Posts Tagged ‘Collectors’
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
Subscribe to Art Radar Asia for more on Asian art education opportunities
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
Subscribe to Art Radar Asia for more posts on Middle East art
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 20, 2010
SOUTH KOREA CONTEMPORARY ART INTERVIEW CURATOR
Art Radar Asia recently spoke with German-born curator Tobias Berger, who currently holds the position of Chief Curator at the Nam June Paik Art Center, about the Center’s exhibition “The Penguin that goes to the Mountain“. During this interview, Berger also revealed a few of his observations on living and working in the Korean art environment.
Korean art has always been in the shadow of Japanese and Chinese artistic success, often “dismissed as a mere conduit between the two mega cultures.” This may be because few of the local magazines, exhibition catalogues and other art texts produced on Korean contemporary art are available in English. As Berger states, “There are none. They’re all in Korean. There’s nothing really good in English.” And while the local art scene is perhaps not on par with what can be experienced in these neighbouring countries, Berger notes that the art that is being produced in Korea is of a very high quality, due to good art schools, a diversity of art spaces, talented pioneers and governmental support.
'Shamoralta Shamoratha' (2007) by Inbai Kim was shown at "Korean Eye: Moon Generation" in 2009. Korean Eye was founded in 2009 as a way to support emerging Korean artists by providing international exhibition opportunities.
As a European who formerly lived and worked in the Hong Kong art scene, how do you find the South Korean art scene compares?
“The Seoul art scene is probably the most sophisticated art scene in Asia. It has really good independent spaces, good commercial galleries, interesting art schools and good museums. It has this whole pyramid of different art spaces, exhibition possibilities, and it has a lot of really good and wonderful artists. That level of depth and the level of different kinds of art spaces is incomparable. Certainly in Beijing [you] have galleries, but you don’t have any independent spaces, and in Tokyo it’s also very different.”
How do you keep up to date with the Korean art scene?
That is a problem because it’s all in Korean and it’s very difficult to keep up [with]. I mean, you just go to the 10-15 [art] spaces once a month … and you talk to your friends and your colleagues that go to the big exhibitions…. You just have to look at how it is. There was a [recent] survey show called “Bright Future” but it only had twelve artists.
Tell us about the art school system in Korea? How does it differ from other places?
It’s the most sophisticated [system] because it had some good pioneers [and] a lot of governmental help. [South Korea] has some good art schools and it has a lot of good artists that have studied overseas and come back. This allowed a lot of critical discourse and [there were] a lot of magazines. That allowed the art scene to grow well and in the right way.
Korean art is becoming popular with international collectors. “Korean Eye“, for example, was shown at The Saatchi Gallery in London earlier this year. Can you tell us why you think this is happening now?
“Here in South Korea you don’t feel that there’s much happening. The Korean scene is nothing compared to what’s happening in China…. On the one side, these shows, where this is popular or that is popular, don’t really mean a thing. There is a lot of good art in South Korea and the quality of the art is really on a high level, because art education has been good for 15-20 years. A lot of people are educated in Europe and America and have very good support and certainly output good quality art…. I mean, you don’t want to buy or you don’t want to show an artist because he’s Korean, you want to show an artist because he’s a good artist.”
Related topics: Korean artists, interviews, Tobias Berger, curators
Subscribe to Art Radar Asia for more on contemporary Korean art
Posted in Art spaces, Artist-run, Asia expands, Curators, From Art Radar, Generation art, Globalization of art, Interviews, Korean, Museums, Tobias Berger | Tagged: America, art dealers, art exhibitions, art history, art magazines, art market, art museums, art school, art schools, art space, art spaces, art trends, artist-run spaces, artistic expression, Beijing, Bright Future, Chinese contemporary art, Collectors, commercial galleries, critical discourse, cultures, curators, dealers as curators, Emerging artists, emerging Korean artists, Europe, European, gallery art, Globalisation, Hong Kong art scene, independent art spaces, international art, international collectors, international visual language, Julie Anne Sjaastad, Korea, Korean art, Korean art scene, Korean artist, Korean artists, Korean contemporary art, Korean Eye, Lee Ufan, Nam June Paik, Nam June Paik Art Center, publications, Saatchi Gallery, Seoul, South Korea, South Korean art scene, Suh Se-ok, The Saatchi Gallery, Tobias Berger, Tokyo, traditional painting, Transition, urbanism | Leave a Comment »
Posted by artradar on September 15, 2010
TAIWANESE CONTEMPORARY ART INSTALLATION TAIWAN-CHINA RELATIONS ARTIST INTERVIEW
When Tsong Pu was studying overseas in the 1970s he would introduce himself as Chinese or as being from China. Later, as China opened it’s borders and more art from the country was exposed to the outside world, Tsong began to introduce himself as Taiwanese. Now, he introduces himself as a Shanghai-born artist who lives in Taiwan.
