Compound Eye: RongRong and inri retrospective at He Xiangning Art Museum

CHINESE CONTEMPORARY PHOTOGRAPHY MUSEUM EXHIBITION

“Compound Eye: Works by RongRong & inri (2000-2010)” (website in Chinese) is the first retrospective exhibition of collaborative works by RongRong and inri since they started working as a husband-and-wife team in 2000. In 1999, the Chinese photographer RongRong met inri, a Japanese artist, at his solo exhibition in Tokyo. They did not understand each other’s languages at that time, but they “understood each other deeply from their works.” Built on the foundation of their individual styles, their collaborative works surpass the limits of their individual vision.

Untitled Series, 2008, No.25 180x134cm. Courtesy of He Xiangning Art Museum and artists.

The lens naturally became a “compound eye” for the pair, enabling them to document themselves and their encounters with nature and their living landscape in depth and from perspectives only made possible by this “eye”. Feng Boyi, the exhibition’s curator, defines the unique quality of their works as such:

“Their collaborative method gives their works a romantic exterior, but the circumstances of their work and the narrative context overturn this romanticism, thus deconstructing their individual memories, dreams, and imaginations. This uniquely beautiful romantic language reflects their combined vision and a different side of nature and reality.”

In Fujisan, No.13 100x134cm , 2001. Courtesy of He Xiangning Art Museum and artists.

RongRong and inri’s freeze frame genealogy

The exhibition is divided into 13 series, each centering on a location and time, as well as the particular emotion associated with it. “In Fujisan, Japan” series (2001) was created after the pair made the decision to be together. This series concentrated on the spontaneous passion of discovering nature and each other, their realisation of their chance to live and create fully. “Caochangdi, Beijing” series (2004-2009) documents the births of three sons into their family. “Three Shadows, Beijing” series (2008), documenting the founding and operation of the Three Shadows Photography Art Centre, can be read like a family genealogy. The freeze frames, shaped in circles, add a timeless flavour to the family portraits. The use of this circle shape can also be found in “Untitled 2008” series, suggesting the continuity of life in the universe and their creative process.

When asked about the challenges and decisions involved in putting together this exhibition, curator Feng Boyi replied:

Uncertainty is an important element of experimental contemporary art, because artists themselves are in the phase of exploring new ideas and methods. For a general audience not familiar with the art critical discourse, contemporary art seems distant. Everyone has grown up with a relatively fixed aesthetic preference, while the general art education in China is not very helpful in fostering individual taste. Hence, I am very careful in my curatorial process to take this dynamic into consideration. RongRong and inri’s works are less abstract, so the barrier to understanding should be lower. I also try to engage the audience by providing interactive opportunities – pinhole camera workshops are run every weekend.

Caochangdi, Beijing Series, No.1 102x109cm, 2004. Courtesy of He Xiangning Art Museum and artists.

He Xiangning Art Museum an important part of China’s art landscape

He Xiangning Art Museum (website in Chinese) is located in Shenzhen, a small fishing town which was designated as a “special economic zone” in the 80s. From these humble roots, it has grown into the cosmopolitan city in Guangdong province you can visit today. Shenzhen has always been well known as a trading centre for business and industrial production, and is the hub of the Pearl River Delta economic region. Lacking an innate infrastructure for art, Shenzhen has seen its government working with private partners to initiate and build quite a few arts clusters.

As a young migrant city without broad art heritage, Shenzhen has gone through a very fast urbanization process in the past thirty years. It is open and welcoming to new ideas and attempts. We have worked with a roster of curators, both Chinese and international. Shenzhen has a leading position in the design discipline in China. We also focus on Shenzhen’s critical location as a regional hub connecting Guangdong Province, Hong Kong, and Macau. The recent exhibition “The Butterfly Effect – An Artistic Communication Project of Cross-Strait Four Regions” (website in Chinese) pays tribute to this very idea. (Feng Boyi, curator)

The museum was founded in 1997 and is the first Chinese national museum named after an individual. Since its inception, He Xiangning Art Museum has put on programmes with high aspiration and an international view: the Shenzhen Contemporary Sculpture Exhibition, first held in 1998; Wang Guangyi (website in Chinese) and Yue Minjun‘s (website in Chinese) solo exhibitions; Xu Bing’s Primer for the Mu, Lin, Sen (木, 林, 森) Project in 2009; a number of shows collaborating with Italian and French artists and curators.

