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Jing Daily compiles the best in Chinese luxury, culture, business, arts, and investment news from around the world
NEW YORK – November 5, 2009 – Jing Daily, the source for the most important and timely news about the business of luxury and culture in China, today announced the launch of its new website (http://www.jingdaily.com). With insight and commentary gathered from the Chinese- and English-language blogosphere and top news sources around the world, Jing Daily offers up-to-date information about crucial developments and current trends in China’s luxury, business, arts, and cultural markets.
Posted in Art, auction, Automobile, Business, China, Chinese Art, Culture, Currency, Economics, Economy, Fashion, G20, Investment, Luxury, Museums, Sino-US Relations, Uncategorized
Tagged blog, China, construction, Culture, jing, Luxury
Auction Sales From July 1, 2008 To June 30, 2009 Send Zeng To The Top Of The List, As Chinese Artists Make Up 16 Of The Top 50 In The World
Zeng Fanzhi is one of the most interesting and top-grossing contemporary Chinese artists of the last 30 years
Artxun (Chinese) reports this week that Zeng Fanzhi — one of China’s top contemporary artists — has gained the title of “Number One” Chinese artist in terms of auction prices over the last year, leapfrogging longtime title-holder Zhang Xiaogang. While some of this may be down to the slower pace with which Zhang is producing new works, Zeng’s growing popularity within China and, ostensibly, among New Chinese Collectors, could have something to do with it. Zeng, who sprang to prominence in the 1990s mostly through his “Mask” series but has since begun experimenting with more abstract pieces, recently sold 5 of 6 pieces up for grabs at Sotheby’s autumn auction of contemporary Asian art in Hong Kong well above high estimates, indicating that his popularity among the primarily Mainland Chinese bidders remains strong.
The Artxun piece, rather than focusing only on Zeng’s auction prices, does an excellent job of looking into the artist himself and some of the personal projects he has undertaken, including the “Zeng Fanzhi Art Scholarship,” which awarded 10,000 yuan to a disabled university applicant in July of this year. From the article (translation by CLCB staff):
Compared to last year’s [Artprice] list, Chinese artists comprised 16 of the top 50 artists in the world, down from 18 the year before. Among Chinese artists, Zeng Fanzhi was the highest selling, surpassing Zhang Xiaogang by 1,010,000 yuan, becoming China’s most “expensive” artist of 2009. Zhang Xiaogang slipped from the top five this year down to #7. Chinese artists who made the top 50 list last year, namely Yin Chaoyang, Liu Wei, Fan Dehai, and Guo Hai weren’t strong enough to make the list this year, although Yan Peiming is expected to enter the top 50. Another interesting thing to look at is Chengdu’s growing power — aside from Zhang Xiaogang, Chengdu-based contemporary artist Zhou Chunya was ranked 17th in the world and #11 in China in 2008, and in 2009 rose 3 places in the world ranking to #14 while rising 6 places in China to #5 there. Another Chengdu artist, Luo Zhongli, ranked #38.
Posted in Art, auction, China, Chinese Art, Culture, Museums
Tagged Art, artxun, China, chinese, chinese contemporary art, contemporary art, contemporary chinese art, translation, zeng fanzhi, zhou chunya
Interest Of New Collectors, Government Support Growing As More Museums Mount Large-Scale Exhibitions Of Work By Top Artists
Wang Guangyi's work seems to be (finally) accepted and promoted by the Chinese government's cultural elites
Recently, we translated a speech presented at the first-ever conference of Chinese collectors of contemporary Chinese art delivered in Beijing by influential art critic Li Xianting. In this speech, Li called on Chinese collectors to get busy buying, preserving and presenting top-quality works of contemporary Chinese art in order to ensure younger generations in the country will be able to view and understand their artistic heritage. Li called art collecting “a form of cultural creation,” the responsibility for which lies in the hands of the country’s new generation of art collectors. From Li’s speech:
We can’t expect the government to establish, from top to bottom, an art museum system in such a short amount of time, not least because the construction of the “hardware” is so difficult, but what’s harder is [assembling] the artwork itself, because up until now the collection in the government’s museum of contemporary art has been really poor, and not only because in the past three decades the important works of Chinese contemporary art have flowed overseas. Can the government spend the money to collect contemporary art? Aside from lack of funds, the hardest thing is that within a considerable amount of time, could the government possibly recognize the value of a contemporary art value system?
