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In an interview, Magnus Renfrew discusses the aims of the Hong Kong International Art Fair, highlighting its three core values: adherence to international standards, geographic diversity in art representation, and accessibility to art for a broader audience. He emphasizes the importance of fostering an engaging environment for collectors and galleries while building a sustainable art market in Asia, elaborating on the fair’s focus on education and collaborations with local organizations to enhance community engagement.
CIGE-2009中艺博国际画廊博览会 China International Gallery Exposition (CIGE), Beijing, China. 2009 Supported by the Ministry of Culture of The People’s Republic of China, the Sixth Edition of the China International Gallery Exposition (CIGE 2009) takes place at the Exhibition Hall of the China World Trade Centre in Beijing in April. Under the artistic direction of Luca Zordan, CIGE 2009 hosts around 80 selected outstanding galleries from over 20 countries, presenting a panorama of cutting edge contemporary art, welcoming and encouraging any form of art expression, including photography, video, painting, sculptures, mixed media, installations, prints, digital and net art, textile, design… CIGE is China’s first and most established international art fair, presenting around 84 contemporary art galleries from over 20 countries. In 2009 CIGE strengthens its relations in China, presenting 23 outstanding art galleries from Mainland China and 9 from Taiwan. Solid ties and exclusive networks are established with neighbouring Japan and Korea, which are represented at the art fair respectively with 7 and 12 galleries. South East Asia vibrant contemporary art scene also emerges as great protagonist at CIGE, with the participation of 7 galleries from Indonesia, 2 from the Philippines, 1 from Singapore, and 1 from India. In 2009 CIGE widens its artistic horizons through Asia and the Asia-Pacific Region. For the first time in the history of CIGE participating galleries are from Pakistan (1), Mongolia (1), and Australia (2). Facing the challenges and changes of the economical and political balance of our multipolar and interdependent world, CIGE would like to position itself as a dynamic and unique platform, open to contemporary artistic creations and visions from all over the world. For the first time in its history, CIGE presents art galleries from all the five continents (Asia, Europe, America, Africa, and Oceania). CIGE 2009 features art galleries from Europe, Italy (3), Spain (3), Germany (3), England (1), Austria (1), and The United States of America (1), and is delighted to welcome galleries from Latin America (Cuba and Mexico), Middle East (Syria and Israel), and Africa (Kenya). The participation of art galleries from Syria and Kenya marks the first gallery presentation at CIGE of contemporary art from the Arab world and the African continent. CIGE 2009 continues to focus on contemporary art, encouraging any form of art expression, including photography, video, painting, sculptures, mixed media, installations, prints, textile, design. Understanding the relevance of technology and globalization on the economic infrastructure of the art world, CIGE 2009 SPECIAL PROJECTS invite galleries, artists, not-for-profit art organizations, museums, institutions, private collection, and visitors to reflect on our contemporary visual culture. On the Second Floor of the China World Trade Center, MAPPING ASIA presents a selection of solo shows of contemporary artists from Asia. Mapping Asia Solo Projects are evaluated by an international Art Expert Committee of Major Museum Directors and Curators from USA and Europe, which will act as a Jury choosing and announcing the 3 most interesting solo shows in occasion of CIGE 2009 Opening Preview. CIGE 2009 INTERNATIONAL SOLO SHOWS -also located on the Second Floor of the China World Trade Center- would like to present the works of international artists, who have entered in direct contact with China, valuing the importance of intercultural experience as well as of the capacity of adaptability to the local environment, its bio diversity and cultural richness. In order to guarantee a display of international artistic quality, CIGE 2009 SUBLIMINALS and VIDEO LOOPS develop collaborations, quality partnerships and strategic alliances with museums, art institutions and cultural centres. CIGE 2009’s FORUM will be co-host by UCCA, The participants invited to the conference are directors and curators of major American and European museums and art institutions who have deep and long relations with contemporary art in Asia. The interactions between the art fair and worldwide institutions aim to stimulate dialogue and discussion, giving the cultural centres the opportunity to present their programs of exhibitions, and contributing to enrich cross cultural knowledge in China.
