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Posts Tagged ‘urban art’

Hong Kong Street Art Series: Above Second imports new energies and aesthetics to local art scene

Posted by artradar on October 14, 2010


HONG KONG STREET ART URBAN ART SERIES

In this first feature in our Hong Kong Street Art Series, Art Radar Asia will introduce you to one of the newest art spaces in Hong Kong to show street and urban art, Above Second. In this post, co-owners Jasper Wong and May Wong discuss the importance of supporting the local art community and encouraging people to consider creative career options, as well as explain their choice of location and their first-time buyer appeal.

In a steep lane in Sai Ying Pun, Above Second stands aloof from busy streets and is a fifteen minute walk from the gallery-saturated Central district. This glass-fronted art space with a graffiti wall on the side was founded and is run by Jasper Wong and May Wong.

 

Above Second, one of Hong Kong's newest art spaces dedicated to street and urban art.

Above Second, one of Hong Kong's newest art spaces dedicated to street and urban art. Image courtesy of Above Second.

 

Before Above Second came into being, May dedicated most of her time to a nomadic gallery called Apostrophe which travelled to different spaces to do shows for artists from predominantly Denmark, the US and the UK. She found out about Jasper a year and a half ago after discovering his works on the blog of hip hop artist Kanye West and then inviting him to do a show at G.O.D, a Hong Kong-based lifestyle store. After some talking over a gallery plan in Hong Kong they ended up opening Above Second together earlier this year.

Half a gallery and half an art space

Above Second is very different from other mainstream galleries in the Central district in many ways. To begin with, Jasper won’t even consider it a gallery.

“It’s not a gallery in the strictest sense in what people usually perceive galleries to be. People see galleries to be like blank white walls… but we decided to turn it into more like a, I guess you can call it a creative club? That’s why we leave the word gallery in front of the name, ‘cause we don’t want to be specifically one thing.”

Above gallery is special in a way that it is a combination of a gallery and an art space. Jasper uses the gallery space at the front for painting and exhibition while May uses the art space at the back for art classes in the weekend.

 

Children drawing in the Above Second art space on Saturday. Image courtesy of Above Second.

 

 

Adults painting in the Above Second art space. Image courtesy of Above Second.

 

May elaborates on this concept:

“I think the main reason [for teaching art classes] is to generate more people to come into the gallery to see art. In a way, we enjoy teaching and we enjoy people coming in to share what art is and just be creative.”

“Basically when we teach (I’m talking about [teaching] three-year-olds to adults; everybody can come), we’re just giving them the materials, and then they can do whatever they want, usually. But we kind of try to give them a concept or give them some kind of inspiration for arts. For instance, we did a class that was based on Mondrian paintings, so we kind of restrict the colors to red, yellow, blue, and black, very Mondrian. Then we just let the students do what they want with it.”

 

Hong Kong street art gallery Above Second held exhibition "King for a Day" in July this year.

Hong Kong street art gallery Above Second held exhibition "King for a Day" in July this year. Image courtesy of Above Second.

 

Mission to support local art and promote art as career

Jasper also hopes that, through the art classes for children, the young generation in Hong Kong will come to consider art creation as a career path rather than just a hobby. He says,

“A lot of times I feel, from what I’ve experienced here, is that a lot of the parents tend to steal their kids away from creative pursuits. Their tendency [is] that if their kids are interested in music or art or dance or something creative, then it is seen more as a hobby, rather than something that they can dedicate their life to.”

Unlike many mainstream galleries in Hong Kong, Above Second is also less business-oriented and more driven by the goal to improve the creative environment in Hong Kong. Jasper states,

“Most galleries in Central, you probably see, they are all very commercial. They are all pretty much paint stores. They are trying to sell what’s hot, what’s the hot trend, and what people will buy at the time. They tend to show all the same kind of art. So when you go to one gallery it’s pretty much all the same. And it’s not very accessible to a lot of local people and they don’t tend to promote emerging artists or even to try to make the creative scene better in Hong Kong. So we started our gallery … there’s an altruistic mission to it: to try to make [the Hong Kong art scene] better, to try to bring in the emerging artists that have never been shown in Hong Kong or to try to promote local artists…. There’s a goal to try in a small way to make Hong Kong’s creative community better.”

Above Second doesn’t formally represent any artists as most of the traditional galleries do. Instead, it continually organises shows for different artists from around the world with intriguing “energies” and “aesthetics”. “We are showing the creative energy all around the world [by] supporting young and emerging artists from all around the world,” says Jasper.

Price range attracts young first-time buyers

As May points out, works in most of the Above Second shows are for sale at affordable prices and because of this the gallery has attracted a number of first time buyers.

“For the show King for a Day, we had three prints there and they all sold. Most of (our buyers) are under thirty years old or around thirty and they are all first time buyers. It’s really great to see, because the prints themselves are pretty reasonably [priced], and when people come in they are like ‘Wow! This is the first time that I have gone into a gallery where I can afford to buy something.’ So we kind of encourage that trend…. [In] some galleries the price ranges are at least 10,00 dollars. We [are] like a couple of hundred, four digits, five digits.”

