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Contemporary art trends and news from Asia and beyond

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Posts Tagged ‘West Kowloon Cultural District’

Ex-Tate Modern director Lars Nittve appointed to lead West Kowloon’s M+

Posted by artradar on July 14, 2010


HONG KONG ART MUSEUMS

The West Kowloon Cultural District Authority (WKCDA) seems to be taking its plans to develop a world-class cultural district in Hong Kong seriously. After appointing ex-Barbican (London) Artistic Director, Graham Sheffield as the CEO of the project in April this year, the WKCDA announced, on 23 June, the appointment of Lars Nittve as Executive Director of the district’s Museum Plus (M+).

Lars Nittve was appointed as Executive Director of Museum Plus,Hong Kong in June

Lars Nittve was appointed as Executive Director of Museum Plus, Hong Kong in June.

Nittve will work in close collaboration with CEO Sheffield and will be responsible for all content and exhibitions of M+, which, as per guidelines set out by the Hong Kong government’s Museum Advisory Group, will be:

…more than a museum or a building space. It would be a new type of cultural institution with its mission to focus on twentieth to twenty-first century visual culture, broadly defined, from a Hong Kong perspective, the perspective of now, and with a global vision. With an open, flexible and forward looking attitude, M+ aims to inspire, delight, educate and engage the public, encourage dialogue, interaction and partnership, explore diversity and foster creativity and cross-fertilization.

While WKCDA is spending substantially on hiring the best names in the market, Hong Kong art enthusiasts are worried whether their expertise will work in the localised Hong Kong art scene. At a recent press conference held by the WKCDA in Hong Kong, Nittve said that he is relying on collaborators with an in-depth knowledge of the arts scene of Hong Kong paired with his own experience in the museum field to tackle this anxiety.

Nittve is a renowned museum director and curator with years of experience heading world-class institutions such as London’s Tate Modern and Stockholm’s Moderna Museet. As the first director of Tate Modern in 1998, Nittve led the development of the museum, establishing it as one of the top modern art museums in the world, drawing close to five million visitors in its first year.

Proposed Site for Kowloon Cultural District, Hong Kong

Proposed Site for Kowloon Cultural District, Hong Kong

When asked how he would compare developing M+ with his work with the Tate Modern, Nittve cautiously said,

If I look at complications and possibilities, someone told me yesterday when I just flew in, that it’s going be more complicated than the Tate Modern. I would rather say that there are many advantages in developing M+, because actually we start from scratch more or less. In Tate Modern, we have to plug-in into a one hundred-year-old institution with its traditions, with its already existing staff, and that made it quite complicated to create a museum, that soon turned out that would be the biggest one in the family. So I think that it’s probably different, equally complicated, but in different ways. Every museum is different to start with, because every local context is different. And you have to, of course, rely on what you know, but also you have to take some leap of faith.

Nittve will officially join the WKCDA team in January 2011 and will start with defining specific guidelines as to how the collection at the M+ will take shape.

AM/KN

Related Topics: business of art, art spaces – museums, art professionals

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Posted in Art districts, Art spaces, Business of art, Hong Kong, Museums, Professionals | Tagged: , , , , , , , , , , , , , , , , , , , , | 1 Comment »

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 »