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

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 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.

 

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 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

Related Topics: Indian artists, videos, gallery shows

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• Indian artist Raghava KK’s “magic carpet ride” at TED2010 – video – June 2010 – an in-depth summary of a very interesting video in which Raghava amusingly tells of his rise to art stardom
• Peabody Essex Museum loaned 3 giants of contemporary and modern Indian art: Anish Kapoor, Francis Newton Souza, Paritosh Sen – June 2010 – a brief summary of the museums acquisitions, the what, why and how
• Reji Arackal is new kid on contemporary Indian art block – May 2010 – a review of new kid on the block Reji Arackal’s “Sans Divine Machines” by guest contributor and veteran Indian art writer, Deepanjana Pal
• 15 artists in Hanging Fire, first show of contemporary art from Pakistan in US – video – January 2010 – a quick summary and link to the video

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A Sunday at Art Taipei – gallery comments, Australian media art, Pearl Lam

ART FAIRS TAIWANESE ART EVENTS INTERNATIONAL ART ASIAN CONTEMPORARY ART

Art Radar presents a Sunday at Art Taipei 2010 in nine images accompanied by quotes from Korean gallery director Jung Yong Lee and the refreshingly honest Pearl Lam, panel members at the 2010 Art Taipei Forum, five gallerists presenting their thoughts on the fair, and Australian new media artist Josephine Starrs who spoke at the one of the Art Taipei 2010 Weekend Art Lectures.

Pearl Lam, Director of Contrasts Gallery, and Jung Yong Lee, Director of Gana Art, speaking at the 2010 Art Taipei Forum. Image property of Art Radar Asia.

Pearl Lam, Director, Contrasts Gallery, as heard at the 2010 Art Taipei Forum conversation, Asia International Galleries: The Next Movement: “When the price goes up very high it goes down very fast. It happens to design and it happens to contemporary art. So in the last six months people have been very careful and very cautious about contemporary art, but in blue chip artworks like the post-war or the impressionist it is just going up. And there are a lot of private sales, a lot of secondary market sales. So most of the galleries are actually making money from the secondary market.

Collectors are actually referring to the auction prices as a reference and a lot of young collectors need the auction to validate the price. But I have my thoughts about auctions because auction prices, for me, are never accurate unless they are a really high price like 20, 30, 40 million USD 1. Because it’s very easy; you can put a painting in an auction, we can get all our friends sticking our hands up, push the price up…. So my way of seeing things … most of the auction houses are making money from private clients.”

Joanna Li, Fish Art Center, beside Huang Poren's stainless steel sculpture 'What the heck!'. Image property of Art Radar Asia.

Joanna Li, Fish Art Center: “This is my fifth time at Art Taipei. In the past two years we have brought brand new artworks [to the fair] and all the artists are Taiwanese. They’re still young, around 26 years old. We also have modern artists…. We have sculptures, oil paintings. We have sold more medium priced artworks…. [The collectors are] from Taiwan, a few customers are from Hong Kong and China.”

Outside Art Taipei 2010's main exhibition hall. Image property of Art Radar Asia.

Mizuma Sueo, Director, Mizuma Art Gallery (Tokyo, Beijing): “This is our second time at Art Taipei. Today’s audience, there are so many people … but the last three days a little less. It’s a little less than last year. Sales are stable. We have sold some [works by] young Japanese artists and Chinese artists, but we have sold only one piece to a Taiwanese collector. The other pieces were sold to a Korean collector, Hong Kong and Japan. The audience is mainly Asian.”

Inside Art Taipei 2010's main exhibition hall. Image property of Art Radar Asia.

Jung Yong Lee, Director, Gana Art, as heard at the 2010 Art Taipei Forum conversation, Asia International Galleries: The Next Movement: “When the crisis came we had a very hard time,… I’m from a commercial gallery and we have to sell a lot of artwork to maintain our operation. But when the crisis came there were literally no sales for at least six months to over a year. So what we ended up doing was, since we couldn’t find a client who was investing, who was collecting art for their collections, finding clients who were companies and local governments who had a lot of promotional money to spend. We did consulting for companies. We made outdoor sculptures, we decorated lobbies for hotels, the façades of buildings; we did a lot of projects like that. And we also helped to make art parks or small private museums.”

Chen Liu, 'Blue Blossom Standing above the sea', 2010, oil on canvas, 200 x 140 cm. Image property of Art Radar Asia.