 

 

Visitors and guests crowd outside Above Second at an exhibition opening.

Visitors and guests crowd outside Above Second at an exhibition opening. Image courtesy of Above Second.

 

Currently, Above Second is showing Nebula, an exhibition of paper-cut and stencil works by Danish artist Mathias and illustrations of another Danish artist Michael. This Friday, Above Second will open Primary, an exhibition of work by Hong Kong street artist group Graphicairlines. Says May of her hopes for the space,

“For me, in five years, I hope that the gallery will grow, have a couple more staff…. For us it’s still difficult to pay for all the expenses, the shipping and stuff, to get artists here, but we’re trying….”

CBKM/KN/KCE

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Jitish Kallat talks about Saatchi exhibition of Indian works to Economist – video

Posted by artradar on October 13, 2010


INDIAN CONTEMPORARY ART EXHIBITIONS LONDON VIDEO

Between January and May this year, Indian contemporary artist Jitish Kallat displayed seven pieces, paintings, sculptures and installations, at Saatchi Gallery, London with 23 other contemporary Indian artists in an exhibition called “The Empire Strikes Back: Indian Art Today. In a video produced by The Economist titled “Jitish Kallat: perspectives on modern Indian art”, Kallat discusses his and the other artists’ work from this exhibition.

In the video, Jitish Kallat reveals what it is about contemporary Indian art that makes it so interesting for him; Indian art today is influenced by almost every aspect of Indian culture and the repositioning of the country on the global map is aiding the development of the art scene.

 

Indian contemporary artist Jitish Kallat. Sourced from www.iaac.us.

Indian contemporary artist Jitish Kallat. Sourced from http://www.iaac.us.

 

“The Empire Strikes Back” shows different contemporary Indian artists expressing political statements through their work. The pieces “actually travel and gather art miles…and as they gather art miles in different locations they share and gain meaning.” For Jitish, this repetition of artists’ intentions through different cultural stimulants in different parts of the world remains a great area of interest.

As people around the world are able to access different cultures more easily they feel more empowered to deconstruct the culture code from different places around the world. However, as he states in the video, Jitish Kallat feels that “the world has this peculiar ghostly sense of sameness within which these objects travel with baggage of tales and stories and meanings and metaphors and I think I find this process exciting, challenging and also instructive.”

The first piece discussed by Kallat in the video is Eruda (2006, black lead on fibreglass, 419 x 169 x 122 cm). Eruda is a massive black lead sculpture, the development of which stemmed from a series of photographs of boys selling popular books at the traffic lights. As Kallat relays in the video, this boy represents the spirit of the city, most particularly the quintessential Indian city of Mumbai.

 

Jitish Kallat, Eruda, 2006, black lead on fibreglass, 419 x 169 x 122 cm.

Jitish Kallat, Eruda, 2006, black lead on fibreglass, 419 x 169 x 122 cm.

 

Related to Eruda, Kallat’s “Eclipse” series of paintings also capture these boys smiling back. The paintings represent someone who not only lives in Mumbai but is themselves a portrait of the city. One of the images in the video reveals that the hair of each boy almost merges together and is actually made up of interconnecting images of people and streets. As Kallat states on the video, this is meant to show that “everyone who lives in the city of Mumbai is somehow tied into one conjoint reality.”

Public Notice 2 (2007, 4,479 fibreglass sculptures, dimensions variable) is an installation using words from Mahatma Ghandi’s historic 1930’s speech. For Kallat, given the everyday rhetoric that has created some sort of terror-affected world, voices such as Ghandi’s become carriers of a message that can help overcome the foolishness of the contemporary world. The piece is large in size which, for Kallat, is central to the creation of the meaning of the piece. However, once the video moves in to focus on the letters it becomes clear that each alphabet is a sculpture of a letter morphed out of bones.

The final piece in the video, Death of Distance (2007, black lead on fibreglass, a rupee coin and five lenticular prints, sculpture 161 cm diameter, prints 46 x 60 cm), refers to two texts that entered the public domain around the same time. The first is the story of a girl who committed suicide because her mother could not give her one rupee for a meal in school due to extreme poverty. The second article is a press release by a telecommunications company which claimed the “arrival of new India.” The press release famously called this event “the death of distance in India” and stated that it would now cost only one rupee to call from any part of India to another.

The installation includes five frames carrying both texts on each frame. They flip according to where you stand. It also includes a coin of one rupee enlarged to a size of an average person from India. Kallat states in the video that the flipping texts “become like reality in India itself: [the] India you see on that day depends on where you stand at that particular moment.”

 

 

Jitish Kallat, Untitled (Eclipse) 3, 2007, acrylic on canvas, triptych, 274 x 518 cm.

Jitish Kallat, Untitled (Eclipse) 3, 2007, acrylic on canvas, triptych, 274 x 518 cm.

 

Jitish Kallat was born in Mumbai in 1974. He received his BFA in painting from Sir Jamsetjee Jeejebhoy School of Art and his work has been exhibited worldwide, appearing in New York, London, Tokyo, Sydney, Madrid, Zurich, Amsterdam, Mumbai, and New Delhi.

