Você está na página 1de 62

Chapter I

Wang Keping,
Idol,
1979 Wood

The first Stars art exhibition, hung on the fence outside the National Art Gallery in Beijing,
September 1979
East Village, Beijing 1993

Zhang Huan,
12 Square Metres, 1994
Yang Fudong, Seven Intellectuals in Bamboo Forest, 2003, Video

Wang Guangyi,
Great Castigation Series: Coca-Cola, 1993
Jin Jiangbo, God, Go Ahead with Chatting, 2008

Gu dexin, 2005.03.05, installation


UCCA, Beijing

Shanghai Art Museum, Shanghai Guangdong Art Museum, Guangzhou


ShanghART Gallery, Shanghai Pace Gallery, Beijing

Vitamin Creative Space, Guangzhou


 Different types of galleries:
- Art critic/dealer: The Courtyard Gallery, Boers Pi Li (Beijing)
- Risk taker and trend setter: Shanghart (Shanghai), Vitamin (Guangzhou)
- Chinese-collector oriented: Tang Gallery (Beijing)
- The leading gallery: Hanart Gallery (Hong Kong)
- The foreign galleries: Pace Gallery (Beijing), James Cohan (Shanghai)

 Role of galleries in art distribution


 - Beijing and Shanghai exhibits establish system for viewing new art
- Galleries are the major player in stabilizing the local structure and in teaching
collectors and other audience
- In China, galleries are much along the sames lines of galleries in the West
Cai guoqiang, Ancient Branding (detail), 2003,
Gunpowder on paper, 400 x 1000 cm

Yan Pei-Ming, Bruce Lee, 1999,


Oil on canvas, 400 x 300 cm
Huang Yongping, The Nightmare of George V,
2002, Installation

Yang Jiechang,
Another turn of the screw
1998 – 2004, acrylic on canvas
Magicien de la terre,
Pompidou Center, 1989,
Paris France

Biennale di Venezia,
1999, Venizia Italy
The revolution continues,
Exhibition in Saatchi Gallery, 2008,
London UK
Yue Minju, Gweong-gweong, 1993
Christie's Hong Kong, may 2008
Sold for 54,087,500 HKD (6,941,948 US$)

Zhang Xiaogang, Bloodline: The big family no. 3, 1995


Sotheby's Hong Kong, April 2008
Sold for 47,367,500 HKD (6,083,363 US$)
 From 2000, tremendous commercial growth as
contemporary Chinese art incorporated into global
art market
 Increasing number of foreigners living in and
visiting China, expands the mainland’s collecting
base
 Contemporary Chinese art becomes the focus of
numerous academic and curatorial efforts by
leading Western curators, which generated greater
awareness about Chinese art while also expanding
its viewing public
 Market growth was fueled by a combination of an
expanding collector base and speculation
Chapter II

« To Chinese artists, appropriation


is only a method…..it aims to
achieve modernization of art and to
establish new values »
Huang Du, Art critic
2a. What is “Chineseness”?

 « Chineseness »: term coined by the West


during the early 1990’s to describe a particular
quality of the art and the people of the Middle
Kingdom, has been the catalyst for a
refinement and review of the essential
characteristics of China.
 Chinesemodern art was an anomaly. Its ideas
were not native and its forms were acquired.
 Many critics – in the West and at home – accuse
Chinese artists of imitating Western art
 For these artists the challenge was in making
themselves relevant to a Western aesthetic
hegemony without being marginalized by their
Chineseness
 Development and subsequent discussion of the
idiom“Chineseness” is colored by multiregional
and often-contradictory views of what it means to
be Chinese
Speech delivered at
Songzhuang Art Festival's
Conference of Collectors of
Chinese Contemporary Art
in 2009
 Collection: a kind of cultural creation
 Collectors face value standards, but
value standards in a progressing era
are of a very uncertain ideological form
 Collectors — through their behavior —
have to confirm whether they’re
qualified to build these value standards
in the era in which we live.
 In China, there’s a different history and
understanding of art museums
 Art appreciation is a lifelong form of education
 Building an art museum system is long and difficult
in such a short amount of time, not least because it
is not only about constructing a building but also
about what to put in and how to run it
 Value standards are like the core of a culture, the
artistic values of the system
 The government should recognize the value
of a contemporary art value system.
 «China should establish its own value and no
longer refer to the Western ones.»
 Li Xianting expresses his frustration that
much Chinese art remains at surface level,
work he feels is simply cashing in on the
China art boom in the West, but lacks any
deeper questions
 «I’ve always insisted that we have to have
our own art critics and exhibitions if
Chinese contemporary art wants to find an
audience at home. We have attached too
much value to the response of our Western
audience, because anything that attracts
attention in the West will also be
recognized at home. These forms of
contemporary art have thus become very
monotone.»
 - Shen Yubing, art critic
 Every country has its specific social problems
 Focus of art varies in different countries, a result
of globalization and imbalanced development of
world politics
 Political topics refer to different problems that
are formed by the public opinion in specific
countries.
 The discussion of Chinese contemporary art
involves its regional politics.
A more specifically Chinese
approach: Contemporary ink painting

