsy in design. Structures roam, twist and fold within their sites. Each edifice constantly contemplating the function of space and the understanding of linear time and form.”

Ai Weiwei

Having been involved in design, architecture, curating, writing and publishing, Ai Weiwei is one of the most controversial contemporary artists of his generation. Asked to describe his art by the Financial Times, Ai Weiwei gave the following reply:

“That question makes me almost speechless, because I wonder how much do I know about it, even though it was me that did it? What part is conscious and is that consciousness important? And what part has come out only because of the public’s sentiment? And is that important?”

An article recently published in the Guardian noted that Ai Weiwei’s work “has become overtly political, blurring the boundary between art and activism”, referring to the artist’s Remembering installation. This artwork was comprised of 9,000 children’s backpacks, in reminiscence of the 2008 Sichuan earthquake casualties.

In recollection of Ai Weiwei’s past performances, an article published in the Financial Times discussed both Dropping a Han Dynasty Urn (1995), “a triptych of photographs in which he is seen casually dropping a 2,000-year-old vase to shatter on the ground”, and an exhibition of 46 avant-garde artists including himself called Fuck Off (2000), which was closed down by authorities. The artwork’s Chinese title was the milder Uncooperative Approach. Despite his strong defiance against the Beijing government, Ai Weiwei was the designer of the Bird’s Nest at the 2008 Beijing Olympic Games.

vito acconci and ai weiwei discussing their collaboration

Vito Acconci and Ai Weiwei in discussion regarding "Acconti Studio + Ai Weiwei: A Collaborative Project", an installation work recently shown at Para/Site art space in Hong Kong.

Acconci Studio + Ai Weiwei: A Collaborative Project

For “Acconci Studio + Ai Weiwei: A Collaborative Project”, Para/Site was transformed into a three-dimensional grid where Ai and Acconci developed their work “in constant mutation and accumulation during the two months that it [was] open to the public.” The end product was an unorthodox, multilayered installation with an accumulated collection of new works, models, drawings and various materials that were accumulated as a result of ongoing discussions between Ai Weiwei, Vito Acconci and their studios.

“The collaboration with Vito Acconci at Para/Site art space is an effort in figuring out ways to collaborate, ways [of] defining the actual process of working together. Through the development of a gallery project we are to think [of] the formation of a city.” Ai Weiwei (as quoted on the Para/Site website)

“I would never have imagined that today I could become active in art and have a chance to meet Vito…I was a young man just come from China. I was trying to be part of art history, but then it was impossible…Neither of us have any nostalgia towards the past, but we are both ready to think about today. That is our common ground.” Ai Weiwei (as quoted by the Financial Times)

The project is not just an interesting addition to Ai’s collection of stunning works. As Alvaro Rodriguez Fominaya, the Executive Director and Curator of Para/Site, told Art Radar Asia, it has also created a platform for dialogues about the arts in Hong Kong and, on a larger scale, throughout Asia.

“This project reflects the complex production system that surrounds the creation of new works of art/projects in the 21st century. Dialogue is an important element of this project, which is as much about exchange of ideas as it is about production. Until now most exhibitions in this part of Asia focused on exhibiting a relevant Western artist or showcasing a leading artist from Asia. But the dialogue between what is happening in different parts of the world is lacking. This conversation is conducive to new ideas and it opens new paths of research. Then, there is also the challenge to put together practitioners from different generations, that also operate within different studio cultures. It proves Hong Kong can be a platform for leading international projects, and positions this city as a destination for art lovers, and not just a stopover. It is also a picture of what Hong Kong could be in the international scene if we had some rigorous planning and more opportunities to engage with current discourses around the world. This project is about taking curatorial risks, to start a journey without knowing the final destination.”

According to the art space’s website, Para/Site was chosen as the base for the project because of its autonomy from large organisations, enabling it to accommodate the innovativeness of the project.

CBKM/KN

Related topics: Ai Weiwei, collaborative art, venues – Hong Kong, Chinese artists

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Posted in Activist, Ai Weiwei, American, Art spaces, Artist Nationality, China, Chinese, Collaborative, Crossover art, Events, Gallery shows, Hong Kong, Installation, Interactive art, Medium, Photography, Sound, Sound art, Styles, Themes and subjects, Trends, Venues, Z Artists | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 3 Comments »

Pakistani American artist Shahzia Sikander impresses judges of SCMP|ART FUTURES at ART HK 10

Posted by artradar on June 29, 2010


PAKISTANI AMERICAN ARTISTS ART PRIZES AND AWARDS ART HK 10

Pakistani American artist Shahzia Sikander, represented by London gallery Pilar Corrias, has been brought into spotlight on the stage of contemporary art after impressing the judges of SCMP|ART FUTURES at ART HK 10 and becoming the winner of the year.

Shahzia Sikander working on a mural in the USA.

Standing out among artists from sixteen galleries that have been set up for less than five years, Sikander won a cash prize and an opportunity to design the front cover of Post Magazine, published by the South China Morning Post (SCMP). According to SCMP, she has been praised by one of the judges, Serpentine Gallery co-director Hans Ulrich Obrist, for being a “very special artist” and a worthy winner.

Sikander’s I am also not my own enemy (2009) was exhibited at ART HK 10. It is a decorative work on paper made with gouache, hand painting, gold leaf and silkscreen pigment on paper.

Shahzia Sikander's 'I am also not my own enemy'.

Since graduating from the National College of Arts in Lahore for undergraduate study and the Rhode Island School of Design for master study, Shahzia Sikander has been “instrumental in [the] rediscovery, re-infusion, and re-contextualization of Indo-Persian miniature painting.” She has worked within a wide range of art genres including painting, drawing, animation, installation, video and film. She was named as an honorary artist by Pakistan’s Ministry of Culture and the Pakistan National Council of the Arts.

CBKM/KN

Related Topics: events – fairs, artist nationality – Pakistani, prizes

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Posted in American, Artist Nationality, China, Events, Fairs, Hong Kong, Miniatures, Pakistani, Prizes, Styles, Venues | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment »

Is globalisation of the art market slowing down? The Economist reports

Posted by artradar on June 9, 2010


GLOBALISATION CHRISTIE’S ART AUCTIONS

Globalisation in the art market may be slowing down according to an article published recently in The Economist. In spite of the growing numbers of artists and buyers from locales ranging from Africa to Asia, May sales in New York were dominated by American artists.

The article states:

“At the Christie’s sale, the first of the two main evening auctions, three-quarters of the buyers were American”.

With the prices of work by top Asian artists still lagging behind big-name American contemporaries, it may not come as a surprise that Asian artists are sometimes underrepresented in main and evening sales abroad. That is not to say that Asian artists do not fair well in Asian markets. In Artprice’s Top 100 Hammer Price List, only seven Asian artists crack the top 50. Not surprisingly, all were Chinese artists with sales in Beijing or Hong Kong. Numbers such as these suggest that there is still some preference for homegrown artists.

The Beijing sale of Chen Yifei's 'Thinking of History at My Space', 1979 landed him at #69 on Artprice's Hammer Price List

The Beijing sale of Chen Yifei's 'Thinking of History at My Space', 1979 landed him at #69 on Artprice's Hammer Price List

Even so, the unusual dominance of American artists at Christie’s New York sales this past spring did not go unnoticed.

“This is the most significant post-war and contemporary art collection ever sold at auction,” Christie’s Amy Cappellazzo said afterwards. “It was a quintessential American sale.”

We at Art Radar Asia wonder if this is really so surprising? There are few Post War Asian artists represented in these sales because Asian artists have only received attention in the last twenty years. For contemporary artists it is a different matter. While there is no doubt that some Asian artists, and those from other emerging countries, are now well known, their prices still lag behind those of top contemporary American artists. And, of course, main sales, and evening sales in particular, feature only the very best, usually most expensive, works.

Read the full article here.

EH/KN

Related Topics: business of art, collectors, market watch – auctions, market watch – globalisation

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