He Xiangning Art Museum has always championed slightly marginalized artists in China. They still keep on creating original works without receiving overwhelming media attention. In the past few years, the characteristic of Chinese contemporary artists has shifted from being critical, avant-garde to being less so, especially after the intervention of capital in the art creation process. To some degree, the desire for fame and status has replaced their critical spirit. RongRong and inri remain experimental. They are exactly the type of artist that He Xiangning Art Museum is interested in. (Feng Boyi, curator)

When asked how He Xiangning Art Museum views the current status of art museums in China, museum director Yue Zhengwei said:

“Competition amongst museums should not be our primary concern. Founding an art museum is not the most difficult thing, but maintaining a well-run programme requires a lot of efforts. Each museum in the same city or region should develop its own unique positioning to differentiate from the rest, to avoid the wasting of resources. This is crucial to maintaining a healthy art museum eco-system.”

As an example, in the factory-converted creative and posh residential zone Overseas Chinese Town (OCT) in Shenzhen, He Xiangning Art Museum co-exists with the OCT Art and Design Gallery (website in Chinese) next door. OCT showcases a fusion of art and design, a perfect fit for a city recently named as China’s first “City of Design” by UNESCO.

“Compound Eye: Works by RongRong & inri (2000-2010)” is on at He Xiangning Art Museum until 11 July, 2010. It has been organised by He Xiangning Art Museum, with assistance from the Three Shadows Photography Art Centre.

SXB/KN

Related Topics: museum shows, photography, venues – China

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88-Mocca: how one collector is using technology to share his collection

ONLINE CHINESE CONTEMPORARY ART MUSEUM

Technology can be a powerful source for democratisation of art.  In this post we invite you to explore how one collector is using technology to turn his collection into an on-line museum and resource.

88-Mocca is an online museum that exhibits Fritz Kaiser’s collection of Chinese contemporary art, including prominent works by Zhang Xiaogang, Zhang Huan, Zeng Fanzhi, and Wang Guangyi.

It is not a novel concept but has the art world fully understood the lack of limits offered by an online museum. Admittedly works cannot be viewed physically which is a self-evident drawback. But against this art on-line enables viewers who would never have access to physical art works to access art. 

 On this site for example many major works of Chinese contemporary art can all be accessed in one place. And unlike a brick-and-mortar museum, it is possible to access 88-Mocca at all times, day and night. There are no limits to the number of exhibitions and content which can be put up creating easily accessed exhibition space that can also be changed at little extra cost. With no limits to the number of visitors, viewing times, number of exhibitions it is exciting to consider what effect this will have on bringing art to a new wider audience.

Wang Guangyi, Great Criticism: M&M's

The power of the Internet has truly manifested itself here: aside from accessibility, users of sites such as 88 mocca are able to interact with art in ways they could not in traditional museums. You might find audioguides in traditional museums  but this site offers the ability to comment on works (allowing a conversation between viewers separated by time and space) and send e-cards.

Special exhibitions have been introduced: currently there is one by Yu Youhan in collaboration with ShangART gallery. There are videos that showcase specific pieces by artists and interviews with them.

Yu Youhan, Thermos

Museums and the Web conference

If you are interested in learning more about museums and how the potential of the web can be harnessed, a international conference called Museums and the Web is held annually. Then next edition will be on April 13-17 2010 in Denver Colorado but papers from this and past conferences are all available to view on-line.

AL/KCE

Related Posts:

• China to use “soft power” of arts for international influence – Jan 2010
• The Power 100: curators up on ArtReview’s annual list – Dec 2009
• Which museums are collecting Chinese art – new database released – Nov 2009
• Collector Ciclitira makes big plans for Korean art – July 2009
• Is there a new way to sell art? Vitamin Creative Space China experiments – New York Times – May 2009

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How Chinese auction house Poly sold spectacular 83% lots in December 2008 art sale

ART AUCTIONS CHINA

This weekend marked the end of the auction season on the  Chinese mainland and, while spectacular success was had in antiques and antiquity sale categories, contemporary Chinese art shared little of the success…save for Poly Auctions, says Katie Grube in Redbox Review.