Thought and Historical Difference, and Ganguly's conceptualisation of the three conferences have been extremely influential in shaping the first theme of this current volume of essays-'world-making'. 2 The keynote papers delivered by Patrick Flores and John Clark at the conference 'The World and World-Making in Art: Connectivities and Differences', are published in this volume. In all, nine authors in this volume gave papers and participated in discussions at the conference (
Art Basel Conversations, Art Basel, 2006
Ai Weiwei, Fei Dawei, Elena Foster, Huang Du, Hans Ulrich Obrist, Ou Ning, Craig Robins, Wang Hui, Fan Di’an, “China: New Opportunities in the Global Art Arena”, Art Basel Conversations, Basel, 2006.
2020
This series focuses on visual cultures that are produced, distributed and consumed in Asia and by Asian communities worldwide. Visual cultures have been implicated in creative policies of the state and in global cultural networks (such as the art world, film festivals and the Internet), particularly since the emergence of digital technologies. Asia is home to some of the major film, television and video industries in the world, while Asian contemporary artists are selling their works for record prices at the international art markets. Visual communication and innovation is also thriving in transnational networks and communities at the grass-roots level. Asian Visual Cultures seeks to explore how the texts and contexts of Asian visual cultures shape, express and negotiate new forms of creativity, subjectivity and cultural politics. It specifically aims to probe into the political, commercial and digital contexts in which visual cultures emerge and circulate, and to trace the potential of these cultures for political or social critique. It welcomes scholarly monographs and edited volumes in English by both established and early-career researchers.
World Art , 2015
Compared with other ‘peripheral’ art, exhibitions of Asian art in the United States remain depoliticized and unscrutinized. This essay examines recent exhibitions against the long trajectory of collecting, classifying and displaying Asian art in the US, and argues that, despite their efforts to venture beyond conventional museology, art institutions today still tend to prioritize poetics over politics, ‘tradition’ over modernity, homogeneity over heterogeneity. Such lingering Orientalism can be attributed to reasons ranging from logistical difficulties to conflicted interests, but above all to a lack of historicity: the intentional or habitual shunning of contextual complexities, the inclusion of which may deprive the artworks – and their hosts – of their pretense to neutrality, transcendence and aura. The critical approaches taken by contemporary Asian American artists and curators, on the other hand, are also fraught with contradictions and ambivalence, but they point to more historicized, nuanced and illuminating ways to display Asian art. Contemplating the unexplored directions and hidden connotations of Asian and Asian American art exhibitions in recent years, this essay contends that restoring and explicating historical specificity is crucial for building and propagating meaningful accounts of world art history, in which issues such as the appropriation of as well as resistance to modernity, the migration of objects, personae and techniques, and the experiences of the global diaspora can serve as governing themes and guiding principles, replacing a taxonomy based on nationality, ‘culture’ or chronology. Those accounts of world art history are destined to be fragmentary, yet only through such stories can we envision substantive (if ephemeral connectivity)
2003
2003 50th Venice Biennale The vernissage days at Venice in 2003 opened in torrid heat, and a very large crowd of art people, about 50% of whom would appear to have been dependencies of curators and art press, and not, mainly, people interested in contemporary art save as an obscure spectacular ritual or tourist event. It was all a bit like the Louvre on Saturday afternoon in spring, without the Mona Lisa, without bullet-proof glass. These were less than ideal conditions for viewing art let alone engaging in the 'collaboration' curatorially envisaged in two sub-exhibitions Zones of Urgency and Utopia Station. 2003 ‘Alors, la Chine?’, Artlink, vol 23, no 4 This was a major exhibition of contemporary Chinese art at the Centre Georges Pompidou, Paris from 25th June to 13th October 2003.