Cultural relations between Taiwan and China have always been complicated and the current success Chinese contemporary artists are enjoying globally generally outstrips that of artists who are living and working in Taiwan. Although originally from China himself, abstract artist Tsong Pu does not see much collaboration between the two countries.
“Each side does their own thing. At the moment you will find that very few Taiwanese artists show their work in Mainland China, in galleries or in museums. But you will find that many artists from China show their works in Taiwanese galleries or museums.”
Tsong believes that Taiwanese artists and art professionals need to work hard to change this situation, “to give collectors and buyers more confidence in Taiwanese art.” He goes on to state that the Chinese art market is created and supported by the Taiwanese collector.
“Much of the artwork coming out of China is being sold to Taiwanese collectors. The [Taiwanese] government supports Chinese artists, but the Chinese government doesn’t support Taiwanese artists.”
This view is expressed in the installation One Comes from Emptiness (2009, mixed media), which we discuss with Tsong in this article. Blake Carter, writing for the Taipei Times in November last year, talked about the piece:
“I was surprised to find that some of the ropes he installed at the Biennial fall onto a bent metal signpost that reads ‘Taiwan Contemporary Art Museum.’ There is no such place. Many artists complain that Taiwan’s museums – especially in the capital, and specifically the Taipei Fine Arts Museum (TFAM) – don’t pay enough attention to the country’s artists.”
Blake went on to say that “Taiwanese artists are relegated to the museum’s smaller galleries downstairs while Chinese artists Fang Lijun, Cai Guo-Qiang and Ai Weiwei get large exhibitions at TFAM.” When asked by Blake whether One Comes from Emptiness was a comment on Taiwan’s art institutions and their treatment of Taiwanese art and artists, Tsong replied, “Yes.”
This is part three of a three part series. In this part we relay to you Tsong’s views on the artistic relationship between Taiwan and China and look at two further installations by the artist. Both of these works are tied to the artist’s signature grid pattern, the repetition of 1 x 1 cm squares often intersected with a diagonal line. This grid form is represented in the weave of the nylon rope in One Comes from Emptiness (2009, mixed media) and pulled apart and reconstituted in the separate canvases of Declaration Independence (first presented 1996, mixed media). For more on what to expect from the first and second parts of this series, please read the notes at the bottom of this post.
Tsong Pu, 'One Comes from Emptiness', 2009, mixed media installation, 10 x 1075 cm. Image courtesy of the artist.
One Comes from Emptiness (2009, mixed media installation) was shown at Viewpoints and Viewing Points: 2009 Asian Art Biennial. In your artist statement for this exhibition you suggested that people from the West and people from the East will perceive this installation differently. Could you explain further?
“I tried to pretend that the rope is just like calligraphy: more natural and softer. This soft line is like Chinese calligraphy or Chinese traditional ink painting. When you see a Chinese courtyard, it makes you feel very natural, it’s soft…. It has something representing the water, the wind, the earth. I used very simple lines or string to create circles. These circles remind me of a Japanese courtyard, its oriental elements, and the lines are like the rain. A traditional Chinese courtyard always expresses these kinds of things. I tried to … merge [this] with Western style.
The steel part is more structural – it has more strength – and represents Western art expression: strong, energetic, long lasting. I am influenced by an artist from England called Anthony Caro who creates sculptures from steel.”
Why do the circles overlay the steel?
“At the very beginning, I tried to present only the circles and the simple white lines but I thought it was too beautiful…. It didn’t have any power. [The circles overlap the steel because] the nylon rope is soft and flexible. It can’t be cut or broken and it will flow over things. Of the material, you can see that one is soft and one is hard, so they contrast. That is the basic structure [of the work]. Different style, different shape, different material, different thinking. But when they come together they can merge.”
So they can exist together?
“Yes, yes. Together they can generate something new, a new way of thinking.”
Is there anything else you’d like to say about One Comes from Emptiness?
“This work was created in 2009. During this year a major typhoon hit Taiwan. This typhoon caused a landslide which covered a mountain village. Because of this event, the natural environment and the view of the landscape was changed. A house that has been moved or destroyed might not actually look so terrible in its new position. After you have viewed it for sometime, you might realise that it actually looks quite beautiful.”
Tsong Pu, 'Declaration Independence', 1996, mixed media installation, 480 x 260 x 360 cm. Image courtesy of the artist.
We are interested in your installation Declaration Independence (first presented 1996, mixed media) because you showed it in 1996 and then again this year at your TFAM retrospective, “Art From the Underground“. Can you explain the relationship between the objects and each painting?
“The idea for this work comes from [Transposition of Light and Water (1992, mixed media installation)] but it is represented in a different space. I took one cube from this work and distributed it into several pieces.”
The way you have used the gallery space in Declaration Independence is quite different to how you have used it in other installation pieces.
“These are canvases, just like [The White Line on Grey (mixed media, 1983)] is a canvas. I used the same technique [to paint them both]. The ones that are the same are grouped together. The paintings are like different pages in a book; the pattern [on the canvases] resembles words without any special meaning.