A global point of view: the artist Cao


Fei
 Contemporary Ink Painting
 Contemporary ink painting fuses formal
techniques with Western concepts and
elements, presenting a new development of
the tradition
 Prominent examples exhibited in the West
today: Cai Guoqiang, Xu Bing,Yang Jiechang,
and Gu Wenda
 Major collectors are often artists and scholars
Xu Bing, Square Word Calligraphy Study Sketch (detail) 1994

Gu Wenda, Psuedo Character 1989 Ink on paper


Chen Yufan, Become One, Cai Ming, Metropolis in the Ups& Downs,
Mixed media on paper, 2007 Ink& Color on Paper, 2009
Cao Fei
In Fall 2009:
 selected as a finalist for the 2010 Hugo Boss
Prize
 Exhibitions:
    - International Center of Photography,
NY.October 23th  
 - Shiseido Gallery, Tokyo, Japan, November
1
 - Artissima in Turin, Italy November
7th             
 - Louisiana Museum of Modern Art,
Denmark. September 5 - January 10.
  - RMB City, Lombard-Freid Projects,
Paris- October 22-25
Chapter III
 Artist with a strong Chinese
market
Liu Xiaodong, Hot bed no. 1
China Guardian Auctions Co. Avril 2008
57,120,000 CNY (8,173,778 US$)
 Artist with a strong market
outside of China

Zhang
Huan
Zhang Huan, My New York #4, 2002 Zhang Huan, Youth,1998
Sotheby's Hong Kong, Octobre 2009 Christie's New York, May 2009,
Sold for 187,500 HKD (24,197 US$) sold for 212,500 US$
 Artist with both a strong Chinese
and international market

Zeng Fanzhi
Zeng Fanzhi, Mask series, 2001 Zeng Fanzhi, Mask series, 1997
Poly International Auction, May 2009 Sotheby's New York, Septembre 2008
8,064,000 CNY (1,180,562 US$) Sold for 1,082,500 US$
Chapter IV

"Without a sound collection of


Chinese contemporary art, we will
lose a real and fresh documentary on
Chinese transformation during the
past several decades, which will be a
huge loss to the Chinese people"

Ma Fenghui, director of the newly


founded Zhejiang Art Museum.
A presentation by Chris Gill

Chris Gill, Editor-in-Chief of Interfax


China News Agency in Shanghai. He also
contributes to many specialist Chinese
and international publications and the
Guardian newspaper.

His blog:
http://www.shanghaieye.net
China- art collectors

 Themodern capital v art


relationship
Introduction
 In China since 1992.
 Writer for international press
(Guardian, Art Newspaper, FT, etc)
 Artist – Yuanminyuan, Shanghai
Art Museum, Shanghart, etc
 Blog- www.shanghaieye.net
The past to the
present
 China Western collectors play a leading
role in China
 Now Chinese collectors are emerging
 “New faces from the mainland” Sotheby’s
autumn sales 2009
 Who are the main known collectors of
Chinese contemporary art?
Some of the leading
collectors:
 Guan Yi
 Uli Sigg
 Johnson Chang
 Zhang Rui
 Yang Bin
 Monique Burger
Guan Yi
Quotes:
 artworks are increasingly expensive. My own personal ability, to
more accurately say, my economic ability, it is hard to keep up,
as things are increasingly expensive, even young artists are
expensive. So now, when we buy things, we need to be
increasingly clear, on target, to choose the best art. No extra
money to go and buy other things.
 So the name list of the artists I collect is very small- just a few
dozen. Wang Jien Wei, Xu Zhen, Yang Fudong, Zhou Tiehai, Xiao
Liu Wei, Cao Fei, Da Liu Wei, they all represent this time.
 I won’t sell work at auction, but I will choose some, as you see
now works are too expensive, so I have 700, maybe even 800
works now. So, maybe, since I collected them, maybe now
these works aren’t so important to my collection, or fit into my
system.
 its very hard to write about Chinese art. There is no
education, there is no tradition, texts, to get an
accurate answer to any question ,who can tell you?
Chinese critics? There are far too many problems with
them. Too many people have become business
oriented, so you have no idea if he is telling the truth or
lying. Turning it around, can we trust these national
art museums and what have you? The art museums
also, they are not clear, the time is too short, in China,
and all this influence of the market. How can see a
good work, how can you tell? So from this perspective, I
rely on myself.
 in China a lot of young artists they come up with an idea, and that idea
they can sell several hundred pieces. In the 1980s an artist would have an
idea, and then do perhaps 2 or three pieces, and then leave it and move
on, as he would think, that idea I have finished. But now its become like a
production line, that idea, several hundred pieces, that idea two hundred
pieces…the factory model. Not a lot to do with art.
 The dead artists, their work its already settled, in the hands of certain
collectors, but with living artists they can make a plan. They can catch
the living artists, it’s a capitalist’s game. Capital is becomingly
increasingly important in art, and you must be especially careful of it, it’s
a bad influence. Its like Marx said. I have re-read Marx and a lot of what
he said is right. What does capital exist for? Its about control.
Zhang Rui
Quotes:
 I met Huang Liaoyuan, the partner of my current art gallery (Art Now Gallery).
He had been dealing with rock and roll musicians as a planner and broker,
arranging gigs and what have you. We were high school together actually.
When we met again after a decade I mentioned my interest in art
 People of my generation received a Soviet style education. So most oil
paintings we saw were of a revolutionary nature and had combative content,
reflecting the policy that art should serve political purposes.
 Since the end of 2002, I became a collector of Chinese contemporary art. Early
in 2003, when China was hit by SARS and everybody wanted to stay home, I
interacted with those artists who were staying together drinking. I visited their
studios and bought their works. At that time there was no local market for their
work like today and the only active buyers were from overseas. So at my early
stage of collecting, I did not spend a lot of money getting some nice pieces, the
value of that work has gone up a lot by now.
 Over the recent 2-3 years, I had a shift in my collecting
approach. This is partly because I acquired good
contemporary pieces for reasonable prices before the
market came into being, and I don’t want to buy things at
today's high prices. Secondly, I think art is a strange thing.
Simply put, it is an outlet of people's emotions.
 Generally speaking, I agree with Li Xianting's popular
assessment which divides the contemporary art scene into
a few distinct stages, and several main stream segments.
 I also like even younger artists today and people who are no longer young but have
never become very famous, just because their artistic forms are not focused on
reflecting their own life and therefore is not understood by or popular with
mainstream audiences. More often they focus on society, their ideal and use satire. I
like people of this kind who are serious enough to try to understand and remain
critical of the society. For instance, I have among my collection pieces by Sun Yuan
and Peng Yu, who are a couple in Beijing in their 40s.

