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Contemporary art trends and news from Asia and beyond

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    Art Radar Asia News conducts original research and scans global news sources to bring you selected topical stories about the taste-changing, news-making and the up and coming in Asian contemporary art.

Posts Tagged ‘Kacey Wong’

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

Posted by artradar on June 30, 2010


ART PROFESSIONALS HONG KONG ART INDONESIAN ART ART COLLECTING

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

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

Valerie Doran: Hong Kong curator and art critic

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

 

Art curator and critic Valerie Doran.

Art curator and critic Valerie Doran.

 

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

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

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

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

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

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

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

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

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

Dr. Oei Hong Djien: Indonesian art specialist and collector

 

Indonesian art specialist and collector Dr. Oei Hong Djien.

Indonesian art specialist and collector Dr. Oei Hong Djien.

 

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

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

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

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

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

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

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

This is Hong Kong: video art exhibition highlights differences between Hong Kong and the mainland

Posted by artradar on March 10, 2010


HONG KONG VIDEO ART MOVING IMAGE

Hong Kong’s identity revealed through moving image

Hong Kong: a Chinese city, a territory, a post-colonial state. Since China regained sovereignty of the area from Britain in 1997, Hong Kong has been struggling to define its identity. In the internationally touring video programme, This is Hong Kong, participating artists have used moving image to provide a visual portrait of today’s political, social and architectural Hong Kong.

Kingsley Ng, Record Light, 2008

Hong Kong’s recent history has been very different to that of mainland China; from the mid-1800s to 1997 it was under British rule. Now returned to Chinese control, the territory is struggling with issues of identity common to many postcolonial states. It is in a unique position, as China has continued to allow the “special administrative region” cultural and economic freedoms that are not available on the mainland.

Chilai Howard Cheng, Doors, 2008

This is Hong Kong aims to show just how different the area is from the mainland and sees moving image as the medium with which to do it. It showcases 16 video works by 15 contemporary Hong Kong artists; these renowned artists are Chow Chun Fai, S.T. Choi Sai Ho, Silas Fong, Ip Yuk-Yiu, Linda Lai, Leung Mee Ping, MAP Office, Adrian Wong, Kacey Wong, Woo Ling ling, Ban Zhang, Kingsley Ng, Hung Keung, Leung Chi Wo and Chilai Howard Cheng. The four sections of the exhibition, (Transitional) Architecture, Diaries, Fictions and Tactile Positions, each deal with a different side of the city, and represent the different strategies developed by the artists.

Images of traditional neighbourhoods, unique architecture, underground communities, postcolonial identity and “life in the big city” all combine in videos with strong, compelling soundtracks. This is Hong Kong helps the viewer to build an overall picture of what it’s like to live in one of the most important economic and cultural metropolises in the world.

Silas Fong, When The Door Opens, 2008

This is Hong Kong is supported by Hong Kong-based Para/Site Art Space, a non-profit art organization headed by Executive Director and Curator, Alvaro Rodriguez Fominaya. Fominaya is also the curator of the exhibition and believes it “is a great opportunity to show at an international level the vibrant art scene of Hong Kong”.

After being successfully shown at LOOP Festival in Barcelona, Spain, the programme made its way to LOOP Alternative Space in Seoul, Korea, Hamburg’s Subvision Festival, EastSide Projects, Birmingham, and IFA Gallery, Berlin.

This is Hong Kong is currently showing at the Kuandu Museum of Fine Arts in Taipei, Taiwan, and will conclude at Kunsthalle Wien, Austria, in March this year.

Visit the exhibition page on the Para/Site Art Space website for more details on individual videos. Curator Alvaro Rodriguez Fominaya can be contacted directly through this site. Fominaya also writes his own informative blog – visit it here.

KN/KCE

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Posted in Alvaro Rodriguez Fominaya, Art spaces, Chilai Howard Cheng, Curators, Hong Kong Artists, Identity art, Leung Chi Wo, New Media, Political, Social, Urban, Video | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »

Benefit art auction for new contemporary art museum in Hong Kong opening fall 2008

Posted by artradar on June 12, 2008


 

CHINA On 29 June 2008 a fund-raising auction will be held to raise capital to build and operate a new contemporary art museum in Causeway Bay, Hong Kong. Indonesian auctioneers Larasati will put 35 lots donated by Hong Kong gallerists and Chinese and overseas artists under the hammer at the gala dinner sale in the JW Marriott hotel. Executive director of the Moca China museums group envisions that the museum due to open in fall 2008 “could eventually be considered to be one of the finest museums of contemporary art in the world”. Highlights include a piece from the highly sought after emerging artist Shen Hua’s “Manual Workers Series” and a C-Print by the Preview 19th to 28th June 2008. 

More details www.mocachina.org

 

 

 

 

Posted in Chinese, Indonesian, Painting, Sculpture | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »