“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
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
Songzhuang Cultural And Arts Festival, Taking Place From September 20 To October 12, Showcases Artwork From Artistic Districts Around The Country
This year's Songzhuang Cultural and Arts Festival follows the success of last year's exhibitions
Although many art enthusiasts are familiar with Beijing’s larger and more established art districts, such as Dashanzi (大山子) and Caochangdi (草场地), one of the Chinese art world’s best-kept secrets is that the country is home to a number of smaller, more exclusive art communities. Running until October 12, the Songzhuang Cultural and Arts Festival looks to showcase the work of artists from these art colonies — both large and small — and give art lovers a glimpse into the wide range of artwork currently being produced throughout China. Titled “Community! Community!” this festival puts a strong emphasis on the work of artists in distinctly non-mainstream art communities in ten art “zones”:
Artists from ten different art zones in Nanjing, Chengdu, Xi’an, Wuhan and Changsha. were invited to display their artworks. Each art district has a separate location at the festival, featuring recently created artworks by artists representing each community.
Thirteen large-scale art museums and galleries, such as the Songzhuang Art Museum, Sunshine International Art Museum, and the LDX Contemporary Art Center, provide exciting exhibits.
Posted in Uncategorized
Tagged ai weiwei, Art, art colony, art district, auction, caochangdi, CCA, CCP, China, contemporary art, contemporary chinese art, dashanzi, festival, october, PRC, songzhuan cultural and arts festival, songzhuang, sotheby's