This [coat hanging on the wall] is an object and this object has some dimension – it is 3D and not flat – but [the paintings] are flat, so when they are placed with the 3D objects they will have a conversation. The paintings are like a code and when I separate them in this way they are like the pages [of a book] on the wall.
The paintings have no meaning, but the objects may project some meaning onto them. Among the objects are some maps. When all these things are separate they have no meaning but when they are placed together they could have some meaning. I am not sure whether the paintings influence the objects, or the objects influence the paintings. When you open a book there is a lot of information in it. It is like this book on the wall has been opened and many things have started to happen. There is a conversation between [the paintings and the objects], a relationship.”
And is it you, the artist, who brings meaning to this book, or is it the task of the viewer?
“It should be both. I hope it is the viewer.”
Tsong Pu, 'Declaration Independence', 2010, mixed media installation, 480 x 260 x 360 cm. Image courtesy of the artist.
About this series
This Art Radar interview with Taiwanese artist Tsong Pu has been presented in three parts. In part one, Master Tsong discusses two works in which he has used and adapted his most well known technique, a 1 cm by 1 cm grid pattern. In part two, the artist speaks on two very different installation pieces, close in date of construction but not in their theory of development. Part three talks about some of the artist’s most recent installation work.
We have also premised each part with some of the artist’s views on the current Taiwanese contemporary art industry, as developed from his roles as mentor, curator and master artist.
Related Topics: Taiwanese artists, interviews, installation art
Subscribe to Art Radar Asia for more on Taiwanese installation art and further artist interviews
Posted in Artist Nationality, Business of art, Collectors, Conceptual, From Art Radar, Installation, Interviews, Promoting art, Styles, Taiwanese, Themes and subjects, Tsong Pu, Z Artists | Tagged: abstract art, abstract artists, abstract paintings, Ai Weiwei, Anthony Caro, art collecting, art collectors, Art From The Underground, artist interview, artist interviews, Blake Carter, Cai Guo Qiang, Chinese art, Chinese artists, Chinese calligraphy, Chinese contemporary art, Chinese contemporary artists, Chinese courtyard, Chinese ink painting, collector, Collectors, cultural relations, Declaration Independence, Eastern art expression, Fang Lijun, government, installation, installation art, installations, Japanese courtyard, Kate Nicholson, mainland China, mixed media, mixed media installation, nylon rope, One Comes from Emptiness, Painting, paintings, retrospective, series, shanghai, Taipei Fine Arts Museum, Taipei Times, taiwan, Taiwanese, Taiwanese art, Taiwanese artists, Taiwanese collectors, Taiwanese contemporary art, Taiwanese contemporary artists, Taiwanese installation art, Taiwanese installation artists, Taiwanese painters, TFAM, The White Line on Grey, Transposition of Light and Water, Tsong Pu, typhoon, Viewpoints and Viewing Points - 2009 Asian Art Biennial, Western art expression | Leave a Comment »
Posted by artradar on August 17, 2010
ART FAIRS ECONOMY
A recent article in the Economist comments on the globalisation of art and how art fairs accelerate the transnational exposure of artists, something that could become necessary for artists if they want to attract the attention of serious collectors and art investors. Importantly, it also identifies the current international art fair hot spots. Read on for our summary of this article.
Globalisation of the art market
Globalisation is one of the most important phenomenon in the history of recent art. Contemporary art needs the potential of a global market and thus enters the art fair. Biennials and landmark exhibitions help to initiate global change in the art scene. International art fairs spread belief in contemporary art through the help of banks and royalty, from Deutsche Bank to local rulers in the Middle East.
In addition, the article quotes Marc Spiegler and Annette Schönholzer, co-directors of Art Basel, as saying that private collections are becoming increasingly international. Collectors start by acquiring art from their own nation and eventually acquire internationally. In many countries contemporary art has become an economic project involving collectors, dealers and huge cultural districts with museums and art fairs.
Art Basel 2009.
For an art fair to be properly diverse, careful curation is essential. For good international fairs, this not only means that attending galleries show talented artists, but also that they show artists that live in the country the gallery is located in. As quoted in The Economist,
As Lucy Mitchell-Innes of Mitchell-Innes & Nash, a New York gallery, warns: ‘It’s a problem if four or five booths have the same artist’s work. A good international fair wants Chinese galleries to bring talented Chinese artists, not another Antony Gormley.’
International art fair hot spots
The locational hierarchy of art fairs differs from that in the auction market. For art auctions, the three most prominent cities are New York, London and Hong Kong, in that order. When talking about art fairs, Basel would come first, but what follows this lead is unclear: Miami or London, New York or Paris?
Even more notable are the art fairs currently sprouting up in Asian countries. These are creating alternate markets for art and challenging Western leadership. Adding to the hierarchical ladder are two newcomers: Hong Kong’s ART HK (Hong Kong International Art Fair) and Abu Dhabi Art, operating from the Middle East.
What art fairs mean for artists and their art
In general, art fairs can accelerate the transnational exposure of all artists represented. Art Basel is unrivalled in this category and it may be because it has always defined itself as international. The frenzied demand for new art peaked with the creation of smaller art fairs. Some of them work as satellites to the major European events, the biennials, art festivals and fairs such as Basel. These budding fairs cater to lesser known, emerging artists.
Within the art market, that an artist is “international” has become a selling point. Consequently, the local artist has become almost insignificant, while those called “national” are damned with faint praise.
Art fairs, with their aggregation of art dealers forming a one-stop shoppers’ marketplace for art, attract high-spending collectors, generate greater sales and have to some extent replaced galleries with their increasing drawing power. Still the globalisation of the art is not just about money. There are a growing number of non-profit biennials that are developing along with the market structures. As quoted in The Economist,
Massimiliano Gioni, a curator based in Milan and New York, who is overseeing the Gwangju Biennial, which opens in South Korea in September, recalls that the avant-garde was ‘built on a transnational community of kindred spirits,’ adding, ‘sometimes I long for that.’
This is an Art Radar summary of “Global frameworks – Art-fair musical chairs“, first published in The Economist.
Related Topics: art fairs, international artists, market watch – globalisation
Subscribe to Art Radar Asia for more on prominent trends in the contemporary art market
Posted in Artist Nationality, Market watch, Events, Collectors, Fairs, Biennials, Globalisation, Gallerists/dealers, Market transparency, International, Business of art, Promoting art, Festival | Tagged: Abu Dhabi, Abu Dhabi Art fair, Annette Schönholzer, Antony Gormley, Art Basel, art fairs, art festivals, Art HK, art industry, art investment, art market, artists, asia, Asian art market, avant-garde, biennale, Biennials, Chinese galleries, Collectors, contemporary art, Dealers, Deutsche Bank, Frieze Fair, global art market, Global frameworks – Art-fair musical chairs, Globalisation, Gwangju Biennial, hong kong, Hong Kong International Art Fair, International, international art, international art community, international art fair, international art market, Julie Anne Sjaastad, London, Lucy Mitchell-Innes, Marc Spiegler, market structures, Miami, Middle East, Mitchell-Innes & Nash, new york, Paris, South Korea, The Economist | 1 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
Subscribe to Art Radar Asia for more on auction houses in Asia
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 »
Posted by artradar on June 23, 2010
ART HK 10 HONG KONG ART FAIR ART COLLECTORS ART MARKET
ART HK 10 was reportedly more festive than the ’09 edition due to its increasing ability to attract more high-profile and experienced collectors and curators from round the world, indicating its growing importance in the contemporary art arena of Asia.
ART HK 10 attracted many new comers this year.
“There’s been a major shift since last year in terms of the quality of the galleries exhibiting and the quality of the visitors. It’s a broader cross-section of nationalities and there are more serious and experienced collectors. We are pleased that people we met last year have come back to buy from us this year and this has been supported by trips to Asia between shows. We look forward to participating next year.” Daniela Gareh, Director of White Cube, London
Who were the collectors attending ART HK 10?
This year, the art fair attracted high-profile collectors from China, Japan, Taiwan, Korea, Indonesia, Singapore, Australia, across Europe and the United States. They included Thomas Shao and Li Bing (China); Sir David Tang and Monique Burger (Hong Kong); Richard Chang (New York); Dr. Gene Sherman of the Sherman Contemporary Art Foundation and Judith Neilson of the White Rabbit Foundation (Sydney); Susan Hayden and Nigel Hurst, Director of the Saatchi Gallery (London); and Sydney Picasso and Diana Picasso (Spain).
Some of the world’s most influential museum directors also attended the fair. They included Richard Armstrong (Director of Guggenheim Museum); Michael Govan (CEO and Wallis Annenberg Director of Los Angeles County Museum of Art); Joseph Thompson (Director of MASS MoCA); Olga Viso (Director of Walker Art Centre); Elizabeth Ann MacGregor (Director of the MCA in Sydney); and Jock Reynolds, (Director of Yale Art Gallery).
The fair also attracted specialist Asian curators such as Alexandra Munroe (Senior Curator of Asian Art at the Guggenheim), Maxwell Hearn (Douglas Dillon Curator at Department of Asian Art in Metropolitan Museum of Art), and Jan Stuart (Head of Asia at British Museum).
Some renowned curators attended an ART HK 10 talk organised by Asia Art Archive. They were Shinji Kohmoto (Chief Curator at the National Museum of Art in Kyoto), Yuko Hasegawa (Chief Curator at the Museum of Contemporary Art in Tokyo), Yukie Kamiya (Chief Curator at the Hiroshima City Museum of Contemporary Art) and Barbara London (Associate Curator at Department of Media and Performance Art in the Museum of Modern Art in New York).