To see video, click here.

EN/KN/KCE

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Art Radar Asia launches Hong Kong Street Art Series: interview with co-owner of Above Second

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.

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.

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.

CBKM/KN/KCE

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International artists reflect on controversial New Delhi face-lift

Posted by artradar on August 31, 2010


POLITICAL ART SOCIAL ART EXHIBITIONS INDIA RESIDENCIES SPORT EVENT

As so often happens when cities are granted the right to host a major sporting event, New Dehli is undergoing a sometimes controversial face-lift in preparation for the Commonwealth Games. New Delhi artists, as recently reported in The Washington Post, have entered the debate currently raging among lawmakers, the media, activists and sports figures over some aspects of the city’s planning and construction for the event.

A government commission recently issued a report critical of the city’s new construction. Human rights activists say thousands of slums have been demolished, and they warn that the games are creating deep social divisions. The Washington Post

Work by resident artist Becky Brown, part of Religare Arts.i's "The Transforming State. Image courtesy of Religare Arts.i.

Work by resident artist Becky Brown, part of Religare Arts.i's "The Transforming State. Image courtesy of Religare Arts.i.

The article details the work of three of the sixteen Indian and international artists whose artworks appear in a Religare Arts.i exhibition titled “The Transforming State“, the culmination of a two-month residency programme. It also contains comments from members of the public and arts professionals involved in organisation of the exhibition.

“The white-columned colonial architecture was built to impose order on the city during the British rule. Over the years, it yellowed, grayed and changed with use. It had the look of a natural, inhabited place,” said Malik, adjusting his retro-spectacles. “I find it odd that they are now restoring it to its original whiteness for the games.” Jitesh Malik, as quoted in The Washington Post

“The whole city is a work in progress. We are told to bear with the mess for the sake of the beauty that will come during the games. Now that mess has come into the art gallery,” Umesh Kumar, who attended the program’s preview, said with a wry smile. “The artists have spoken, but their message does not bring much comfort.” The Washington Post

Artists who participated in the residency and exhibition include Becky Brown, Brad Biancardi, Garima Jayadevan, Greg Jones, Jitesh Malik, Kavita Singh Kale, Kustav Nag, Megha Katyal, Nidhi Khurana, Onishi Yasuaki, Purnna Behera, Raffaella Della Olga and Rajesh KR Singh.

Read the full article here.

KN

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Posted in Activist, Art spaces, Buildings, Environment, Events, Gallery shows, India, Installation, International, Land art, Landscape, New Delhi, Residencies, Styles, Themes and subjects, Urban, Venues | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »

Hong Kong’s Adapta Gallery highlights street art in Asia- profile

Posted by artradar on April 24, 2010


STREET ART HONG KONG

Amid the many galleries in Hong Kong, there is now an organization devoted exclusively to urban art. Established in November 2008, the Adapta Gallery is showing a new kind of art in Asia.

Street art is not new; graffiti as an art form has been prevalent for decades. However, urban art has only recently been embraced by the art establishment, and many questions remain among the public regarding street art talent, technique, and policy.

 U.K. Adapta, a unique London-based organization devoted to the progress of the street art movement, has collaborated with Hong Kong’s Schoeni Art Gallery to establish a satellite project that facilitates awareness of urban art in Asia. The joint effort has yielded Hong Kong’s Adapta Gallery for contemporary art, which aims to ‘bridge the gap between the understanding of the Urban Art movement in the European and Asian art markets’ and start a sorely-needed dialogue regarding public art in Hong Kong.

Adapta promotes the following urban artists in Hong Kong:

Adam Neate – Cyclops – D*Face – David Bray – Vesna Parchet – Word to Mother

Watch this video to learn more about the Adapta Project and their most recent exhibition at Hong Kong’s Schoeni Gallery, 3-2-1 Solstice, which featured 10 renowned contemporary urban artists from the UK, USA and HK.

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Posted in Art spaces, Galleries, Gallery shows, Hong Kong, Hong Kong Artists, Profiles, Promoting art, Public art, Street art, Urban | Tagged: , , , , , , , , , , , , , , , , | 1 Comment »

‘Guerilla’ gallerist on introducing Banksy to Asia, art atmosphere in Hong Kong- interview

Posted by artradar on April 14, 2010


HONG KONG ART MARKET

Two year old gallery Fabrik, known for its unique guerilla exhibitions and for bringing Western iconic artists to Asia, sets up permanent home in Hong Kong.

The Fabrik Contemporary Art Gallery is young in Hong Kong, having exploded onto the art scene about 2 years ago with its first show LOVE ART, which caused a sensation introducing works by the notorious street artist Banksy, who had never before been exhibited in Asia. Although the Fabrik Gallery is young, it stands out in Hong Kong’s Chinese-saturated art market for its rare support of Western and contemporary pop artworks and its unique practice of holding ‘guerilla exhibitions’ in temporary or borrowed spaces. In fact, 2 years into its business of promoting art, Fabrik Contemporary has just recently found itself a fixed home in the heart of Central in Hong Kong.