In November and December sales

• Only fifty-four percent of the works offered in Guardian’s “Chinese Oil Painting and Sculpture II” found buyers.
• Council’s contemporary sales similarly sold only 57%.

Poly provided the only bright spot in the contemporary art category by focussing on emerging artists and slashing estimates at the last minute.

Poly opened their four days of auctions with an emerging artist sale, oddly translated as “New and Vigorous Artists,” and would go on to sell over RMB 134 million during the course of their December 5th contemporary sales. The contemporary evening saw the dramatic pre-sale reduction of 14 lots’ estimates, or nearly 1/4 of the sale. Some estimates were reduced by as much as one-third; Wang Guangyi’s “Great Criticism – Motorola” (lot 588) carried a pre-sale estimate of RMB 1,200,000 – 1,800,000, but saleroom notice pointed to a reduction to RMB 800,000 – 1,200,o00. The work earned a hammer price of RMB 800,000. Lowered estimates seemed to encourage buyers and most works sold at or just above the low estimate with 83% of works sold by lot.

Redbox Review

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Ravenel Art announces first Hong Kong auction of modern and contemporary art

Hino Korehiko My Elegance

 

AUCTION NEWS HONG KONG

In a move which supports the growing status of Hong Kong as Asia’s art market hub, Taiwanese auction house Ravenel Art announces its first Hong Kong auction of Contemporary and Modern Asian Art on Monday December 1, 2008.

Categories include:
In Modern Chinese Art  works by Sanyu, Zao Wou-ki and Chu Teh-chun will be offered. In the Chinese Contemporary section important works by Zhang Xiaogang, Zeng Fanzhi, Wang Guangyi, Yue Minjun and Yan Pei Ming will come under the hammer.

Ravenel Art will also include works by Korean, Japanese, S. E. Asian and Indian artists. Kim Tschang-yeul and Park Seo-Bo, two of the most important Korean artists will be represented. Paintings by Japanese artists Hino Korehiko and Hiroyuki Matsuura are sure to attract much attention. The S. E. Asian section will include works by Agus Suwage and Budi Kustarto, two of the most sought after artists at the moment. A work by Justin Ponmany, one of the leading Indian contemporary artists will also be on offer.

Zhang Xiaotao Picture of Early Spring

The auction will be held in the Four Seasons Hotel Ballroom, 8 Finance Street, Central, Hong Kong on Monday December 1.

Ravenel Art was founded in 1999 and it holds two annual Spring and Autumn auctions in Taipei and will hold Spring and Autumn auctions in Hong Kong. It specializes in Modern and Contemporary Chinese Art, Korean, Japanese, S. E. Asian and Indian Contemporary Art. The company has offices in Taipei, Hong Kong and Beijing.

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Cheaper works sell at Larasati, Borobodur auctions and art fair Singapore – Bloomberg

MARKET WATCH

Two Singapore auctions of Asian art at the weekend missed estimates as a slump in global financial markets kept many buyers away.

Borobodur Auction Pte’s two-day sale of Chinese and Southeast Asian art totaled S$11 million ($7.5 million), compared with a presale estimate of S$18 million, according to John Andreas, the company’s founder. Rival Larasati Auctioneers’ Oct. 11 sale tallied S$2.1 million, less than the S$2.5 million predicted. The auction houses released results today.

The day before the auctions began, Singapore announced its economy had slipped into a recession and the MSCI Asia Pacific stocks index fell 6.9 percent, capping its worst week since the measure was created in 1987.

Sales of Chinese contemporary art were weakest, with only about 40 percent of lots finding buyers, Andreas said. Works by top Chinese artists have risen tenfold or more in the past decade, making them the most expensive in Asia.

“The financial crisis does not affect the Southeast Asian art as much, but for the Chinese artists it is very bad,” said Andreas. “For the artists that have not gone up so high, the demand is still strong.”

Borobodur’s top lot from its Oct. 12 Southeast Asian sale was Agus Suwage’s “Cleaning the Mirror: Homage to Marina Abramovic,” which sold for S$444,000, including fees. The highest price in the company’s Asian art auction the day before was Chinese artist Wang Guangyi’s “Rolex,” which fetched S$504,000, including commission. Yue Minjun’s “Life Pose,” which had the top presale estimate of as much as S$500,000, didn’t sell. Three quarters of the Southeast Asian lots sold against 57 percent of the Asian session.

Masriadi’s Target

Larasati’s top lot was I Nyoman Masriadi’s “The Target,” a picture of a woman, face and arms painted red, with hands clasped like a gun. The 1.9 meter-wide, acrylic-on-canvas sold for S$156,000, with fees, compared with the S$150,000 presale estimate, the company said. A third of the lots offered didn’t find buyers.

A week earlier at Sotheby’s auction in Hong Kong, Masriadi broke the record for a Southeast Asian contemporary work, when his picture “The Man From Bantul (The Final Round)” sold for HK$7.8 million ($1 million).

The weekend auctions took place during the four-day ArtSingapore fair, Southeast Asia’s biggest, which ended yesterday. The event drew 110 galleries from 16 countries, with a special emphasis on art from India and South Korea. About S$80 million of art was offered, the organizer said.

Stallholders at the sale echoed the mood at the auctions, with sub-S$20,000 works from South and Southeast Asia more popular with buyers than higher-priced Chinese works.

Cheaper Lots Sell

“It went very well under the circumstances,” said Chen Shen Po, director of ArtSingapore. “Last year, everyone was selling S$50,000, S$100,000, S$200,000 works. This year it was more the S$20,000-to-S$30,000 range.”

She said the sale total was probably about the same as 2007, declining to give specifics.

“Given the circumstances coming into the fair, our expectations were quite low,” said Adam Chu of Shanghai-based Hwa’s Gallery, which showed works by Chinese artists such as He Juan and Guo Rui. “This was the least-attended of the five fairs we’ve been to this year.”

Chu said the gallery sold 20 works at the SHContemporary show in Shanghai in September. In Singapore it sold none.

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• source: Bloomberg
• more posts on market watch
• latest reports from Singapore

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Saatchi back with new gallery, school programme, China show, – Reuters, BBC

COLLECTOR SHOW CHINESE ART

Influential British art collector Charles Saatchi is back after three years out of the limelight, opening a major new gallery in central London showcasing some of China’s hottest artists reports Reuters. The man who introduced the world to Britart stalwarts like Damien Hirst and Tracey Emin has been largely absent from the art scene since his gallery was forced out of its previous home on the River Thames in 2005. Now he is back with a huge new exhibition space in upmarket Chelsea, where he hopes free entry to the imposing former headquarters of the Duke of York will attract passers by.

Critics have lauded the imposing three-storey building with its glass and white-walled interior, and welcomed back one of contemporary art’s biggest players. But the inaugural show, opening on Thursday, has earned mixed reviews.

“The Revolution Continues: New Art from China” is dedicated to Chinese artists including established stars like Yue Minjun, Zhang Xiaogang and Zeng Fanzhi, whose painting fetched $9.7 million in May, a record for Asian contemporary artwork.

Some critics have categorized the crazed, laughing men of Yue or the gray, stylized portraits of Zhang as repetitive, even “mass production” art.

Generally more popular were the sculptures, particularly an installation piece called “Old Persons Home” by Sun Yuan and Peng Yu, involving 13 aging men on wheelchairs moving randomly around a large basement room. Their striking resemblance to late world leaders turns the work into a commentary on the pitfalls of power and conflict. The gallery calls it “a grizzly parody of the U.N. dead.”

But the gallery’s head of development, Rebecca Wilson, said Saatchi’s target audience was less the experts — critics, collectors and curators — and more the general public, most of whom are unfamiliar with contemporary Chinese art. “There was a feeling that all of these artists were suddenly emerging from China, doing very well at auction, there were the Beijing Olympics coming up,” she told Reuters. “There was this kind of convergence of interest in China, so we felt it should be the exhibition that we open with.”