SHIFT, 2017
Ijiri, A. (2017, September 22.) Asia Corridor Contemporary Art Exhibition. SHIFT. http://www.shift.jp.org/en/archives/2017/09/asia-corridor-contemporary-art-exhibition.html SHIFT 日本語版 | HAPPENING | 東アジア文化都市 2017 京都「アジア回廊 現代美術展」Translation: Yumiko Miyagawa
2019
TOOLS FOR THE FUTURE Workshop 3 The Formation and Development of New Art Markets Art in Emerging Markets: The Case of India India’s art market is not new (as there is a long tradition of collecting), but certainly an emerging one: Art Tactic’s recent report recorded a 7.7% increase in the South Asian art market and an increase in gallery sales of 9.1%. Along with the growth the art infrastructure is being built gradually: new biennales (Kochi-Muziris, Chennai Photo Biennale) and – with the lack of government support – new private and corporate museums (Piramal Museum of Art, Museum of Art and Photography, etc.) are being established, as well as new models of philanthropy (e.g. crowdfunding) are being adopted within the last 5 to 10 years. The ongoing research project aims to investigate the distinctive characteristics of the Indian art market, and to understand the dynamics behind its current, rapid evolution – with special regards to the role of education (a new generation of professionals to contribute to the arts ecosystem and of collectors); the increasing importance of the so-called social media influencers, as well as the interior designers as tastemakers; and the challenges of entering the international market. The empirical context of the research is the India Art Fair 2019, the biggest and most significant platform of the primary market for modern and contemporary art in the South Asian region. In-depth interviews have been conducted with 12 professionals working at the Indian art scene, such as gallerists, artists, museum directors, and private collectors. Based on this preliminary research a questionnaire has been constructed and sent out to the 75 exhibitors of the fair: modern and contemporary, Indian and international galleries, as well as non-profit institutions. The data collected will be subject to further analysis.
Edited by Michelle Antoinette and Caroline Turner, this volume draws together essays by leading art experts observing the dramatic developments in Asian art and exhibitions in the last two decades. The authors explore new regional and global connections and new ways of understanding contemporary Asian art in the twenty-first century. The essays coalesce around four key themes: world-making; intra-Asian regional connections; art’s affective capacity in cross-cultural engagement; and Australia’s cultural connections with Asia. In exploring these themes, the essays adopt a diversity of approaches and encompass art history, art theory, visual culture and museum studies, as well as curatorial and artistic practice. With introductory and concluding essays by editors Michelle Antoinette and Caroline Turner this volume features contributions from key writers on the region and on contemporary art: Patrick D Flores, John Clark, Chaitanya Sambrani, Pat Hoffie, Charles Merewether, Marsha Meskimmon, Francis Maravillas, Oscar Ho, Alison Carroll and Jacqueline Lo. Richly illustrated with artworks by leading contemporary Asian artists, Contemporary Asian Art and Exhibitions: Connectivities and World-making will be essential reading for those interested in recent developments in contemporary Asian art, including students and scholars of art history, Asian studies, museum studies, visual and cultural studies.
InFlux: Contemporary Art in Asia, 2013
What do we mean by the term 'Contemporary Asian Art' and how are we to represent it? With its varied histories, traditions and cultures, Asia can hardly be bracketed into one entity, yet the reception of its art is ridden with essentialisms and tropes. Meanwhile, the region's longstanding engagement with Modern and Contemporary art, globalisation and rapid economic changes has seen Asia's arts scenes change irrevocably. Influx - Contemporary Art in Asia explores the trends in and circulation of, contemporary art from Asia in the many International Expos, Biennales and Art Fairs that seem to be focusing increasingly on this region. Illustrated with works of leading artists from India, China, Pakistan, South-East Asia and the Middle-East, it brings together essays by 19 critical writers. They reflect on the diversity of Asia's self-perceptions, the historical bases for a category such as Asia and its political and cultural exigencies which inform various curatorial interventions.
* This is a conference paper for the 2017 meeting of The International Art Market Studies Association (July 2017, London, United Kingdom) This paper addresses the social economy created by 2016 Shanghai Biennale that ran from November 12, 2016 to March 12 2017. With the selection of the Indian curator/artist group Raqs Media Collective as the chief curator, the 11th Shanghai Biennale was structured around the idea to launch “the possibilities of South-South dialogue within the current scenario of a highly interconnected world.” Such an agenda has defined the selection of art works and artists presented in the Biennale – as works of video art, socially engaged multi-media installations, and performing arts being the highlights of the three-month-long show. Many events were convened around the city – including the 51 Personae Project, a collaboration launched with the local group Dinghaiqiao Mutual Aid Society.