The gallery is a joint venture, owned and operated by Sean Coxall, Jurgen Abergas, and Mark Saunderson, and was originally intended as a platform for the art enthusiasts to share and market their ever-expanding private collections of Warhol and other iconic pop artworks.

The business partners recognized the void of popular Western artworks within the Hong Kong art market, which generally does not expose art lovers to Western phenomena.

The gallery’s flagship Banksy show in April 2008 shocked the art community with its overwhelming success, drawing unprecedented crowds and attention. This Spring, Fabrik fittingly celebrated the opening of their permanent space with another show featuring Banksy, accompanied by the likes of Damien Hirst, Francis Bacon, and Gilbert & George in ‘The Great British Show,’ which ran February 25-March 25.

Art Radar catches up with the Fabrik Gallery’s lively co-owner and curator Jurgen Abergas, a London-educated cosmopolitan whose background includes growing up in the Philippines and living in Los Angeles and China. He shares his perspective on the Hong Kong art scene, Hong Kong’s reaction to Western pop art, and tells all about the series of serendipitous events that culminated in bringing Banksy to Hong Kong.

Was it logistically easy to have the Banksy LOVE ART show in Hong Kong?

Yes, it was actually, because there is no tax on importing art here. We were not yet even registered as a company at that time. We were just working as a private dealership. We collaborated with the Schoeni Gallery, because [the Gallery Director] Nicole Schoeni loves Banksy and wanted to bring him here too. This was also a jump starting point for Nicole’s Adapta Gallery project in Hong Kong.

The show was comprised of 3 days in the Hong Kong Art Centre, and then another 2 weeks with additional pieces for the Schoeni show.

What is the mission of the gallery?

The mission of the gallery is to encourage first time collectors. We try to provide known iconic pieces that accurately represent the style of an artist. For instance, if you want a piece by Hirst, you wouldn’t want a piece that is only a squiggle or a dot, because that is not a known Hirst. We show work that is more iconic and familiar.

Japanese Apricot 2, 2005, by Chiho Aoshima. 55 x 77.8 cm Lithograph. Contact Fabrik Gallery.

What type of art did you intend to share with Hong Kong?

Definitely Western contemporary art. The Japanese art was not a fluke; I’ve been into manga since I was a kid, and it was something that my two partners only got eventually.

We were at a gallery showing of Murakami and other artists, and I told them we should definitely show Murakami. I mean, we go to London, New York, Los Angeles, and we see all these [Murakami] retrospectives, but we don’t see it here. I thought it would make a difference in the Hong Kong arts scene if someone showed works of Murakami here. And also, we wanted to prove that what Murakami does is beyond just Louis Vuitton.

When we opened this gallery, it was supposed to only be a stockroom. But, I said, let’s just do it properly. We were just kind of sick and tired of showing art out of our homes. It’s not ideal, but there are many dealers in New York and London that show art out of their home. However, in Hong Kong it is so crazy outside that you really need your home to be sacred space.

So, we launched the Murakami show, and we pre-sold most of the art before hand! It was one of those shows where we were struggling because clients wanted their art immediately and not wait until the end of the show! So, we were re-hanging stuff that wasn’t even Murakami anymore, because we ran out of the pieces that were actually in demand. We didn’t see that coming at all. Nobody was specializing in Murakami in Hong Kong. However, I have to credit Nicole [Schoeni], because she had works by Chiho Aoshima, who is another artist by Murakami. Aoshima is a lady who just paints women. Nicole had an amazing Japanese apricot lithograph. It is a piece that is really stuck in my head. After seeing that, I was like, ok, let’s include other artists with Murakami.

How is the Fabrik Gallery unique among galleries in Hong Kong?

I think we’re unique because we deal with art that is not generally represented in Hong Kong, and we do not deal with Chinese art.  I love Chinese art, but in a sea of contemporary Chinese art, there is only so much you want to see. We are looking to offer something different.

We also think it’s important to educate the viewer of the message behind the piece. You can go to galleries and think a work is beautiful, but not understand the inspiration for a work. We support more people, especially students, coming into the gallery and reading about an artwork so they do not have unprocessed thoughts about art. When you have a guide to read or someone who will explain the art to you, it really makes a difference and makes a lasting impression on someone who visits the gallery.

Can you describe the Fabrik Gallery’s ‘guerilla’ approach to art sales?

Basically, we went to different venues, like the W Hotel, rented out space, painted it, put up lights, and showed our works there.

Which galleries and arts organizations do you work closely with?

We work closely with White Cube in London, Aragon Press (the publisher of Damien Hirst), Other Criteria (again, Damien Hirst.) Hirst is our specialty. Also KaiKai Kiki, which is Murakami, the Helium Foundation, and other galleries in New York for our private collections.

Do you attend art fairs? Are you participating in Art HK?

This May we will be. We’re going to Art HK. One of the reasons we did the Banksy show is because we were rejected from Art HK in 2008. We were accepted this year, but we’re still deciding whether we should go. They prioritize the international galleries and we notice that most of the galleries here in Hong Kong are not participating.  I’m not exactly sure why, but it’s a very weird process.

Although we were rejected the first time, it’s the best thing that ever happened to us. If we had done Art HK, the Banksy show never would have happened.