Junghwa Ryu, Curator, Arario Gallery (Cheonan, Beijing, Seoul, New York): “Art Taipei 2010 is more organised than the last one. Many visitors are interested in new contemporary art and we feel that the Taipei government has supported the fair well with their policy of focusing on an international base. However, the results for the sales are … not good as of now. Hanna Kim (1981, Korea) and Osang Gwon (1973, Korea) have been paid much attention. I guess in general the Taiwanese love a more light and cozy style than heavy and serious.… They are sensitive to trends and new skills.”

Sculptures by Taiwanese artist Ju Ming. Image property of Art Radar Asia.

James Hsu and Elise Chen, Ping Art Space (Taipei): “This is our third time here. Obviously it’s more international this year because there are more galleries participating in this art fair and we have collectors from Japan, Korea, Southeast Asia. In the past we would mainly have Taiwanese collectors…. Five years ago there might be just one Japanese gallery here but after this year there is this reputation in Japan that there is a good market in Taiwan. So this year there are 26 galleries from Japan. Also, in Taiwan, we have this history of collecting contemporary art for 20 years [and] after this period of time you can see that the market is getting better and better. Last year the economic crisis affected the market a lot and so this is like a rebound.”

Digital print by Australian media artists Josephine Starrs and Leon Cmielewski, part of their 'Downstream' installation, as exhibited at Art Taipei 2010. Image property of Art Radar Asia.

Josephine Starrs, as heard at the weekend art lecture, Recent and emerging trends in Australian media art: “This is some of the work that we are exhibiting here at Art Taipei in the <Encoded> exhibition. ‘Downstream’ explores new ways of representing the relationship between nature and culture. We are imbedding poetic text into [satellite] images of landscapes at particular risk from climate change. The work focusses on the degradation of the Murray-Darling, the largest river system in Australia, but it could be any river system in the world that is in danger from changes in climate.

We have changed the satellite imagery to write text in the landscape imagery, as if the landscape is sending us messages. When we started looking at this landscape imagery we noticed that the river almost looked like writing already. So we decided to change the river and embed this text from a famous Australian poem. The words say, ‘and the river was dust’.”

Shen Bo-Cheng's 'Read- Lleine Eschichte Der Photographie' (2010), exhibited as part of Art Taipei's MADE in TAIWAN - Young Artist Discovery event. Image property of Art Radar Asia.

E.D.Lee Gallery Co., Ltd (Taipei): “We have been to Art Taipei twice. This year it is more international, a lot of foreign galleries have joined us here and there are a lot more people. We have sold many works today. This year all of our artists are from Taiwan. Almost all of our collectors are Taiwanese but we also have collectors from Japan and Korea.”

Yan Chao, 'The Width of the Strait', 2009, mixed media on canvas, 150 x 180 cm. Image property of Art Radar Asia.

We hope to bring you more on Art Taipei 2010 in the coming weeks, including an overview of what was said at the 2010 Art Taipei Forum sessions and public art lectures we attended.

KN

Related Topics: art fairs, collectors, business of art, gallerists/dealers

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• Tsong Pu discusses six artworks: Part I – Chasing lines across space – August 2010 – part one of a three part series in which this influential Taiwanese artist speaks in detail about his work
• Three sculptors who influenced the Taiwanese art landscape: Yang Ying-feng, Ju Ming and Pu Hao-ming – February 2010 – an overview of these artists’ careers
• The ones to watch: four young Taiwanese artists in Taipei Art Awards – January 2010 – names the artists, accompanied by large images
• Globalisation of the contemporary art market evident in growth of art fairs – The Economist – August 2010 – outlines the geographical hierarchy of art fairs today and explains why this is hard to define
• What did the galleries say about ART HK 10? Art Radar Asia speaks to 19 dealers – June 2010 – read this to find out who sold what to whom

Subscribe to Art Radar Asia for more on art fairs in Asia

Sotheby’s to hold first ever international auction house sale of calligraphy in Doha

ART MARKET ART AUCTIONS CALLIGRAPHY DOHA

Sotheby’s London recently announced it will hold the first ever international auction house sale dedicated solely to calligraphy in Doha, Qatar, at The Ritz-Carlton Doha hotel, on 15 December. The groundbreaking calligraphy auction Hurouf: The Art of the World will showcase various works ranging from very early Islamic calligraphies to a mix of modern and contemporary Arabic, Farsi and Ottoman Turkish works.