IRAN, IRAQ ART TO COME

Early next year the Saatchi Gallery will put on a show dedicated to contemporary Middle Eastern art, including from Iran and Iraq, by artists never seen in Britain before.

“None of those artists have been seen in this country before and will be very little known elsewhere in the world as well,” said Wilson. “I think Charles has been searching for months to try to find interesting works.”

Saatchi sells some art after an exhibition ends, partly to fund his enterprise. Auction house Phillips de Pury is supporting the gallery to ensure entry will be free.

_____________________________________________________________________________

BBC coverage:

Only free contemporary art museum in world

The BBC reports that the Saatchi gallery claims to be the only completely free entry contemporary art museum of its size in the world. Simon de Pury, of auction house Phillips de Pury & Company, who is sponsoring the exhibition, said they expected “millions” of visitors.

Ground-breaking school education programme to come

The gallery said it was seeking to establish a “ground breaking” education programme “to make contemporary art even more accessible to young people.

“It is anticipated that the facilities that the Saatchi Gallery plans to offer – at the gallery, via its website and the gallery’s own classroom – will ensure that teachers receive the best on-site and outreach support for their students.”

——————————————————————

Artists: Zhang Dali, Zeng Fanzhi, Wang Guangyi, Zheng Guogu, Zhang Haiying, Zhang Hongtu, Zhang Huan, Qiu Je, Xiang Jin, Shi Jinsong, Fang Lijun, Yue Minjun, Li Qing, Wu Shuanzhuan, Shen Shaomin, Li Songsong, Zhan Wang, Liu Wei, Zhang Xiaogang, Zhang Xiaotao, Cang Xin, Shi Xinning, Li Yan, Bai Yiluo, Sun Yuan and Peng Yu, Zhang Yuan, Yin Zhaohui, Feng Zhengjie

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Chinese, Indian leading artists fail to sell at Sotheby’s Asian Art evening sale October 2008

Kang Hyung-Koo

 

 

 

REPORT FROM THE AUCTION ROOM

Big name Chinese and Indian artists and several premium lot artworks failed to sell at Sotheby’s October 2008 evening sale of contemporary and modern Asian art but the sale pointed to a new trend of enthusiastic collecting interest in South East Asian art.

Sotheby’s presented its first evening sale of Asian art in Hong Kong 4 October 2008 following Christie’s lead in the Spring auctions. Although Sotheby’s was more aggressive in the number of lots offered (Sotheby’s 47, Christie’s 32), Sotheby’s sale was generally a more diverse cautious offering compared with Christie’s. Sotheby’s presented:

• artworks covering more time periods (Sotheby’s contemporary and modern, Christie’s contemporary only)
• artworks from more geographical markets ( Both: Chinese, Indian, Korean, Japanese, Sotheby’s added Filipino and Indonesian)
• a greater price range at Sothebys with given estimates ranging from US$13,000 to more than US$3.85 million (Christie’s lowest given estimate was US$64,100 and ranged up to US$3.2m).

The results however could not have been more different. While Christie’s sale was a resounding success Sotheby’s sold only 28 of the 47 lots on offer.

The auction room was packed with all of the 200 or so seats taken and though more seats were brought in 30-40 people had to remain standing at the back. There were two rows of Sothebys staff (30-40 people) taking telephone bids. The auction room hummed with anticipation and got off to a roaring start with the first two lots. Filipino artist Ronald Ventura’s ‘Pinamumugaran’ attracted furious bidding and achieved a price of US$230,000 ex premium compared with estimates in the range US$13,000 to US$23,000. The next lot Indonesian artist Handiwirman Saputra’s ‘Mental Series No 8’ estimated at US$25,000- US$40,000 was also successful and eventually sold for US$140,000 ex premium.

Enthusiasm quickly waned during the next two lots of Indian art: lot 3 by  Thukral and Tagra just exceeded the estimate and lot 4 by Jagannath Panda missed its estimate.

