Archive for March, 2015

The new Medicis China’s young art collectors

The new Medicis China’s young art collectors

Three years ago at Art HK, the predecessor fair to Art Basel in Hong Kong, gallerist Ben Brown recalls a well-spoken Chinese boy walking into the booth. “He asked to see our Boettis,” said Brown, referring to the conceptual Italian artist Alighiero Boetti, famous for his colourful tapestried maps.

Minutes later the boy, who was 15 years-old, had bought an embroidery by the late Italian artist, costing in the region of $100,000. His mother transferred the payment over the internet.

This wasn’t a rich kid’s whimsical shopping spree, insists Brown. “He had done his research and he knew that it was a good time to buy a Boetti.” Sure enough, the average price of a Boetti has since increased by around 18.4%, according to Artprice, an art market information provider.

 

Stories of mainland Chinese millionaires amassing vast art collections are nothing new. China now has over 11,000 ultra-wealthy individuals (those with assets of $30 million and above, according to Wealth-X) while as many as 500 “market-dominating art collectors” are based there, according to art research firm Larry’s List. And collecting is gathering pace. Nearly half of Chinese collections were founded between 2001 and 2010, according to Larry’s List’s Art Collector Report 2014. Read more…

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Xu Zhen Solo Exhibition at Long Museum

Xu Zhen Solo Exhibition at LONG MUSEUM 龙美术馆 
Exhibition period: March 28- May 24, 2015
Venue: Long Museum
No. 3398, Longteng Avenue, Xuhui District Shanghai
www.thelongmuseum.org

 

On the occasion of the first anniversary of its inauguration, the Long Museum West Bund will host the grand opening of Xu Zhen Solo Exhibition on March 28, 2015. Xu Zhen is an iconic, leading figure within the realm of contemporary Chinese art, and moreover he is the most sought-after international contemporary artist currently. Surveying art ancient and new, the artist marshals Chinese and Western cultures and fuses the quintessence of both. Through his meticulous treatment and distinctive integration of global knowledge and information, he generates an infinite degree of creativity.
Read more…

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CHEN WEI: IN THE WAVES

Chi K11 Art Museum
B3, K11 Art Mall,
No.300 Huaihai Road Central, Shanghai

March 16th through May 31th, 2015
Chen Wei is an Artist of Leo Xu Projects Read more…

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The Billionaire Building China’s Contemporary Art Scene

The Billionaire Building China’s Contemporary Art Scene

Adrian Cheng, the scion of one of Hong Kong’s biggest conglomerates, is on a mission to give talented young Chinese artists a voice and a platform to promote themselves to the rest of the world
By Tara Loader Wilkinson, Editor in Chief
March 13, 2015

Thirty-five-year-old billionaire Adrian Cheng, a father of two and the scion of Hong Kong’s New World Development Group, is a busy man at the best of times. But over the last few days his feet haven’t touched the ground. As Hong Kong’s Art Week rolls on, Cheng is involved in no less than six art shows. These including Inside China – L’Intérieur du Géant, held in conjunction with Parisian museum Palais de Tokyo, and TWENTY, a solo exhibition of icecreamy kitsch by Chinese artist Xu Zhen.

Read more…

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China’s New Generation of Art Collectors


China’s New Generation of Art Collectors
Young Chinese art collectors have been making global waves by paying millions of dollars for international works. The WSJ’s Wei Gu explains how this new crop of collectors differs from their parents.

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JeeYoung LEE | K11 HK exhibition, Making of & Interview

JeeYoung LEE | K11 HK exhibition, Making of & Interview from OPIOM Gallery

Making of and interview of Korean artist JeeYoung Lee during the set-up of her solo show at K11 Art Foundation (HK), in collaboration with OPIOM Gallery., Nov. 2014.

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Yang Xinguang’s first solo exhibition at the gallery Beijing Commune

Opening of Yang Xinguang’s first solo exhibition “Yang Xinguang” at the gallery Beijing Commune on March 7th, 2015.
The exhibition will continue until May 2nd, 2015.

Yang Xinguang is known for his use of various natural materials. In these artworks, the “substance” is combined with the contingency of“heart” in order to re-connect the two. This symbiotic relationship is not only a creative technique, but also a way for the artist to know himself. The new artworksof exhibition will be in keeping with this idea, and made with wood and metal – but there is a difference in its meaning, for Yang Xinguang’s explores broader interpretations instead of focusing on one particular topic. The close links Yang creates between subject-matter and medium enable him to express his emotions with freedom and flexibility.
In his recent work, Yang tackles the “object” to convey more specifically his personal feelings within the narrative/context of contemporary life and society. The large-scale installation entitled The Remaining Volume was created from a simple cut of the camphorwood. Similar to a subject’s alienation from space, the cutting or negative space signifies tension, conjuring a certain instability of external forces, which Yang’s embodies as a social being under particular circumstances of force and oppression. Meanwhile, the works The Remaining Volume and Untitled (Grid) share the theme of power. The Untitled (Grid) intuitively connotes disorder, like an irrational overlap –t he paradox of chaos incorporated into an ordered grid matrix. The spikes that appear starkly on top of the grid, seem peculiarly symmetrical and neatly arranged.
In this sense, we can understand this work as a recoded microcosm of Yang’s art as a whole. The gold color is chosen for its associations with reality. The ways in which we perceive gold are indeed charged with meaning – i.e. the standard signifier of wealth, popularity, etc. In this Golden-H, a metal frame is attached to an aluminum plate. The sparks’ remains or traces left on the plate let us notice the intensity of light’s track on the surface. The heated white powder falls on the golden aluminum plate to form a layer of misty light. The metal frame, akin to prison bars, denotes isolation, as well as a shaped external tunnel towards the ‘golden world’, which the viewer can easily peer into. Interestingly, the context of Untitled (Stairs), and Wandering has an obscure quality, which further reflects one’s hesitation and entangled thoughts. Untitled (Stairs), draws our attention to the creative process itself whereby Yang uses his body to apply paint to the stairs.The subject literally interferes with the object: Yang’s stepping onto the stairs leaves his footprints which signal a certain indecisiveness of standing at a given spot. Wandering also taps into this concept of doubt. Yang experiments with chance occurrences, and the way the body interacts with the medium. His art thus embodies his own self: the materiality of the gold paint literally incorporates parts of his being –his feet, his hands. What we see is a tangible manifestation of the self. Read more…

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