What was your impression of Art HK?

I love Art HK. It’s a great way to see art! I think it’s one of those events that can give a platform and democratize the buying of art and make international artworks accessible to a wider audience. However, I don’t approve of hard sales tactics, and showing artworks without providing the context of the artist. In art fairs in general, it is hard to create the intimacy of an actual gallery.

What was Hong Kong’s reaction to your flagship show featuring Banksy?

It was phenomenal, they loved it. No other exhibition has ever graced the front page of the City section of the South China Morning Post. The turnout was around 1,000 people, and people from Christie’s and Sotheby’s were lining up. We had to hire security because it was just too packed. It was a very well publicized event that just happened in about 3 weeks. People usually plan this sort of thing 6 to 8 months in advance, and we did it in only 3 weeks. We worked around the clock, and were so tired afterward. Before we opened the Art Centre the next day, people were already lining up to see the show.

Was the turnout local?

It was a combination of both local and expatriate people, which is good. I think people in London and Europe are more passionate about these things, though. It’s weird, because when we opened the Banksy show, Banksy-style art of monkeys appeared on the bridges, and the next day it was already erased. A lot of people thought the graffiti was actually authentic Banksy. If this was in London, they would have preserved that. If it was in New York, they would have preserved it. But here in Hong Kong, it was wiped the next day.

The government needs to promote more sensibility toward the arts, especially here in Hong Kong Island. We’re on the cusp; we’re still not there yet.  The Hong Kong crowd still has a lot to see compared to London. However, we’re never going to be London and we need to make our own niche in Hong Kong, and make a city where art and commerce blend in. It’s still a financial city; that is what we are all about. We are not exactly an art city. That is one of the disadvantages of being here in Hong Kong. We are not exposed to a lot, and important art can get erased the next day by the cleaners. Because it’s not important to them.

Has Banksy been featured in Asia prior to your first show?

We definitely wanted Banksy to be our first show. It is the first and largest show of Banksy in Asia; Tokyo rejected it, so we were glad to take it. Ironically, now Tokyo is hungry for his works.

Does the Fabrik Gallery intend to feature other street or urban artists?

Paul Insect, Icon 8, 2008. Wooden panel, gold leaf, natural powder paint, shellac, acrylic paint.

We are planning to bring Lazarides U.K. artists Antony Micallef and Paul Insect before the end of the year. We love their works and they relate well to Warhol, especially Paul Insect. He creates appropriated images that reference historical art.

How does Banksy promote his art if his identity is kept secret? Does he directly work with galleries for his shows?

He’s not with his manager Steve Lazarides anymore, since they had a falling out. They had different intentions; it’s hard when you’re turning art into a commodity. Banksy doesn’t work directly with galleries either, and doesn’t show up in exhibitions. He just wants his identity to be secret and to keep a low profile, and to continue creating smart work and churning out really good stuff.

Why do you think Banksy created the sensation in Hong Kong?

His works confront a lot of issues and are very tongue in cheek, yet also is close to the heart. Banksy’s art talks to each individual and is easy to relate to. It makes you think, but it makes you smile as well.

Do you see any major differences between the art of Banksy and the art of the other artists in the ‘Great British Show’?

His work, whether it is rendered in canvas or in print, is from the street. There is a roughness that you can see and feel, although it is a screen print. It is still raw, and there is something sinister about it. You know the artist made this on the street in the middle of the night and ran away from the police, knowing he could get caught at any time while he was painting.

Are you familiar with the street art scene and artists in Hong Kong?  If so, who would you consider important artists?

I am familiar with Hong Kong street artists, like the ST/ART Collective… However, in general the street scene in Hong Kong is not very prolific. Funnily enough, I saw a tagging by the U.K. artist Word to Mother on a wooden board in the market. I am sure that it’s his authentic tag, since no one else can really do that. Someone just used the board to cover the fruits they were selling.

Do you view Hong Kong as an international art hub?

With Art HK, the success of ArtWalk, and the international galleries— The Gagosian Gallery is coming, Ben Brown is here, and the Malborough Gallery is opening here. Obviously people are looking at the potential of Hong Kong, and there is a big market here.

Tsang Kin-Wah, 2006. Untitled wallpaper detail for Shu Uemura in California.

What is great about the local art scene?

There are particularly 2 artists that I really like. One is Tsang Kin-wah. He was commissioned to create the wallpaper of The Pawn restaurant in Wan Chai. He made repetitions of words to create a flock wallpaper pattern. He has had exhibitions in New York, Paris and Norway. He’s really a major artist, but he’s very humble.

Nadim Abbas is another Hong Kong artist who used to work for Plum Blossoms, and is now showing his art at Para/Site. He’s a very conceptual artist, and was featured in the [Hong Kong Museum of Art] Louis Vuitton show representing Hong Kong artists. I love artists who work from their stream of consciousness, and he obviously does this.

I also like the illustration style of Carrie Chau, [featured at the Wun Yin Collection Gallery] at the Homeless boutique on Gough Street.

What news sources do you read to stay informed about the art world?