Highlights of the forthcoming auction will travel through the Gulf Region prior to sale, one of which being Ali Omar Ermes’ The Fourth Ode which has an estimated price ranging from USD250,000 to USD350,000.

Ali Omar Ermes’s ‘The Fourth Ode’ (acrylic and ink on paper).

Calligraphy is an art form that has influenced the Doha art scene for many years, and Sotheby’s believes this sale represents the region’s past and present talents. Says Roberta Louckx, Sotheby’s Executive Vice President and Head of Sotheby’s in Qatar, in a the press release announcing the sale:

We are delighted to return to Doha later this year with an inaugural auction devoted to ‘calligraphy’, a theme that has inspired and informed the art of this rich and diverse culture throughout the ages – from the production of the first Kufic Qur’ans to the modern and contemporary artworks of Farhad Moshiri. Sotheby’s is strongly committed to the region, and we are extremely excited to present for sale, in Qatar, the creative endeavours of some of the region’s most talented artists, past and present.

According to the press release, the forthcoming calligraphy sale is built on the success of last year’s Doha sales. After opening an office in Doha in 2008, Sotheby’s held maiden sales in March last year during which an Indian carpet made of pearls and gems fetched USD5.5 million, although the Bloomberg article which reported on this sale also mentioned that the prices of the auctions were disappointing in general. As Dalya Islam, Director of Sotheby’s Middle East Arab & Iranian Art Department, states in the press release,

Last year at our Doha sales Sotheby’s achieved solid success for works by highly sought-after Arab artists such as Chafic Abboud, Nabil Nahas, Ayman Baalbaki, Yousef Ahmad and Ali Hassan. In order to build on this, we have decided to devote a sale to works of significant interest to the region, focusing on calligraphy. The Arabic script has stimulated artists for more than a millennium, and is still a highly regarded and revered art form that reflects the rich history of the region. The auction will emphasise the enduring legacy of Islamic art by tracing the development of calligraphy, with a focus on its contemporary manifestation.

CBKM/KN

Related Topics:  market watch – auctions, calligraphy, Middle Eastern artists

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• Is globalisation of the art market slowing down? The Economist reports – June 2010 – a discussion of the current trend towards globalisation within the international art market
• Christies in Dubai sets record for most pricey Arab artwork – November 2009 – a round-up of what the media was saying at the time
• Catch Palestinian Art in Venice – Islamic art in the spotlight or in a corner? – July 2009 – outlines the Palestine art that debuted at the 53rd Venice Biennale
• Hong Kong artists showcased for first time at Sotheby’s Asian art sale 2009 – April 2009 – some biographic detail on the artists represented
• First forays for Saudi art in international art market – March 2009 – the lowdown on Christie’s first venture into the Saudi art market

Subscribe to Art Radar Asia for more auction and event news

Is text writing or image? Bloomberg prize-winner Phoebe Hui examines – video interview

HONG KONG ARTISTS VIDEO ARTIST INTERVIEW

In a short five minute interview on ChooChooTV’s weekly show [art]attack, emerging Hong Kong artist Phoebe Hui gives viewers a peek at her creative process.

In the interview, Hui expresses a strong interest in the transformation of text from one medium to another.  To her, such transformations serve as a way of linking text to other concepts.

Artist Phoebe Hui at work in her studio.

“The way I view text is not just a form of communication but also as an image.”

By removing the meaning of written words, Hui transforms them into more than just a method of verbal expression. In an early piece titled Doublets Doublets Doublets, Hui bases her process on a game by author Lewis Carroll.

“I will remove one alphabet letter in a word…and gradually change other letters too. These are still text that we are familiar with but once we change it our focus is no longer on the meaning of the text but simply on the relation of the symbols.”

After graduating from the School of Creative Media at the City University of Hong Kong, the artist travelled to England where she studied for a masters degree at the University of the Arts London. Following graduation she decided to move back to Hong Kong.

Although Hui has achieved considerable success as a young artist, it has not come without disappointments. On her move to London from Hong Kong Hui states:

“For me, my path from attaining the scholarship from HKADC [Hong Kong Arts and Development Council], I thought I would have a very successful year in London, but it was not as good as I thought it would be.”

In spite of this setback, Hui went on to win the Bloomberg Emerging Artist award in 2008 after her return to Hong Kong, an accomplishment she is “very satifisfied with.”