2014
Introduction The international art market has been in the limelight for some years, with record prices for art sales reported in the media and artists and collectors obtaining rock star status. The ongoing process of globalization in the art world whereby artists, their works and artistic inventions migrate seemingly without effort to distant lands, has enforced the perception of an integrated and fast-paced global art market. Many commentators ascribe the growth of the volume of the art trade to the rise of the emerging economies of Asia, Africa and Latin America. Indeed, few would dispute that the new art buyers from the so-called BRICS countries (Brazil, Russia, India, China and South Africa), in addition to Arab nations such as the United Arab Emirates, have supplied much needed oxygen to the global art market. Evidence of the art trade convincingly shows that the revenues generated by China and other emerging nations have de facto saved the art market from a downturn akin to th...
Ciel variable : Art, photo, médias, culture, 2012
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SUNSHOWER Exhibition catalogue: SUNSHOWER – Contemporary Art from Southeast Asia 1980s to Now, Date of Issue: August 9, 2017 >>Exhibition-catalogues are significant. However big the show, once taken down, it is primarily the catalogue, that speaks for the exhibition-artworks’ relationship with each other and the larger field. When the field is young and undecided, the catalogue, embodying the curator’s vision and position, matters more. This critic’s own knowledge of Southeast Asian art is grounded in the scholarship built through multiple-essay catalogues of historically relevant shows. A number of these were produced by Japan’s institutions, particularly with the opening of the Fukuoka Art Museum in 1979. Take for instance the principal text from the catalogue of one such regional exhibition, ‘Art in Southeast Asia 1997: Glimpses into the Future’, produced by The Japan Foundation Asia Centre in ‘97. Curator Junichi Shioda’s essay ‘Glimpses into the Future of Southeast Asian Art: A Vision of what Art should be’, constructed and cross-examined the idea of a regional canon, independent from Euramerican modernism, through the socially-rooted practices of artists from five Southeast Asian countries. Two other academic essays in this exhibition-catalogue further provided analyses of art in Southeast Asia and contemporary art in Indonesia. Around the same time, a similarly vital exhibition ‘Contemporary Art in Asia: Traditions/Tensions’ was curated by Thai scholar Apinan Poshyananda. This exhibition’s catalogue included seven essays that built the discourse around the politically charged practices of various Southeast Asian artists among others from Asia. Such exhibition-catalogues sought intellectual contributions from field-scholars who connect socio-economic complexities, and ground artistic practices in their respective historical, cultural and political contexts. Such catalogue-essays, written two decades ago or today, are important to establishing the canon around Southeast Asian art because scholarly analyses of exhibition artworks, and their comparison with other pieces, permit the discerning of larger currents and parallels that give shape to the field. That artists from Southeast Asia have been potent voices for social change and reformation is established through scholars’ analyses of artworks presented in writing for exhibition-catalogues, past and present.<<
Indonesian Art Goes International, or so went the headline of a gathering of art enthusiasts held in Jakarta, Indonesia in August 2008. Organised by Deddy Kusuma, a Chinese-Indonesian property magnate and a major collector of Indonesian and Asian art, and the Asosiasi Pencinta Seni Indonesia (Art Lovers Association of Indonesia), the gathering brought together a select group of Indonesian art collectors, curators and artists to meet Lorenzo Rudolf who was travelling through Asia in order to promote ShContemporary, the art fair in Shanghai of which he was then the director. Gatherings of this variety are vital in the operation of the transnational art market for they cement relationships tied to market transactions, further the production of increasingly trans-border exhibitions, projects and discourses and contribute to, and are also evidence of, the vibrancy of the contemporary art market. Those present at the gathering had a keen sense of the immediacy and simultaneity of being in the contemporary artworld, and in turn recognised their presence in a world where distance and difference never seemed more inconsequential.
Third Text, 2010
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