Art Observed.com is my number one resource. The Art Newspaper is good too, although I’ve noticed that not all their stories are up to date. Sometimes their news seems to be relevant to say, 1o months ago.  I also read Frieze MagazineThe Art ReviewThe Guardian, blogs, anything!

What advice would you give to someone looking to start a dealer gallery in Hong Kong?

Show only the artists that you love and the artists that you’re passionate about. Art is a very personal thing, and the general public may come in and hate it. Be prepared to be judged.

Is there any particular information, news, or advice you would like to share with our readers?

Start collecting now.  If you like something, save your money and make it your goal. In the next few years you will probably regret not getting it.

What is your next show at Fabrik Contemporary Art?

In the Name of Pop, featuring Jeff Koons, Andy Warhol, and Keith Haring will run May 6-June 10, 2010.

Visit Fabrik Contemporary Art’s new and permanent home at 412, 4F, Yip Fung Building, 2 – 18 D’Aguilar Street, Central, Hong Kong.

EW/KCE

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Posted in Art spaces, Business of art, Curators, Galleries, Gallerists/dealers, Gallery shows, Graffiti, Hong Kong, International, Interviews, Pop Art, Profiles, Street art | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »

What is street art? Top 5 street artists in the art world- Part II

Posted by artradar on March 10, 2010


STREET ART CULTURE

As street art goes mainstream in Asia, Art Radar takes a look at its roots.

Modern graffiti art originated as an underworld activity and coincided with the hip hop movement in the late 1960’s and early 70’s in New York City [Associated Content], but many artists who started as ‘taggers’ have been recognized by the art world and achieved commercial success. This post will provide an outline of the humble beginnings of street art culture and the artists who have emerged from this culture and into the international art scene.

The common unsanctioned art visible in urban areas is the work of graffiti ‘writers’, who compete for recognition and respect (‘fame’) by having the most pervasive street art in a community. Each artist has his or her own graffiti name (‘tag’), which is creatively written as a signature or autograph and repeated throughout an area. Walls within an area that are sites for expressions of an artist’s or group’s dominance are known as ‘Walls of Fame.’

A strict hierarchy, visible through imagery

Although the graffiti art community may seem unstructured, it adheres to a strict hierarchy among its writers. The most visible or skilled artists are known as ‘kings’, and iconography of crowns within their work is a reference to the writer’s status. Lesser artists can only gain status by impressing a ‘king’.

Unfortunately, part of the reason these writers create graffiti is because it is illicit, and it helps the artist gain notoriety. Lady Pink, a socially conscious veteran street artist whose work is on display at The Whitney Museum of American Art, the Queens Museum of Art, P.S. 1 Contemporary Art Center, the Museum of the City of New York, says:

“You can’t give them a legal wall. They’re not interested. They’re more interested in the aspect of breaking the law, being vandals and being rebellious. They don’t have the skills for it or the desire to paint something in the daytime.” [Queens Tribune]

From street to chic

In past years street art has progressed beyond its gang related origins and is now appreciated among the highest contemporary art, with a matching price tag. Ralph Taylor of Sotheby’s, who has organized contemporary street art sales for auction in London, says:

“There is a natural progression from the young artists collected by Charles Saatchi in the 1990s to the street artists of today. People used to be looking for the next Damien Hirst; now they are after the next Banksy.” [Telegraph]

The artist Banksy, whose identity is kept secret for fear of the legal consequences for his art, is perhaps the best known street artist today. Banksy’s You Told That Joke Twice surpassed price estimates to sell for $266,000 at Christie’s on February 11, 2010, in a sale among pieces by Andy Warhol and Anish Kapoor. Another piece by Banksy, titled I Fought the Law is scheduled for auction at Christie’s on March 23, 2010, with an estimated price of $15,020-$22,530. Another two works by Banksy, titled Bomb Hugger and Armoured Car, sold at Sotheby’s Contemporary Art Day Sale on February 11, 2010, selling for $88,396 and $73,976, respectively.

Works by the American graffiti artist Barry Mcgee, also known as ‘Ray Fong’ and ‘Twist’ (and variations of the word twist, including Twister and Twisty) have also frequented  the Christie’s auction, commanding prices up to $113,525.

Art Radar’s Top 5 Street Artists who have achieved success in the art world

Banksy – Possibly the best known street artist and an icon of the street art movement. He began his career creating street artworks in and around London, but has been legitimately accepted into the higher realms of the art world. He has been a regular at art auctions fetching high prices, and is presented with the most exclusive contemporary artists at gallery shows. Banksy will be on display in Hong Kong at Fabrick Contemporary Art in the company of artists Damien Hirst, Francis Bacon, and Gilbert and George, in The Great British Show, running Feb 25- March 25, 2010.

Banksy’s Asian museum exhibition debut was the show ‘Love Art 08‘, which ran April 30-May 13, 2008 at the Hong Kong Art Center, and featured other contemporary and pop art heavy weights like Damien Hirst and Robert Indiana.

He has also recently completed a film titled Exit Through the Gift Shop, which is touted to be a ‘street art disaster movie’, which debuted at the Sundance Film Festival on Jan 24, 2010.