While she expresses concern about support for artists’ programs from both organisations and Hong Kong audiences, she remains positive and driven.

“It seems like a very successful road, but I’m still not where I want to be.”

Watch the video here (length of video, 5:22 mins).

EH/KN

Related Topics: Hong Kong artists, emerging artists, installation art, conceptual art

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Subscribe to Art Radar Asia for more on emerging artists from Hong Kong

Chance to learn where Singaporean art is heading plus two firsts for emerging artist competition Presidents Young Talents at Singapore Art Museum

SINGAPORE MUSEUM ART COMPETITION

Singapore had a predicament. The city-state needed to find the young artistic voices to represent Singapore at international level art fairs and events. The problem has been solved and future Singaporean art stars are being identified with the inception of the Presidents Young Talents (PYT) exhibition, a contemporary art exhibition series featuring the 4 most promising young Singaporean artists who compete for votes from a discerning public. The President’s Young Talents exhibition first debuted in 2001, organized by the Singapore Art Museum and Istana, but this is the first year with the online voting function that includes an interactive public.

It works like this

Four young artists are chosen by a curatorial committee, and a special work is created by each artist and exhibited at the Singapore Art Museum in the PYT exhibition.

The public can also view artworks and artist biographies online, and is encouraged to vote for their favorite artist via the PYT website from Aug 15th through Oct 31st, 2009.  One of the 4 artists will be declared the winner, and receive a cash prize and art residency abroad, sponsored by Credit Suisse. The winner of the PYT 2009 will be announced on November 6th, 2009 at the PYT Gala dinner.

The artists nominated for the show, curated by Ms. Tan Siu Li, are: Donna Ong, Felicia Low, Twardzik Ching Chor Leng, and the artist collective Vertical Submarine. This is the first year in which an artist collective has been selected to participate, and Vertical Submarine’s inclusion reflects an acceptance of the current changes in contemporary art practices.

For a quick summary Art Daily gives an overview of each work below. However for a more lively description, we encourage you to click through to the particularly well-planned website (link above) where you can see short videos in which each artist discusses the concepts behind their non-traditional intriguing projects.

All the artists will create a new work for PYT 2009, and this exhibition offers a unique opportunity to take stock of where contemporary art in Singapore could be heading.

Donna Ong’s installation will examine the representation of perspective in Eastern as well as Western artistic traditions through a series of layered landscapes.

Twardzik Ching Chor Leng continues her practice of land-based art by inviting the public to reconsider the significance of the Singapore River in history, as well as in our lives today.

Felicia Low, who actively engages with (often marginalised or disadvantaged) communities in her work, will conduct live sessions in the gallery, leading groups of people in an exploration of family and social relationships.

Last but not least, tongue-in-cheek collective Vertical Submarine will present a work-within-a-work, inviting the public into their immersive installation which continues their earlier investigations into the relationship between text, image and representation.

Land art by Twardzik Ching Chor Leng

Editor’s note: We were particularly interested in Twardzik Ching Chor Leng’s plan to siphon an “‘umbilical cord” pipeline of river water through the streets of Singapore to connect the river and art museum. Land art is rare in Asia which makes the artist’s attempt to promote this genre in the confined space of city-state Singapore all the more inspiring.

Space constraints stimulate Singaporean artists?

It is interesting to note that each of the contestants deals with the topic of space in one form or another: from land art to the creation of domestic interiors to the study of perspective as a representation of space.

What the museum staff say

Regarding the exhbition, Mr. Tan Boon Hui, Director Designate of Singapore Art Museum, says:

“President’s Young Talents is SAM’s key platform to introduce Singaporeans to the work of a new generation of contemporary artists. The ‘can-do’ spirit that marks much of the best contemporary art coming out from Singapore now is clearly visible in these new works from Donna Ong, Twardzik Ching Chor Leng, Felicia Low and Vertical Submarine.

While their work has departed markedly from the traditional conventions of what art should look like, it is nonetheless as thoughtful, enjoyable and beautiful as the paintings and sculptures we are more familiar with.

Through such channels as the new PYT microsite, with its information rich content, SAM is working also to make contemporary art accessible to as large a community as possible. As one of the few platforms that regularly provides support to nurture the creation of original local art, SAM hopes to continue growing PYT along with the local contemporary arts scene.’

