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Posts Tagged ‘art prize’

Emerging artists Min Xiaofang, Kang Yongfeng and Song Yongjun win Chinese Art Prize awards 2008

Posted by artradar on January 16, 2009

The winners of the Chinese Art Prize 2008 are: Min Xiaofang (Gold) and Kang Yongfeng (Silver). The Viewers’ Choice Prize went to Song Yongjun.
In 2008 more than 1,000 emerging Chinese artists applied for the CAP. The jury narrowed the field to 25 finalists.
Gold Prize winner Min Xiaofang’s renders two meter-tall paintings of children’s homework – mathematics, grammar, English – all graded and corrected in red ink. 10cm-wide patches of white, which looks like correction fluid, add to the authentic appearance of the paintings. In certain pieces, hints of text on the reverse side of the original notebook pages are visible. Female artist Min’s work inspires viewers to ponder the content and meaning of what is being taught to children as if being viewed under a microscope.
CAP Silver Prize winner Kang Yongfeng paints twisted, mangled vehicles, with extremely thick chunks of metalwork-looking paint protruding off the canvas. Kang’s brushstrokes are so intertwined that the pieces appear to be almost abstract when viewed at close proximity.
The top 25 artists’ portfolios can be viewed online at: Also view other works by the prize winners on the site.
The Chinese Art Prize is the only annual art prize that focuses on young, emerging Chinese painters and hais the highest cash prize, 66,000 CNY [9650 USD], for any art competition in China.

CAP 2008 jury includes:

  • Gerard Goodrow (Director, Phillips de Pury, Germany; former Director, Art Cologne),
  • Daniela Bousso (Director, Paco das Artes, Brazil),
  • Ami Barak (Curator, “Art for the World,” Shanghai World Expo 2010; Curator, Art Forum Berlin 2007),
  • Linel Rebenchuk (Director, Toronto International Art Fair),
  • Du Xinjian (contemporary Chinese artist and former professor at Central Academy of Fine Arts),
  • Alexandra Seno (Writer).

Chinese Art Prize website

Min Xiaofang

Min Xiaofang

Song Yongjun

Song Yongjun


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Singapore artist Yeo Chee Kiong’s installation wins ‘richest’ Asian art prize – Bloomberg

Posted by artradar on November 4, 2008


Yeo Chee Kiong won the S$45,000 ($30,793) inaugural APB Foundation Signature Art Prize (images on website) for his installation “A Day Without a Tree,” originally shown last year at Singapore’s National Museum.

Yeo’s mixed-media work greeted visitors to the building, built in 1887, with what looked like a large puddle of white paint dripping from the walls as the columns of the four-story- high atrium melted. Yeo won the grand prize, the richest in Southeast Asia, sponsored by the Singapore Art Museum and Asia Pacific Breweries Ltd., maker of Tiger beer.

Yeo, born in 1970, said he decided to create a work based on the classical architecture because the museum was celebrating its 120th anniversary at the time of his installation.

“I tried to present something that you are not sure of,” he said in an interview at the Singapore Art Museum.

He declined to explain the work or its title.

“My position is not to tell you what it is. You have to figure that out for yourself,” he said.

Yeo was chosen from a shortlist of 12 artists from the region, including Malaysian Ahmad Fuad B. Osman, China’s Zheng Bo and India’s G.R. Iranna, who all won S$10,000 jurors’ choice awards. Mongolia’s Davaa Dorjderem won S$10,000 for the people’s choice, selected by online voters.

The award is part of a 15-year partnership between APB and the Singapore Art Museum signed a year ago. The APB Foundation has committed S$2.25 million in funding for the prize, which will be awarded every three years.

The 10 shortlisted works are on view at the Singapore Art Museum until Nov. 16.


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Art prizes adding auctions and a charitable twist

Posted by artradar on August 8, 2008

Nominee Sovereign Prize

Nominee Sovereign Prize AES+F


ART PRIZE In 2003, Howard Bilton, chairman of the Hong Kong-based Sovereign Group, set up the Sovereign Asian Arts Prize, an annual award of $25,000 established “to give recognition to some of the most important artists of our time”.