ART HK 10’s sophistication evident in high quality works on show
The significant increase in the number of experienced collectors and curators coming to the event was the result of an expanded scale and an improvement in the of quality of the art being sold and displayed.
“This year’s ART HK had both significant scale and high quality of exhibitors and art. We were also very encouraged by the public interest and positive reaction to Deutsche Bank’s exhibition of recently acquired photography from its corporate collection.” Michael West, Deutsche Bank Head of Communications, Asia Pacific
On the other hand, the improved quality of galleries may also be indicative of the sophistication of art in Asia.
“We’ve met some very interesting collectors from other countries in Asia. The level of sophistication and interest in Western art is rising exponentially.” Ben Brown, Ben Brown Fine Arts, Hong Kong and London
Magnus Renfrew, director of the ART HK fair, spoke to the Jakarta Post stating that Hong Kong possesses two core strengths that have brought about the success of the fair, its quality and the geographical diversity of its participants. He elaborates:
“We chose Hong Kong as our location for a major international hub art fair over others in the region because this city has many advantages, such as the zero tax on the import and export for art, geographical location at the heart of Asia within easy reach of the collector bases from all over the region, English is commonly spoken, it is an exciting and vibrant city and there is probably nowhere in the world where people from Asia and people from the West feel equally at home.”
Art Radar Asia was determined to hunt down first-hand perspectives of galleries in attendance this year and spoke with 19 during ART HK 10. Reactions to the fair were as varied as the galleries we spoke with. Read what they had to say here.
Related Topics: events – fairs, venues – Hong Kong
Subscribe to Art Radar Asia for more reports on Asian art fairs and events
Posted in Asia expands, Business of art, Collectors, Curators, Events, Fairs, Hong Kong, Museum collectors, Professionals, Promoting art, Trends, Venues | Tagged: Alexandra Munroe, Art HK 09, ART HK 10, Asia Art Archive, Barbara London, Ben Brown, Ben Brown Fine Arts, British Museum, Carmen Bat Ka Man, Collectors, curators, Daniela Gareh, Deutsche Bank, Deutsche Bank Head of Communications Asia Pacific, Diana Picasso, Dr. Gene Sherman, Elizabeth Ann MacGregor, gallery, Guggenheim, Guggenheim Museum, Hiroshima City Museum of Contemporary Art, hong kong, Hong Kong art fair, Hong Kong International Art Fair, Jakarta Post, Jan Stuart, Jock Reynolds, Joseph Thompson, Judith Neilson, Li Bing, Los Angeles County Museum of Art, Magnus Renfrew, MASS MoCA, Maxwell Hearn, MCA, MCA Sydney, Metropolitan Museum of Art, Michael Govan, Michael West, Monique Burger, Museum of Contemporary Art, Museum of Contemporary Art in Tokyo, Museum of Modern Art, Museum of Modern Art in New York, National Museum of Art, National Museum of Art in Kyoto, Nigel Hurst, Olga Viso, Richard Armstrong, Saatchi Gallery, Sherman Contemporary Art Foundation, Shinji Kohmoto, Sir David Tang, Susan Hayden, Sydney Picasso, Thomas Shao, Walker Art Centre, White Cube, White Rabbit Foundation, White Tube, Yale Art Gallery, Yukie Kamiya, Yuko Hasegawa | Leave a Comment »
Posted by artradar on June 1, 2010
HONG KONG ART FAIR
Art Radar Asia attended ART HK 10 on Sunday with the aim of getting a perspective on the who is selling what to whom. Below we lay out the comments from and opinions of 19 of the Asian and international galleries in attendance this year.
Nadi Gallery – Jakart
Meli Angkapradipta: ”We got more sales this year. We brought around 18 pieces and only four are unsold. Most of our buyers are from Asia, mostly Indonesia. All Gede Mahendra Yasa’s works are sold. His works are very decorative and very natural. People can accept them very easily.”
Gede Mahendra Yasa, Cannabis-Canniballis, 2010
Ota Fine Arts – Tokyo
“I think this fair is getting stronger and stronger. About half of our nine pieces are sold at the price range of $2,000 to $380,000. The buyers are from Indonesia, Taiwan, Korea and Hong Kong. Yayoi Kusama’s work is very popular. We sold some new artist’s work too.”
Tang Contemporary Art – Bangkok/Beijing/Hong Kong
“We sold about forty percent of our works to Mainland, European, and US buyers. The most expensive piece was Liu Xiaodong’s painting.”
LEVY – Berlin/Hamburg
Thomas Levy: “Last year we brought some young artists and we sold nothing. I think [people] are buying well-know names or Chinese art. We sold 2 of 15 pieces. It’s not a disappointment but it could be better. The buyers are from Hong Kong but they are foreign people, no Chinese. It’s a problem of education and no modern art museum in Hong Kong and things like that. We are here to find new clients.”