Whether by coincidence or by design, a news item in China’s Global Times today announced a spate of high-profile museum exhibitions of two of China’s top contemporary artists, Zhang Xiaogang and Wang Guangyi. Although as recently as last month Li Xianting decried the Chinese government’s slow movement on arts education and investment in cultural capital, these two exhibitions seem to indicate that development is beginning in earnest. From the article:
While the recent inclusion of a selection of contemporary Chinese artworks in exhibitions held at state-run museums across the country has been considered by many as a sign that Chinese contemporary art has been officially embraced by the government, others in the art world are calling for more to be done to recognize the genre.
Posted in Art, auction, China, Chinese Art, Culture, Investment, Museums
Tagged Art, art collection, beijing, CCP, China, contemporary art, contemporary chinese art, CPC, government, guangdong, guangdong art museum, li xianting, national art museum, political pop, wang guangyi, zhang xiaogang
Festival Will Bring Together Performing And Visual Arts, Music, And Film
Several top contemporary Chinese artists like Yue Minjun will be featured during Carnegie Hall's Ancient Paths, Modern Voices" festival later this month
This month is shaping up to be pretty exciting for China-watchers in Orange County, California and New York City, as Carnegie Hall presents a new festival celebrating Chinese culture, “Ancient Paths, Modern Voices.” Scheduled for both cities are a number of performances by top Chinese musicians, film screenings, contemporary Chinese art exhibitions and more. The festivals will take place from October 11 to November 24 in Orange County and from October 21–November 10 in New York. From a release:
“The immemorial culture of China has made itself felt throughout the world for many centuries-but its influence today is arguably more widespread, and more directly present, than at any other time in history,” stated Dean Corey, President and Artistic Director of the Philharmonic Society of Orange County. “That is the source of the richness and excitement of Ancient Paths, Modern Voices. The festival presents extraordinary expressions of the most venerable Chinese artistic traditions, then brings them into the here and now. This is Chinese culture in all its variety, from the deepest roots to the greenest branches.”
In New York, a number of partner organizations across the city will take part in the three-week festival, contributing venues as well as experts in the field of Chinese performing arts:
Posted in Art, China, Chinese Art, Culture, Museums
Tagged ancient paths modern voices, arario gallery, Art, art exhibition, aw asia, california, carnegie hall, chambers fine art, China, chinasquare, chinese contemporary art, chinese film, chinese music, contemporary chinese art, exhibition, festival, film, goedhuis contemporary, lang lang, max protetch, New York, ny, nyc, orange county, qi zhilong, stux gallery, sun xun, tan dun, wu man, yo yo ma, yue minjun
“Godfather Of Chinese Contemporary Art” Advocates Collections Develop To Ensure Art Can Be Seen In China
"The Godfather of Chinese contemporary art," Li Xianting (Photo: ArtZine China)
At recent events like the Global Collecting Forum and the Songzhuang Art Festival’s Conference of Collectors of Chinese Contemporary Art, a major topic of discussion among Chinese scholars and art critics has been the need for Chinese collectors of contemporary art (and Chinese museums and galleries) to acquire more top-quality pieces while educating the public on the history, subject matter, figures and current state of Chinese contemporary art.
At the Songzhuang Festival, Chinese art critic Li Xianting — who has been called the “Godfather of Chinese Contemporary Art” — gave a speech in which he said collecting Chinese contemporary art is a form of “cultural creation” which requires the urgent attention of Chinese collectors. Since the breakout of Chinese contemporary art in the late 1970s and its development over the years, the majority of major works of art have been acquired by Western collectors, and although that is changing gradually as Chinese buyers amass their own collections, Li still sees disequilibrium in the global marketplace. By building collections of Chinese contemporary art now, and continuing to patronize Chinese artists in the same way the Medici family did in Renaissance-era Italy, Li feels that Chinese art can reach the Chinese people themselves by building a new form of aesthetic education while stemming the flow of artwork out of the country.
Artxun (Chinese) posted the entirety of Li’s speech today. Translation of excerpts by ChinaLuxCultureBiz team:
Collection is a kind of cultural creation, and in collecting contemporary art one must face value standards, but value standards in a progressing era are of a very uncertain ideological form, and collectors — through their behavior — have to confirm whether they’re actually qualified to become the builders of value standards in the era in which we live. Every major collector who made an important contribution to art history, such as the Renaissance-era Medici family or the Guggenheims, Ludwig II…the famous American and Italian Guggenheim museums, and Germany’s Ludwig Museum — named after these collectors — because of these people and places collecting artwork, some of these works of art have become critical elements of art history.
