胡介鸣个展展览过程实时联展第二十九天
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Mao to McDonald’s
By Jacquelyn Lewis
Published: November 9, 2007
NEW YORK—The Asian Contemporary Art Fair, which opened today at Pier 92, is a thinker’s fair. Billed as the first international art fair to focus exclusively on contemporary Asian art, it has collectors, artists, and dealers pondering more than just Asian art’s place in the market. A special exhibition of artworks not for sale commissioned by the fair organizers and titled “Simulasian: Refiguring ‘Asia’ for the 21st Century,” aims to examine “the ways in which today’s artists are questioning, and enlarging, the definition of ‘Asian-ness.’” It’s a theme that could apply throughout the booths, too. Seventy-six galleries and nonprofit organizations from the United States, Asia, and Europe are participating in the fair, and issues of identity and globalization seemed to be on everyone’s lips, intermingling with market talk in a buzzy, excited atmosphere when ARTINFO visited the press preview Thursday.
“Globalization has homogenized art,” said the New York gallerist Sundaram Tagore, whose booth was showing work from several artists, including the gallery’s best seller Sohan Qadri. “But something is pushing out, and that is the Asian identity.”
Naturally, works zeroing in on politics and consumerism were abundant, from the Chinese artist Qu Guanci’s “No Mao” painted fiberglass sculptures (at the New York-based China Square), which attempt to strip iconic Communist images of their power, to Li Lihong’s porcelain McDonald’s arches painted with Chinese dragons at New York-based Beatrice Chang Contemporary Art.
“Art reflects society, and you can see that here,” said Sundaram Tagore’s Anna Shen. “It’s the economic boom, it’s the political boom, it’s the culture clash.”
Figurative work—much of which also incorporates elements of the abstract—was also out in full force. Heidi Chang, vice president of PYO Gallery, with locations in Seoul and Beijing, said works focusing on the body are on the rise among artists and collectors not only in Asia, but internationally as well. PYO had works by the Korean installation artist Sung-Tae Park, whose sculpted aluminum screens of humans and horses cast elaborate shadows on the booth’s walls. The artist has yet to have a gallery exhibition in the United States, but his works garnered lots of attention at the fair. They were priced from about $8,000 for an individual piece to $60,000 for an installation. One installation, a constellation of writhing bodies, was already on reserve.
Across the exhibition hall, Beatrice Chang’s booth was the only one solely devoted to sculpture, much of it figurative, including Hongbo Xu’s porcelain Clone 07 Cake, a pile of miniature babies in Jingdezhen porcelain that addresses cloning and overpopulation.
Chang said she was happy with the fair overall, calling it a “gem” with “superb timing,” but she added that next time around the curatorial focus could be honed. “There needs to be more quality control,” she said. “Asian art is explosive, but not all of it is good; people should pay more attention to originality.”
Others said they found the mix of high-profile and smaller galleries and the range of artists, from the little-known all the way up to stars like Yue Minjun and Zhang Xiaogang, invigorating.
“If you go to Asia, you see the oversaturation of certain kinds of artists—the big names—so this is a refreshing breath of fresh air,” Tagore said. "A lot of art is pouring in from distant parts of Asia. Because the Asian content is so varied, this is truly international.”
And while it was too early to predict the fair’s overall success, sales at the preview seemed steady. When ARTINFO arrived, the Seoul-based Gana Art Gallery was completing the sale of YoungWun Yoo’s Media Woman, a rotund sculpture of a woman in a superhero outfit, made of recycled shredded comic books and magazines and listed at $15,000.
“She’s amazing, she’s amazing,” gushed the collector, standing nearby with a cell phone clutched to her ear. “You have to come see what I just bought!”
([url]http://www.artinfo.com/articles/story/26047/mao-to-mcdonalds)
文章引用自：
Mao to McDonald’s
By Jacquelyn Lewis
Published: November 9, 2007
NEW YORK—The Asian Contemporary Art Fair, which opened today at Pier 92, is a thinker’s fair. Billed as the first international art fair to focus exclusively on contemporary Asian art, it has collectors, artists, and dealers pondering more than just Asian art’s place in the market. A special exhibition of artworks not for sale commissioned by the fair organizers and titled “Simulasian: Refiguring ‘Asia’ for the 21st Century,” aims to examine “the ways in which today’s artists are questioning, and enlarging, the definition of ‘Asian-ness.’” It’s a theme that could apply throughout the booths, too. Seventy-six galleries and nonprofit organizations from the United States, Asia, and Europe are participating in the fair, and issues of identity and globalization seemed to be on everyone’s lips, intermingling with market talk in a buzzy, excited atmosphere when ARTINFO visited the press preview Thursday.
“Globalization has homogenized art,” said the New York gallerist Sundaram Tagore, whose booth was showing work from several artists, including the gallery’s best seller Sohan Qadri. “But something is pushing out, and that is the Asian identity.”
Naturally, works zeroing in on politics and consumerism were abundant, from the Chinese artist Qu Guanci’s “No Mao” painted fiberglass sculptures (at the New York-based China Square), which attempt to strip iconic Communist images of their power, to Li Lihong’s porcelain McDonald’s arches painted with Chinese dragons at New York-based Beatrice Chang Contemporary Art.
“Art reflects society, and you can see that here,” said Sundaram Tagore’s Anna Shen. “It’s the economic boom, it’s the political boom, it’s the culture clash.”
Figurative work—much of which also incorporates elements of the abstract—was also out in full force. Heidi Chang, vice president of PYO Gallery, with locations in Seoul and Beijing, said works focusing on the body are on the rise among artists and collectors not only in Asia, but internationally as well. PYO had works by the Korean installation artist Sung-Tae Park, whose sculpted aluminum screens of humans and horses cast elaborate shadows on the booth’s walls. The artist has yet to have a gallery exhibition in the United States, but his works garnered lots of attention at the fair. They were priced from about $8,000 for an individual piece to $60,000 for an installation. One installation, a constellation of writhing bodies, was already on reserve.
Across the exhibition hall, Beatrice Chang’s booth was the only one solely devoted to sculpture, much of it figurative, including Hongbo Xu’s porcelain Clone 07 Cake, a pile of miniature babies in Jingdezhen porcelain that addresses cloning and overpopulation.
Chang said she was happy with the fair overall, calling it a “gem” with “superb timing,” but she added that next time around the curatorial focus could be honed. “There needs to be more quality control,” she said. “Asian art is explosive, but not all of it is good; people should pay more attention to originality.”
Others said they found the mix of high-profile and smaller galleries and the range of artists, from the little-known all the way up to stars like Yue Minjun and Zhang Xiaogang, invigorating.
“If you go to Asia, you see the oversaturation of certain kinds of artists—the big names—so this is a refreshing breath of fresh air,” Tagore said. "A lot of art is pouring in from distant parts of Asia. Because the Asian content is so varied, this is truly international.”
And while it was too early to predict the fair’s overall success, sales at the preview seemed steady. When ARTINFO arrived, the Seoul-based Gana Art Gallery was completing the sale of YoungWun Yoo’s Media Woman, a rotund sculpture of a woman in a superhero outfit, made of recycled shredded comic books and magazines and listed at $15,000.
“She’s amazing, she’s amazing,” gushed the collector, standing nearby with a cell phone clutched to her ear. “You have to come see what I just bought!”
([url]http://www.artinfo.com/articles/story/26047/mao-to-mcdonalds)
文章引用自：