Greenberg Van Doren Gallery – New York
“We’ve never done any fairs in Asia before. We really just want to get to know some of the collectors in Hong Kong and other cities around here. And I think we have met a ton of people. The sales haven’t been disappointing. Most of the collectors are from Asia and Australia. It’s just a very different set of people.”
Yayoi Kusama, Pumpkin, 2010
Galerie Forsblom – Helsinki
Karl-Heinz Horbert: “This year’s fair has much more people than last year. Our works have sold in the range of US$8,000 to US$400,000. Hong Kong is an international place and the buyers come from all over the place. The European fairs and the American have a long tradition, that means in the States and in Europe there are serious collectors talking about collection. People buy to keep. Where’s the public museum in Hong Kong? This is the big difference between the European and Hong Kong markets.”
The Modern Institute – Glasgow
“The fair is very well organized, very well attended and the sales have been good. I think overall it’s been very strong. We didn’t have any expectations really because we’ve never done this fair before. We have collectors in Japan and Australia. We don’t have any collectors in China, so coming to the fair we didn’t have any expectations. About eighty percent of the collectors are new. The new collectors are from Beijing, Shanghai, Taiwan and some new collectors from Japan. The price ranges from 10, 000 pounds to 100,000 pounds.”
Eslite Gallery – Taipei
Hai-Ping Chang: “The quality of the fair is getting better and better. And there is [a bigger] audience. We brought the works of seven artists from China and Taiwan. The sales are pretty good. Buyers are from Hong Kong and overseas.”
Sakshi Gallery – Mumbai
Geetha Mehra, director: “It’s a very good fair. Well organized, good quality of work. In terms of the sales there’s a bit of conflict from the auction. The buyers are mainly from Asia. The fair has more Asian buyers and more works from the region but overall the quality is as good as anywhere else.”
Roslyn Oxley9 Gallery – Sydney
Tony Oxley: “It’s a very good fair. It has a nice Asian flavor. The buyers are from Hong Kong and Europe. We’ve done pretty well with Tracey Moffatt. I think people prefer figurative arts rather than abstract. I think we’ll be coming more often now. The future is here.”
Bernier/Eliades Gallery – Athens
Hidy Lam Hoi Tik: “There are more Asian collectors at this fair. A buyer was from Shanghai, a friend of the artist Wang Xingwei. There’s a trend that collectors start to collect their friends’ works.”
Damien Hirst, Domine, Ne In Furore (Diamond Dust), 2010
Hakgojae – Seoul
“Last year was really bad for us. This year is really good. We sold 5 of 21 pieces. Two videos were sold to Hong Kong buyers for $30,000 each on the preview. Song Hyun-Sook’s paintings are really popular with Asian people.”
Thomas Erben Gallery – New York
“This fair is very well organized, very well attended. We don’t have any link [to] Hong Kong and very few of our collectors are from Hong Kong. We’re kind of jumping into cold water [to] see what happens, basically getting new contacts. The sales don’t quite cover the cost yet, but it’s a good start. Many of the buyers are Americans.”
Hanart TZ Gallery – Hong Kong
Marcello Kwan: “We’ve only brought Qiu Anxiong’s video The New Book of Moutains and Seas Part Ⅱ to the fair as we have our galleries in Hong Kong. Videos are a little harder to sell but there is a big audience, so it’s good publicity. Our works are more experimental than commercial. I think we bring something different to the audience.”
Marianne Boesky Gallery – New York
Adrian M. Turner: “We’ve met new people and we made some sales. It’s good. We sold about 10 of 20 pieces. The buyers are mostly from Asia. The prices range from $12,000 to $300, 000.”
Song Hyun-sook, 9brushstrokes, 2003
Galerie Zink – Berlin/Munich
“We’ve made some interesting contacts, sold mostly our Asian artists. It’s a little bit tough for young European or international artists from outside Asia to introduce them to people. Our artists are between 27 and 36 [years old]. It’s not that easy to get Asian collectors interested in their work for the first time. Collectors are mainly from Mainland China, Hong Kong and Australia. Yoshitomo Nara’s work sells the best.”
gdm – Paris
Claire Lauverier: “The opening is very social here. People are not here to buy the art works the first day. They are just here to enjoy the party. During the week it’s very low, very quiet, because I think people are working very hard. And during the weekend it’s like an explosion, everybody is coming. In other fairs it’s different. During the opening it’s like everybody is buying everything and afterwards it’s very quiet and very slow. People are much more direct here. If they are interested in buying something they’ll just say I want this, how much? Our buyers are mostly from Hong Kong and [the] mainland as well.”
Ayyam Gallery – Beirut/Damascus/Dubai
Myriam Jakiche, director: “More crowded, less interest selling wise compared to last year. Maybe because there are more galleries so there’s much more choice or something. Those bought are mainly colorful portraits. Buyers are mainly Europeans and Hong Kong people. I’m happy I know more people than last year.”