Here you can view some works on display at the Bristol Museum’s Banksy Exhibition 2009.


Shepard Fairey–  Educated over 20 years ago at the Rhode Island School of Design, he began his career making guerilla street art in Los Angeles, but has since expanded his concept, which revolves around the image of Andre the Giant, into an entire product line branded  ‘OBEY’. Canvas artworks have also been developed from this iconography, including his Peace Goddess, which sold at Sotheby’s for $80,500 in the company of works by Banksy and Andy Warhol. His first museum exhibition, titled Supply and Demand, was at the Boston Institute of Contemporary Art, from Febuary 16-August 16, 2009, and included his iconic Obama Poster, which now hangs in the United State’s National Portrait Gallery.

See Shepard Fairey explain why he created the Obama Hope poster and his OBEY campaign here:


Adam Neate– This UK graffiti artist has been recognized by the London National Gallery, the Tate, and the London National Portrait Gallery. He has been shown by the Elms Lesters Gallery in London, and in 2007 his painting Suicide Bomber sold for £78,500 at Sotheby’s. On November 14, 2008, in an event The London Show, he and helpers left 1,000 prints, worth a total of £1 million, around London streets for anyone to pick up and keep. He says: “The whole concept of the free art thing was challenging the notion of art as a commodity and its worth in society. Now I’m taking that to another level, testing the viability of separating art from commerce.” [Skyarts]

Adam’s Neate’s Asian debut was at the Schoeni Gallery in Hong Kong on June 19-July 18, 2009.

See Adam Neate speak on his London Show:


Swoon, whose real name is Caledonia ‘Callie’ Currry, is a New York City street artist, and has been recognized by the P.S. 1 Contemporary Art Center, Art Basel Miami, MoMA, and the Brooklyn Museum.  She crashed the 2009 Venice Biennale with a 30-person ‘Swimming Cities’ performance project, titled The Clutches of Cuckoo. She and her ‘pirate’ crew sailed from Slovenia to dock off the Grand Canal of Certosa Island in a ship made of New York City garbage, to make an extraordinary entrance.

See Swoon speak on her works at the MoMA in a two part interview series:


Barry McGee, also known as Ray Fong, Twist, or Twisty, is a San Francisco, California based street artist and cult figure whose work was included in the Venice Biennale in 2001, and the 2009-2010 Biennale de Lyon, France. He has been exhibited at the Watari-um Museum in Tokyo, the 2008 Carnegie International, the Rose Art Museum in Waltham, Maryland, and the BALTIC Centre in UK. His work has also sold at Christie’s, commanding high prices.

See some of his work in this interview video with Art 21 for PBS.

EW/KCE

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Posted in American, Business of art, Graffiti, Lists, Public art, Research, Street art, Uncategorised | Tagged: , , , , , , , , , , , | Leave a Comment »

Top three Middle Eastern art show treats in Dubai winter 2008

Posted by artradar on November 3, 2008


MIDDLE EASTERN ART

A quick glance at three interesting shows in Dubai this autumn throws up a plethora of talent.

 

Huda Lutfi

Huda Lutfi

Huda Lutfi at The Third Line 13 November – 4 December 2008

One of Egypt’s most notable contemporary artists, Huda Lutfi presents her exhibition Zan’it Al-Sittat, an exploration into the city of Cairo, and more specifically, the visibility of women in Egyptian culture and society.

Both historian and artist, Lutfi is a bricoleur. She collects disparate images and manipulates them to re-invent her personal vision of Cairo, its histories and events. In doing so, Lutfi simultaneously comments on the political relevance of her home country, lifting old feminine icons from history and giving them new life by re-contextualising historic time lines, creating hybridised, timeless female figures.

Third Line Gallery

Khosrow Hassanzadeh at B21 11 November to 12 December 2008

Born to an Azerbaijani family in 1963 in Tehran , Khosrow Hassanzadeh spent most of his childhood in museums and cinemas – a refuge from the busy streets of Tehran , where he sold bananas to tourists near the National Museum of Iran. As a teenager he volunteered to fight on the Iran-Iraq front, not expecting that he would stay as a recruit for several years. When he came back from war, having escaped death, he chose a discipline that he always dreamt about: painting and poetry. Since then, Hassanzadeh has exhibited worldwide in leading art galleries and his works adorn the walls of several public collections such as the British Museum , London , The World Bank in Washington DC and the Tehran Museum of Contemporary Art.

 

Faisal Samra at XVA Gallery 27 October – 13 November 2008

‘I started out experimenting on another shape, another support on which to paint.’ Saudi artist Faisal Samra has pulled out pieces that he produced back in 2001 for this latest show. Moving away from a traditional canvas stretched two-dimensionally flat, Samra wraps his canvas around a wire mesh. The canvas itself wrinkles into a leathery skin-like form and, when hung, it takes on the slightly unnerving shape of a human torso. 