Posted in Art, auction, China, Chinese Art, Culture, Investment, Museums
Tagged america, antiquities, Art, art history, China, Chinese Art, contemporary art, contemporary chinese art, Culture, dada, dynasty, guggenheim, ink, italy, li xianting, ludwig II, medici, modern art, Museums, qing, realism, song, songzhuang, surrealism, yuan
Forum Provides Opportunity For Western, Chinese Collectors, Curators And Artists Come Together To Discuss Future Of Art Collecting In China
Western and Chinese experts discussed a wide range of important issues in art collecting at the Global Collecting Forum in Beijing (Photo: CRI)
Although the last few years have seen the rapid rise of the New Chinese Collector of contemporary Chinese art, the relatively late arrival of Chinese collectors means that the vast majority of major works of contemporary Chinese art remain in the collections of Western art collectors (such as the former Swiss diplomat-turned-prolific collector Uli Sigg, who owns around 2,000 pieces) or Western art museums and galleries. Although buying trends are changing, as more Chinese collectors and curators start to bolster their collections and diversify the artwork they acquire, one of the unique challenges that art lovers in China must face is the dearth of contemporary Chinese artwork available for view in their local museums and galleries.
With these issues — the underdevelopment of Chinese art museums and the growing interest in private art collection in China — in mind, this weekend the Global Collecting Forum was held at Beijing’s Reignwood Theater. The forum brought together a number of prominent Western and Chinese art collectors, museum curators, gallery owners and artists, whose work was shown at an exhibition which included pieces by prominent Chinese artists like Cai Guoqiang, Xu Bing, Liu Xiaodong and Wang Guangyi. According to Cultural China:
[Chinese writer-filmmaker Sun Shuyun], who was a guest at last year’s ISD forum, has met some of the world’s best-known art collectors and museum directors there. But she was somehow left with the impression that many of these “leaders of art collecting actually knew very little about Chinese art.”
The situation is expected to improve as this year’s forum brings over 30 leading art experts from Europe, the United States and Russia to meet with their Asian counterparts in the Chinese capital. Those set to show up include Baroness Kennedy QC, a trustee of the British Museum; Alexandra Monroe, senior curator at the Guggenheim Museum; and Derek Gillman, director of the US-based Barnes Foundation, a top collector of Post-Impressionist paintings.
Posted in Art, auction, Business, China, Chinese Art, Culture, Investment, Museums
Tagged Art, art collecting, artist, barnes foundation, beijing, british museum, cai guo-qiang, cai guoqiang, CCA, China, Chinese Art, chinese contemporary art, conference, contemporary art, global collecting forum, guggenheim, met, metropolitan museum, New York, reignwood theatre, russia, xu bing
Exhibition From London’s Victoria and Albert Museum Puts Contemporary Chinese Design Front And Center
"China Design Now" is an excellent introduction to the world of contemporary Chinese design and visual arts
Over the last 30 years — but mainly in the last 10 — Chinese contemporary design has roared to life, leading to unique and culturally resonant architecture and striking visual arts. Beginning this week, this vibrant design will be on full display at the Portland Art Museum‘s “China Design Now” exhibition in Portland, Oregon, giving visitors a glimpse of China’s rapidly shifting design industries while providing them a good cross-section of the tectonic cultural shifts that have awakened that country’s creative energy in the 21st century.
From The Oregonian:
“China Design Now” will hurl visitors into the here and now of contemporary China, with all of its huge-scale cultural energy. The giant isn’t sleeping anymore. It’s wide awake and roaring. And “China Design Now” attempts to nail down the elusive contemporary moment of this restlessly moving target.
Posted in Art, China, Chinese Art, Culture, Museums
Tagged advertising, Art, China, china design now, chinese, design, exhibition, oregon, portland, portland art museum
Dozens Of New Chinese Collectors Converge To Discuss Art Values, Top Artists, And Closing China’s “Art Gap” Between Key Figures And The Public
The First Annual Conference of Collectors of Chinese Contemporary Art attracted a number of top critics, artists, and journalists
We’ve been looking a lot at the New Chinese Collector — the up-and-coming art collector who has become a fixture at art auctions around the world without really being understood by many seasoned collectors or auction houses. What is so fascinating about this group is the way that mainland Chinese collectors have really developed organically, and come together out of collective interest in the subject to become more informed about what art is out there, how much it costs — and should cost — and which artists they should be buying for their personal collections.