Gandhara-Art – Hong Kong/Karachi
Amna Naqvi, director: “It was more fabulous this year. We brought 13 pieces and 8 were sold. Buyers are from Asia and Europe. New buyers are from Asia. The price range of the works sold is $1,500 to $50,000.”
Overall, most participant galleries agreed that the quality of art available at ART HK is getting better and there was a much larger audience than last year. Many commented that while the fair is international, there are more Asian collectors and works than at European and US fairs. Notably, these Asian collectors tended to buy Asian works or the big names of international art. When compared with ART HK 09, the Asian galleries were more satisfied with their sales this year.
Related Topics: business of art, collectors, events – fairs
Subscribe to Art Radar Asia for more on the contemporary art market in Asia
Posted in Asia expands, Business of art, China, Collectors, Events, Fairs, From Art Radar, Gallerists/dealers, Hong Kong, Market watch, Overviews, Professionals, Promoting art, Research, Resources, Trends, Venues | Tagged: Adrian M. Turner, Amna Naqvi, art buyers, art collectors, art dealers, art fairs, art galleries, Art HK 09, ART HK 10, Art Radar Asia, Asian art, Asian art fairs, Asian art galleries, Ayyam Gallery, Bernier/Eliades Gallery, business of art, Chinese art, Claire Lauverier, Collectors, Eslite Gallery, Galerie Forsblom, Galerie Zink, gallerists, Gandhara-Art, gdm, Gede Mahendra Yasa, Geetha Mehra, Greenberg Van Doren Gallery, Hai-Ping Chang, Hakgojae, Hanart TZ Gallery, Hidy Lam Hoi Tik, Karl-Heinz Horbert, LEVY, Liu Xiaodong, Marcello Kwan, Marianne Boesky Gallery, Meli Angkapradipta, Myriam Jakiche, Nadi Gallery, Ota Fine Arts, Qiu Anxiong, Roslyn Oxley9 Gallery, Sakshi Gallery, Song Hyun-Sook, Tang Contemporary Art, The Modern Institute, The Newbook of Moutains and Seas Part Ⅱ, Thomas Erben Gallery, Thomas Levy, Tony Oxley, Tracey Moffatt, Wang Xingwei, Yayoi Kusama, Yoshitomo Nara | 2 Comments »
Posted by artradar on November 17, 2009
SINGAPORE AND HONG KONG’S COMPETING ART MARKET
Singapore’s art scene has grown rapidly since its 1989 government mandate to recognize the “importance of culture and the art.” Thriving to a point that, according to The Wall Street Journal, Hong Kong–Asia’s epicenter of art–is beginning to take its competitor seriously.
Hong Kong’s challenging art scene
Today’s numbers would suggest that Hong Kong has nothing to worry about for competition. Hong Kong is currently the third-largest auction market in the world with both Christie’s and Sotheby’s in its territory, and has set aside close to US$3 billion in order to create a much needed world class arts and culture development known as West Kowloon Cultural District. The project, however, has been slow to start and left many frustrated.
“The Hong Kong government first hit upon the idea in 1998 of building an integrated arts and culture neighborhood on 40 hectares of reclaimed land in the West Kowloon district. After many fits and starts, planning for the project recently picked up some momentum…Nevertheless, even if it all goes as planned, the first phase won’t be open until 2016.”
One of the proposed models for the West Kowoon Cultural Centre
The West Kowloon project has been “frustrating and painful,” says Asia Art Archive’s Ms. Hsu, who is also on the advisory panel for the museum at the new West Kowloon development. “For the public it has looked like the government is stalling, but it gives me a lot of hope. The government is very concerned about getting it right.’”
Singapore makes its move
The time spent behind making Hong Kong’s “necessary cultural move” may eventually result in Singapore gaining ground in the market by the country’s pushing ahead with so many art-hub projects of their own.
“It [Singapore] invested more than US$1 billion in infrastructure, including several museums and a 4,000-seat complex of theaters, studios and concert halls called the Esplanade, which opened in 2002, and spiced up its arts programming with diversity and a regional flavor.”
The Esplanade, Singapore
The benefits of Singapore’s art initiatives are already apparent. According to Singapore’s National Arts Council “between 1997 and 2007, the ‘vibrancy’ of the local art scene, measured by the number of performances and exhibition days, quadruped to more than 26,000.”
However, Singapore is still missing a key ingredient to perhaps prosper further: a big art-auction market like Hong Kong’s.
“Some smaller art-auction houses hold sales in Singapore, but the big ones — Christie’s and Sotheby’s — have pulled out and moved their Southeast Asian art auctions to Hong Kong, the former British colony that is home to seven million people and became a Chinese territory in 1997.”
For a city, having the ingredients for a thriving art market creates a virtuous circle. The powerful marketing machines of the big auction houses, including public previews of coming sales, raises awareness and appreciation of art in the community. All this encourages local artists to create more art. And that momentum, in turn, contributes to the development of a city’s broader cultural scene, including music, theater and design.”
Singapore looks ahead
The relationship between big art-auction markets and a thriving art scene can be so entangled that it would appear difficult to navigate a new course in order to adequately compete. Singapore, it seems, is trying anyways.
“Undaunted, Singapore is diligently pushing ahead and has opened several museums and other arts venues while Hong Kong has dithered on the construction of West Kowloon. Christie’s also recently picked Singapore to be the site of a global fine-arts storage facility to open in a duty-free zone in January.”
Subscribe to Art Radar Asia
Posted in Advisors, Auctions, Biennials, Business of art, China, Chinese, Collectors, Fairs, Hong Kong, Hong Kong Artists, Market watch, Shanghai, Singapore, Singaporean, Southeast Asian, Uncategorised | Tagged: art, art auctions, art collectors, art dealers, art fair, art fairs, art market, art news, Asian art, Chinese art, Christies, Collectors, Hong Kong art, singapore, Singapore art, Singapore artists, Sothebys | 2 Comments »
Posted by artradar on October 28, 2009
ASIAN ART MARKET TRENDS
Usually, to be a part of the bubbling Asian art market scene, buyers need to associate themselves with industry leaders Christie’s and Sotheby’s for lack of other options. In South East Asia, however, there’s a new way for collectors to discover their contemporary art. According to a recent article by the New York Times, a host of new and smaller auction houses—such as Borobudur, 33 Auction, and Larasati in Singapore—have successfully emerged to “fill in the gaps” of the market, which means they are opening their doors to a broader range of the market, from high-end collectors to first time buyers. So far, sales suggest this may be the right strategy to entice new buyers:
“Last week, sales by two auction houses in Singapore, Borobudur and 33 Auction, brought in a combined $10 million, with the larger sale, by Borobudur, easily beating its pre-sale estimate. Later this month another Singapore auctioneer, Larasati, will offer 160 lots of Asian modern and contemporary art with an estimated value of 2 million Singapore dollars, or $1.4 million.”
A.C. Andre Tananma, "Run Away" 2008. Part of Larasati's Asian Modern and Contemporary Art Auction, Singapore, 25 October 2009.
Many of the new auctions houses have developed as off springs from established galleries, such as 33 Auction (Singapore), Maestro Auction House (Jakarta, Singapore) and Kingsley Art Auction (Beijing), as a way of broadening their offerings to current clients, while also becoming accessible to new ones:
“Like everything else, the art market is not immune from the global recession and consequently sales at most galleries have been down for the past 12 months,” said Valentine Willie of Valentine Willie Fine Art, which has galleries in Singapore and Kuala Lumpur, and has in the past helped Borobudur curate its auctions. “Auctions may seem a good way of clearing gallery stock and they offer the possibility for collectors of bargain hunting, especially after the boom of two years ago.”New and smaller auction houses would naturally try to fill in the gaps with more adventurous offerings and lower entry price points because, “the industry leaders, Christie’s and Sotheby’s have a somewhat limited and conservative offering of Southeast Asian art,” Mr. Willie added.”
Some auction houses are targeting the middle class crowd in particular, a demographic rarely cornered by larger and more established auction houses like Christie’s or Sotheby’s. To entice the middle class market, Singapore’s Ziani Fine Art Auction House tactic was to award cash prizes, serve wine, and even offer whiskey tastings at their September 20 debut auction:
“‘When you launch a new business you need to attract new people,” said Frank Veyder, a banker and partner in Ziani, before the auction. “We are very conscious there is a risk that people might think it’s just a fly-by-night, gimmicky house, but we’re holding this auction in a five-star location and we’re offering quality art.
“The pieces are not of the level you would see at Christie’s or Sotheby’s, but we’re not trying to play in that space,” Mr. Veyder added. “Our marketing is targeting to a wider, middle-class crowd.”‘
Though it can be said that the competition between auction houses is good for business, there are some auctioneers that are concerned that the market may have a hard time absorbing everything on offer. Daniel Komala, chief executive of Larasati Auctioneers, explains:
“‘The art market has bottomed out; in fact, it’s fair to say that it has picked up some speed of late,” Mr. Komala said. “Having said that, the real capacity to absorb, over all, especially in Singapore, is only going to increase by 20-30 percent maximum from its rock bottom level. So, it’s wishful thinking to expect that the market will double up in capacity compared to how it performed six months ago.”
Read more New York Times
Subscribe to Art Radar Asia for more market and auction house news
Posted in Auctions, Business of art, Events, Market watch, Overviews, Recession, Singapore | Tagged: A.C. Andre Tananma, art auctions, art market, art news, art prices, art recession, Asian art, Asian Contemporary Art, auction, Collectors, contemporary art, Filipino art, Filipino artists, Larasati, New York Times, Singapore art, Singapore artists, South East Asian art | Leave a Comment »