The President’s Young Talents is on display at the Singapore Museum from August 15th till December 27th, 2009, at the museum’s 8Q SAM art space and you can vote until the end October 2009. Be warned though that the voting mechanism requires input of addresses and phone numbers. We hope that this will be stream-lined in the future to encourage voter participation.

-contributed by Erin Wooters

Related Posts

• Wu Guanzhong retrospective Singapore Art Museum- New York Times review– May 09
• Singaporean artist Mona Choo awarded first V & A printmaking residency- Dec 08
• Singaporean artist Yeo Chee Kiong’s installation wins ‘richest’ art prize-Bloomberg– Nov 08
• Sovereign Asian Art Prize 2008 emerging artists on show in Hong Kong– Oct 08

Related Links

• Singapore Museum to Present President’s Young Talents-Art Daily- Sept 09
• Presidents Young Talents 2009 website

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Taiwanese photographers, video artists and an architect at 53rd Venice Biennale

TAIWANESE ARTISTS VENICE BIENNALE

Though they span architecture, film and photography, the four Taiwanese artists featured in the 53rd Venice Biennale exhibition ‘Foreign Affairs’ share a common focus. Each looks at the unequal treatment of the disadvantaged in the midst of globalisation, and has taken action through distinctive, personal, and practical means.

Furthermore, they have all engaged in dialogue and interaction with other areas of the world.

 

Hsieh Ying-Chun

 

Hsieh Ying-Chun

 

Hsieh Ying-Chun (* 1954) is a Taiwanese architect who for years has worked to provide minorities and disadvantaged members of society with collaborative construction.

More than an architect, Hsieh is an architectural activist who takes social, cultural and economic limitations and ecological concerns into consideration to create works that embody the ideals of “sustainable construction”.

Hsieh Ying-Chun opposes modernist division of labour and classification.

 

Chen Chieh-Jen, Empire's Borders, DVD

 

 

 

 

 

 

 

Chen Chieh-Jen

The insulting treatment recently accorded Chen Chieh-Jen while applying for a U.S. visa has precipitated discussion of the plight of the Taiwanese people under the post-Cold War, post-colonial, and neo-liberalist global order.

The new work, Empire’s Borders (2009), is a film that opens showing the various and sundry checks that Taiwanese citizens must endure when applying for a U.S. visa for business, tourism, or family reasons.

Watch excerpts from Chen Chieh-jen’s complete video works at the Asia Society… on the effects of globalization on the marginalized in society… and Lingchi Executions

Chien-Chi Chang, China Town Series

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Chien-Chi Chang

Among his best known works are photos chronicling illegal workers in New York’s Chinatown (China Town); The Chain, a series of photographs taken at Longfatang, a controversial psychiatric shelter in southern Taiwan; and the matchmaking and courting rituals that bring Taiwanese men and Vietnamese women together in marriage (Double Happiness).

Chang began his chronicling of the lives of illegal immigrants on the streets of New York’s Chinatown in 1992, traveling to Fujian province in China to visit their families and relate the unique tales of these people that live on the margins of society. Hong John Lin notes that the most remarkable aspect of the photography process is that “the photographer becomes a part of the subjects’ lives, so that a total state of disarmament is reflected in front of the camera.”

Chien-Chi Chang on wikipedia

Cheng-Ta Yu, Ventriloquists, Video, 2009

Cheng – Ta Yu

Cheng-Ta Yu’s latest work is a video documentation of two Philippine women who married Taiwanese men and work in the same building in Taipei.

After more than a decade living in Taiwan, local language has become a tool in their daily lives, but in his interaction with them, Yu tries out three different languages (Mandarin, Taiwanese, and English), taking on some of their idiosyncratic pronunciations in his conversations.

To conclude the video with a note of levity, the women sing a song in Mandarin in an effort to liberate everyone from the language barriers that inevitably formed in their conversation.

Source: Press release via Universes in Universe

Related posts:

• MOMA acquires Israeli artist Guy Ben-Ner video Moby Dick – Apr 2009 – another artist who takes family and the domestic environment as inspiration
• Middle Eastern, Indian, Pakistani show seminal works in Lines of Control – interview Hammad Nassar – Feb 09 – a travelling exhibition looking at issues arising in nations, like but not including Taiwan, ‘made’ by partition
• UBS collecting global and video art – Aug 2008 – since 2000 the UBS collection has focussed on global diversity and immigration

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