Recently in China, the 5th Annual Songzhuang Art Festival (which we profiled last month) was held in Beijing, with more than 1,000 artists taking part. As one of China’s most well-attended art festivals — owing mostly to Beijing’s international visibility and status as China’s artistic and cultural center — the Songzhuang festival lends itself to important or high-profile events. This year, one of the most unusual of these was the “First Annual Conference of Collectors of Chinese Contemporary Art” (首届中国当代艺术收藏家年), headed by art critic Li Xianting (栗宪庭). As the domestic audience becomes increasingly interested not only in museums and galleries but in specific types of art, and the middle class continues their (new) tradition of diversifying assets, it will become even more important for the domestic “New Collector” to understand the art and the market itself. At Songzhuang, the “all star cast” of attendees is a good indication that many in China are motivated to help their art market (and art audience) mature and develop rapidly.
As this Artintern article (Chinese) points out, many influential members of the Chinese art world — including conference chairman Li Xianting — feel that it is important for the Chinese collector to become intimately familiar with Chinese contemporary art not only to fill a gap in public knowledge but also to catch up to western collectors of Chinese art:
Chinese contemporary art began with the opening of China [in the late 1970s]. However, with no standard of value in the domestic contemporary art market, collecting and business in contemporary Chinese art was started in the West. Since the late 1970s in Chinese contemporary art — for example after the “Stars Fine Arts Exhibition — foreigners in Beijing have created a ring around the market, a ring which is still increasing. When overseas institutions or individuals gather up works at a low price that we have identified as a representation of Chinese contemporary artwork, then sell them back to China at a very high price, [these artists] are reported in domestic media as overnight successes and superstars. This has been to the detriment of the local Chinese contemporary art market.
At the annual meeting, the Chinese contemporary art critic Li Xianting — the chairman of the event — said, “To establish China’s own contemporary art market, we have to establish China’s own artistic value standards and use these standards to guide the market — is the art guiding the money or is the money guiding the art? China must take its own stand.”
Posted in Art, Business, China, Chinese Art, Culture, Museums
Tagged beijing, China, Chinese Art, chinese art collectors, chinese contemporary art, contemporary art, mainland china, new chinese collector, songzhuang, songzhuang art festival
High Proportion Of New Chinese Collectors Boosting Sales As Economic Mood Remains Relatively Tepid In More Mature Markets
Up for auction in Hong Kong on October 6: Ai Weiwei's “A Gift from Beijing (set of three works)”
Next week, Sotheby’s will hold one of the most anticipated auctions of the season, its autumn auction of contemporary Chinese and other Asian art, in Hong Kong. For this closely-watched sale, the location is no coincidence. According to recent stories in the New York Times, Wall Street Journal, Bloomberg, The Economist and dozens of art blogs, mainland Chinese buyers have rapidly become one of the fastest-growing buyer and collector groups in the world. Considering art collection was virtually nonexistent for much of the last 60 years in China (and probably significantly longer than that), many newly wealthy Chinese are taking advantage of the readjustment in prices of pretty much anything up for grabs at auction to bring home everything from Chinese antiquities to contemporary art by living artists.
Whether they are doing this more for personal reasons (decorating their house while holding on to something of great financial value which is expected to grow along with the Chinese yuan) or for patriotic reasons remains to be known. My assumption is that there is a little bit of both involved.
In the run-up to the October 6 auction in Hong Kong, a spate of auctions of Chinese art have taken place over the past few weeks, with Chinese bidders going far beyond the estimates and shocking many observers. The new Chinese collector has, in many ways, signaled his arrival by the manner in which he’s seemed completely impervious to either the global economic slowdown or auction trends, and is quickly building a reputation as willing to spend, brash, motivated and savvy.
This week, on Economist.com, the Chinese collector’s knack for repatriating Chinese art is examined, with the writer concluding that auctions — as a buyer’s game — are all about who brings the money and who’s willing to spend it. At recent auctions (and, I would have to assume, future auctions) many of these individuals are mainland Chinese:
Anyone who believes the art market has been felled by the financial crisis should have been in New York earlier this month for the seasonal auctions of Chinese bronzes, furniture and ceramics. The salerooms at Sotheby’s and Christie’s were overflowing with bidders, more than three-quarters of them from Hong Kong, mainland China and Taiwan. Extra Mandarin-speakers, all of them fluent and young, had been taken on specially to handle additional telephone bidding from Asia.
Posted in auction, Business, China, Chinese Art, Culture, Currency, Investment, Museums
Tagged ai weiwei, Art, art collectors, auction, China, Chinese Art, chinese contemporary art, christie's, doyle, Economics, Investment, new chinese collector, patriotism, sotheby's