Sovereign European Arts Prize

Two years later, he set up another prize for European artists, with a prize sum of €25,000 ($39,000). Both were ambitious projects – particularly considering that Bilton, a barrister by profession, does not profess to know much about art (although, he tells me, he did buy a painting by Craigie Aitchison in 1995 on a whim, the value of which rocketed almost immediately).

More than a dozen major prizes in UK alone

As Bilton found, it isn’t easy to create a buzz around a new European art prize. There are more than a dozen major prizes in the UK alone, including the John Moores Prize, the Turner Prize and the BP Portrait Award and the Jerwood Prizes, and new ones are being launched each year.

Sovereign prize different – incorporates auction

The Sovereign prizes represent a new and controversial phase in this history. The main difference between the Sovereigns and older models is that they offer an opportunity for buyers to bid at auction for the paintings by the 29 runners-up.

This year’s judges

This shortlist of 30 is chosen by a jury (this year Tim Marlow of the White Cube, Philly Adams of the Saatchi Gallery, Rachel Campbell-Johnston of The Times and Jarvis Cocker of Pulp) from a long-list nominated by “art world insiders”.

The winner is chosen by marking each work out of five – easier than having the jury in a room together, according to Bilton (although, when I call the Sovereign office just before the shortlist is announced, they seem to have lost Cocker up a mountain).

Supports charity

Half the proceeds of each sale will this year be given to Kids Company, a charity founded by Camila Batmanghelidjh to provide support to inner-city young people; the rest goes to the artist.

When I ask Bilton whether he has received any objections from galleries about a system that does away with their fee, he assures me that “they’re usually happy to participate because that 50 per cent goes to charity. Plus their artist gets to be on a prestigious shortlist”.

Credibility an issue?

But can such a young prize really have the prestige and effect that Bilton claims? His prize is distinctive, he says, because its focus is European and because its aims are philanthropic. Credibility is not an issue, he explains; each painting has been nominated by an expert.

Yet some art world insiders suggest that, notwithstanding their philanthropic aims, new art prizes can be riddled with problems.

Sceptics might wonder whether, by keeping the winning piece, Sovereign has found an inexpensive way of building a collection. There are precedents for prize-winning works forming collections – the John Moores prize-winners, for instance, go to the Walker Art Gallery in Liverpool – but here, the money is given to the artist in addition to the cost of acquiring the work. And, although entering a public collection can increase the value of an artist’s work, the Sovereign Foundation’s collection does not yet have the same kudos as other prizes.

Graham Crowley, former professor of painting at the Royal College of Art and winner of the John Moores Prize in 2006, has been on the jury for the Moores prize and several others. He suggests that the principle of combining art award and art auction is “bonkers” and constitutes “a patchwork quilt” of different aims.

John Moores prize

Crowley advocates the John Moores Prize because it is founded on a commitment to painting and because its judges are a “savvy bunch”, favouring practitioners over critics and – his pet hate – celebrity judges. He argues that art prizes gain authority only by building a reputation for picking artists who subsequently win wider recognition. Not all juries are capable of identifying talent in this way. “I’ve been on a jury where one celebrity couldn’t be bothered to come so his wife came instead,” he confides.

Crowley is also keen to challenge the assumption that winning an arts prize will increase the value of an artist’s work. He admits that the value of paintings by Peter Doig and Michael Raedecker rose by as much as 200 per cent soon after they won the John Moores Prize but says that the statistic should be treated with caution; such increases mark the juries’ ability to choose artists whose “stock was already rising”.

Philanthropy and auctions to become more common 

Despite such reservations, it seems likely that art prizes with a philanthropic twist will become more common. As well as understanding businessmen’s desire to give to charity, Bilton has clearly spotted the craze for auctions as a form of entertainment. At a time when more and more people are looking to invest in contemporary art as a part of their lifestyle, art prizes offer an attractive entry point at the lower end of the market. And there is always that dream, however unlikely, that a work acquired on a whim will increase in value to Hirstian heights.

Source: Financial Times

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