 I have now been collecting contemporary Asian works instead of concentrating on


Chinese pieces. Japanese, Korean, Indian. I feel art is without borders. We can have a
narrow focus or we can collect anything in the world. I am not personally a
nationalist. Since I was young I was not bound by geographical boundaries. This is
also reflected in my collection practice. I don’t insist on collecting Chinese work.
Monique Burger
 “My background is in finance, my husband is in banking and is an
entrepreneur, so the arts give us a different angle, another way of
looking at the world. Artists are very intelligent people,
philosophers, they do a lot of research, they don’t just wake up in
the morning and start painting, they have issues, they live a
different lifestyle. In the beginning I was insecure, as I didn’t study
art history, other collectors usually have advisors, but then
someone told me I have courage, so that felt good.” Burger said.

 Now that Burger is making her collection public the discussion will
begin regarding her collection. “David Tang he told me I’m stupid
to do this to make my collection public. But I told him, for me, I
want to take the collection to the next level. We are not trophy
hunters, what I really want to do is give very young artists a
platform to show their works.
 Following her move to Hong Kong in 2004 Ms. Burger explained she has had to shelve
plans to build a museum to house her collection, and has instead decided to take her
collection public via this series of exhibitions, and will revisit the idea to open a
museum once the series of shows has finished.
 “I had a vision, there is this beautiful museum in Switzerland, the Bayeler Museum.
This would be a dream come true, one day, to have a space, open to the public,
where you can have a park, where you can live, and have your outside sculpture, like
a dream. When we moved to Asia five years ago, my husband and I, we knew we had
to postpone that dream. We are not going back to Switzerland, we have started a new
life here in Asia, here in Hong Kong where space is a big issue. So what do we do
now? The idea to open a museum is further and further away, so we came up with a
new idea, to hold a series of temporary exhibitions over the next 8-10 years. Because
this is our lifestyle, we are global travelers, global citizens, so why not live like this
with the art?”
 Burger describes her collection as having a diversity in terms of geopolitical
origins and contexts, specifically American-European, the Indian
subcontinent and Asian. “The collection blends very established
international artists and younger, up-and-coming artists while remaining
resolutely contemporary and not becoming historical, with very few
exceptions such as Rauschenberg,” Burger said.
 “I needed a curator, to be professional, but also because I’m too emotional,
the way I collect is intuitive. You can see, I have so many different media in
the collection. Daniel said he saw a thread going through my collection,
which was very good for me to hear, because it represents my life. I have
dedicated 15 years of my life to buying art. It represents my moods, my
feelings, my moving around in the world, and also major things, like history,
political issues, language, we are talking about more than 1000 pieces. I
never had these topics in my head when I went out there to buy art.
Case study: the power 100
in China
Chapter V

 Support for contemporary art in China has reached new


heights: indicated by art fairs, exhibitions in state-run
institutions, and even new forms of government funding.

 Still the underlying spirit aims at capital gain, market


interests, and the business end of art production, with little,
support for activities outside this sphere

 But changes will necessarly occur

 Li Xianting’s speech and awareness of the importance of Art


as not just a commodity

Você também pode gostar