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Posted in Dubai, Egyptian, Feminist art, Gallery shows, Iranian, Political, Saudi, Urban | Tagged: , , , , , , , , , , , , | Leave a Comment »

Chinese urban art exhibition in London shows new art medium laser tagging

Posted by artradar on October 4, 2008


Laser tagging in Hong Kong

Laser tagging in Hong Kong

URBAN CHINESE ART SHOW LONDON to 21 November 2008

Organised by Red Mansion Foundation, DOWN TOWN PRODUCTION is an exhibition of Chinese Urban Art
curated by Yan Lei 23rd September – 21st November 2008.

The artists will give us a taste of China’s emerging popular culture, with works such as ground-breaking L.A.S.E.R. graffiti by conceptual artist, DJ and rapper, MC Yan. L.A.S.E.R. tagging is the very newest form of graffiti art developed only a year ago and currently cropping up in cities all over the world. There will be a laser-tagging event and music performance by Chinese punk band Brain Failure on 17 October attached to the exhibition. 

Check out some laser tagging on video at: graffiti research lab

Down Town Production is a dynamic group show bringing cutting-edge, urban Chinese art to the UK. Curated by one of China’s leading artists, Yan Lei, the exhibition brings together eight rising stars of contemporary Chinese art whose work reflects the recent dramatic social and economic transformation of China. It is anticipated that 70% of China’s 1.3 billion population will live in urban areas by 2035. At the end of 2002, records showed that China’s urban population totalled 502 million, living in over 21,000 towns and cities. Down Town Production is a selection of art that reflects and explores this dramatic shift.

Artists include:

  • MC Yan, conceptual artist, graffiti artist and rapper
  • Liu Ding, installation and multimedia artist, part of Complete Art Experience Project group
  • Hong Hao, photographer and graphic artist
  • Meng Liuding, leading abstract painter
  • Liu Zhenchen, photographer and video artist based in Paris
  • Lao Liu, musician turned photographer with interest in North Korea
  • Zhao Shaoruo, Finland and Beijing based photographer, exhibited V&A
  • Wang Hui, avant garde architect and designer

Find more information on artists at Red Mansion Foundation website here

Hong Hao

Hong Hao

Down Town Production is being staged by The Red Mansion Foundation, which has been working to bring China’s contemporary art scene to the UK for almost a decade, discovering new talent and establishing an exchange program between London and China for some of the biggest names in contemporary art. Many of the works in the exhibition will be for sale.

The Down Town Production show will take place both inside and outside the Red Mansion Foundation’s gallery space, which will be completely transformed for the purpose of this exhibition. Curator, Yan Lei, will distort the traditional “white cube” concept and create a totally new environment for the show that will be particularly striking in the context of the Red Mansion, a listed Robert Adam building.

The exhibition will include a one-off special performance by Brain Failure, trailblazers in China’s burgeoning punk scene, who will play at the ICA on 17th October. Formed in 1997, the band were the first to emerge from the People’s Republic of China, embracing Western punk ideals and now enjoying commercial success at home and in the US. This will be their first UK performance, and offers an insight into a youth movement that is gathering force. The bill also includes Stanley Kubrick Goes Shopping, a new collaboration between Youth of Killing Joke and Dennis Morris, lead vocalist of Basement 5 and music photographer, famed for his seminal images of the Sex Pistols and Bob Marley.

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Posted in Chinese, Critic, Gallery shows, Graffiti, Laser, London, New Media, Open air, Performance, Photography, UK, Urban | Tagged: , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »

Emerging Taiwanese new media artist Huang Hsin-Chien at Shanghai Biennale 2008

Posted by artradar on October 1, 2008


Huang Hsin-Chien 'Shanghai Shall We Dance?' interactive installation

Huang Hsin-Chien

TAIWANESE ART SHANGHAI BIENNIAL
In Huang Hsin-Chien’s work, Shanghai, Shall We Dance? located in the public space of the Shanghai Museum of Art, viewers are invited on to a typical Shanghainese dance floor for a spontaneous dance. As the dancers move the images of foreboding highrise buildings surrounding them melt and transform into the images of the viewers dancing together. The direct real time link between the dancers’ movements and the artwork allows viewers to be participators in the creation of the artwork and according to Taiwan Contemporary Art Link explore their perceptions of and connections with urban space.

Huang Hsin-Chien has an unusual background. Having studied Mechanical Engineering at National Taiwan University and Art at the Art Center College of Design at Pasadena USA he has become fluent in both technology and traditional art. He has exhibited work at the Hong-Ga Museum, Taipei Artists’ Village and the National Fine Arts Museum in Taiwan as well as the MiArt Contemporary Art Fair in Milan.

Fascinated by interactive art using digital media, Huang exhibited a work called Experiment Exchange in the Natural Circuits show at Bryce Wolkowitz Gallery in New York in 2007. Experiment Exchange consists of a screen showing a silhouette of animated white birds which move in real time according to the actions of the viewer, a form of collaborative art in which viewers work together with technology and remotely from the original artist.

Click here for more on digital art, biennials, Taiwanese artists or collaborative art. Examples of Huang Hsin-Chien work available on youtube. Dealer, exhibition information on artfacts.net

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Posted in Biennials, China, Chinese, Electronic art, Emerging artists, Events, Human Body, Interactive art, New Media, Participatory, Urban | Tagged: , , , , , , , , , , , , , | Leave a Comment »