The first big upset was lot 5 Subodh Gupta’s ‘Untitled’ estimated at US$1.5 – 2million. Known as the leading Indian contemporary artist Gupta was the first Indian contemporary artist to be included in international auction sales. Sotheby’s had high hopes for this lot but it failed to meet the reserve and went unsold. This set the tone for the next 7 lots; although the works were by  big name Indian and Chinese contemporary artists only 2 (Zhang Xiaogang and Feng Zhengjie) sold just scraping the bottom end of the estimates.

I Nyoman Masriadi

The remainder of the sale was slow and bidding was sticky apart from a couple of bright spots. Indonesian artist I Nyoman Masriadi’s ‘Sorry Hero, Saya Lupa’ estimated at US$48 – 75,000 attracted wide bidding from the room and phones and was finally sold for over US$500,000. Other artists who attracted several bidders and sold above estimates included Korean artists Lee Bul and Kang Hyung-Koo and Indonesian artists Agus Suwage and Affandi.

Contemporary Chinese artists who failed to sell any works in the sale included Liu Wei, Wang Guangyi, Tang Zhigang, Zeng Fanzhi, Yan Pei-ming, Feng Lijun. Chinese Moderns were not spared and lots by Liao Jichun, Chang Yu, Zhu Dequn were not sold. Other Asian artists who were not successful included Indians Subodh Gupta, Justin Ponmany, Japanese artist Takashi Murakami and founder of new media art Nam June Paik.

Some commentators suggest that this sale has been less successful because it coincides with a structural turning point in buyers’ tastes which are speculative and fad-led by nature and that interest in Chinese contemporary art has been replaced with a new enthusiasm for Korean and South East Asian art.

Fads aside, the correlation between prices of works and demand is certainly striking demonstrating a new price sensitivity by buyers of Asian art. September’s financial meltdown is no doubt the leading cause of the many failures in this sale but other factors may also be involved. The number of auctions and fairs has exploded in the last two years providing excess supply of art just when demand is reducing. This Sotheby’s auction competes with the concurrent Hong Kong International Art and Antiques Fair in which art is shown by over 80 galleries in 5000 sq metres of space on the floor above Sotheby’s sale at the Hong Kong Convention and Exhibition Centre. The Sotheby’s sale also overlaps with Korea’s leading auction house Seoul Auction’s first auction in Hong Kong which is offering high quality Korean Japanese Chinese and Western modern and contemporary works.

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•  art recession, globalisation, auction watch
• Indonesian, Korean, Chinese, Indian Japanese  Filipino art news

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Two decade survey of Chinese contemporary art ‘Our Future’ at Ullens Center Beijing to 12 October 2008

 SURVEY EXHIBITION CHINESESE CONTEMPORARY ART BEIJING to 12 Oct 2008

This series of exhibitions, site commissions and educational projects entitled “Our Future” aims at opening its door to the future of art in China.

The exhibition will give wide-angle view of the work and artistic practice of several generations of artists. Through special commissions and new acquisitions, work rarely seen before will be viewable to the public.

Featuring around 60 Chinese artists, the exhibition will present no less than 92 works by such prominent names as Chen Zhen, Gu Wenda, Huang Yong Ping, Wang Guangyi, Wang Du, Zhang Xiaogang.

New projects, performances and educational works from Cao Fei, He Yunchang, Qiu Zhijie and Yang Jiechang have been especially created for the Our Future exhibition.

“Our Future: Site Commissions” is a long-term project and has commissioned installations, murals, paintings and sculptures especially designed for the exhibition site by artists such as Ai Wei Wei, Michael Lin, Wang Du, Wang Jianwei, Wen Fang, Yan Lei and Yan Peiming.
Throughout the interior and exterior of the building, the organizer will pay tribute to the work these artists have accomplished over the past two decades in bringing Chinese contemporary art onto the international art scene by devoting its entire 8,000 square meters space to sustain their artistic creations, beyond the exhibition halls.

“Our Future: The Guy & Myriam Ullens Foundation Collection”
Exhibition Date: 19 Jul 2008 – 12 Oct 2008

See (in new window)

• exhibition details at Ullens Center for Contemporary Art site
• more on surveys of Asian art
• more on Chinese contemporary art

If you are interested in this post, you might also be interested to read more about the UBS four decade survey of contemporary art on show in Beijing to November 7 2008.

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