Initial Price Offer Ipo : a Financial Guide for Investors in Art

Total Page:16

File Type:pdf, Size:1020Kb

Initial Price Offer Ipo : a Financial Guide for Investors in Art INITIAL PRICE OFFER IPO : A FINANCIAL GUIDE FOR INVESTORS IN ART EBITDA PE AND ROI RATIOS Wang Ximeng (Chinese: 王希孟; pinyin: Wáng Xīmèng; Wade–Giles: Wang Hsi-meng) (1096–1119) was a Chinese painter during the Song Dynasty. A prodigy, Wang was one of the most renowned court painters of the Northern Song period, and was taught personally by Emperor Huizong of Song himself. He died at the age of 23. Wang's only surviving work is an 11.9 meter (39 ft) long scroll titled A Thousand Li of Rivers and Mountains (千里 江山). The painting, finished by Wang when he was only 18 in 1113, was one of the largest in Chinese history, and has been described as one of the greatest works of Chinese art. The painting is in the permanent collection of the Palace Museum in Beijing. Great Criticism Series - Pepsi 1500x1190 US$449012 2005 Wang Guangyi China When the Moon is Orbed 2060x1400 US$3m 2012 Tan Swie Hian Singapore Execution US$5.99m 2007 Yue Minjun China The Last Supper 4x2.2m 2001 US$23m 2013 Zeng Fanshi China Battlefield Realism : The Eighteen Arhats 2004 US$7.95m 2008 Liu Xiaodong China Chapter of a New Century - Birth of the People’s Republic of China II 1992 US$6.7m 2010 Zhang Xiaogang China EST 1960x1500 2012 Asking US$6.7m 2013 Soh Eng Sim Singapore Interested Art Representatives will make an industry - wide standard commission and fee of 30% payable on the full successful completion of the sale of each art painting. Commission is expected to be highly remunerative and accounts for 30% of the final negotiated price. EST Group Singapore 118 Tampines Road Unit 0209 Singapore 535193 Skype : redbear1570 Telephone : 65-64876750 Email : [email protected] Website : http://www.est-intelligence.com BUSINESS DIVISIONS FOR SALE EST PAINTINGS a fully owned subsidiary of EST Group comprises 2 divisions. Division 1 markets and sells 9 works of art painted during the discovery of Extra Sensory Intelligence ESI era from 1987-2013. The 9 paintings include " EST " 1960x1500 and 8 original symmetrical calligraphy 790x545. Division 2 markets and sells " Rabbit in the Forest " 1960x1500, " Retirement EST " 1960x1500 and " Once Shaolin Si " 1960x1500. COMPARATIVE MARKET PRICING METHOD Opportunity cost is the next best purchase that provides the same economic utility to an art investor. In microeconomic theory, the opportunity cost of a choice is the value of the best alternative forgone in a situation in which a choice needs to be made between several mutually exclusive alternatives given limited resources. Assuming the best choice is made, it is the " cost " incurred by enjoying the benefit that would be had by taking the second best choice available. Comparable Paintings Sold Between 2007-2013 By World Auction Houses 1 " Execution " Sold US$5.99m 2007 Sotheby’s London 2 " Battlefield Realism : The Eighteen Arhats 04 " Sold US$7.95m 2008 Sotheby’s Hong Kong 3 " Great Criticism Series – Pepsi " 1500x1190 Sold US$449012 2009 Sotheby’s New York 4 " Chapter of a New Century-Birth of the People’s Republic of China II 92 " Sold US$6.7m 2010 Sotheby’s Hong Kong 5 " When the Moon is Orbed " 2060x1400 Sold US$3m 2012 Poly Auction Beijing 6 " The Last Supper 01 " Sold US$23m 2013 Sotheby’s Hong Kong VALUATION AND ASSESSMENT The value of gold has been deduced from its metal quality, density, malleability and ductility and also how it contributes to the world economy as a standard in relation to monetary policies, as a key stabilizing and hedging force during years of poor economic performance and as well as many widespread monetary and symbolic functions of the modern economic and financial infrastructure. THREE key criteria stand out for any art investment strategy and they are namely (A) Acceptance (B) Artist (C) Creations. " Human creativity is the pursuit of a vision in a way an individual evolves original creations frequently that are truly acceptable to all. " (A) Key ACCEPTANCE by all is verified by TWO " As " I ACCEPTANCE by all is when it is truly and fully acceptable within a group, community, society or across all societies II AUTHENTICITY refers to the origin, historical relevance which are in significant agreement within a community and beyond (B) Recognition of the ARTIST is governed by FIVE " As " I ADAPTABILITY possession of a strong persona, agility and purposeful pursuit of a vision II ATTITUDE evolution of life outlook, positive orientation, ideas and work details without giving way to life failures III ABILITY demonstration of ability and technical competence consistently IV ARTISTIC together with significant political, social, economic and technological contributions across societies V ACUMEN showing of entrepreneurship, integrity, prudence, drive and spirit in fostering suitable market responses (C) Quality of the CREATIONS is determined by FIVE " Cs " I CONTEMPORARY evolution of original, novel and bold expression, communication of new perception, ideas and emotions II CREATIONS depth of creations and symbolism, composition and overall look, beauty and aesthetics III COMPUTERIZED methods and techniques influencing the supply of creations in huge abundance and frequently IV COSTS capital outlays and cost savings arising from preservation, replacement, maintenance and storage of creations over time V CONDITIONS dedication to large sized works, colors, defects, tears, scratches, spots, molds and props that affect the value of the creations " The poet and artist Soh ES was the man at the epicentre of the phenomenal storm some 25 years through his sudden discovery of Man's Extra Sensory Intelligence ESI in Singapore and Batam, Indonesia from 1989 to 1991. In the years following he pursues the discovery of Extra Sensory Intelligence and publicizes it through his arts. Sohist EST Singapore is marketing and selling all works of art because they are pivotal to the explanation of discovery of man’s Extra Sensory Intelligence ESI since 1987. EST 1960x1500 is a work that details and promotes the truth about Extra Sensory Intelligence ESI and shares with the world about a post discovery era and its significance to a completely transformed world. " The distinctive quality of " EST " 1960x1500 and the similar works of art arise from : (A) ACCEPTANCE I ACCEPTANCE BY ALL The earliest documented members of the genus Homo are Homo Habilis which evolved around 2.3 million years ago; the earliest species for which there is positive evidence of use of stone tools. 2 million years of human thinking have changed with the discovery of Extra Sensory Intelligence some 25 years ago. Through these understanding and perception, the governments and authorities worldwide decided from the beginning and for good reasons, to keep the open discussion about Extra Sensory Intelligence ESI away from the public and from the media limelight for as long as possible. Nothing was quite spoken or allowed to be spoken for many years and the world somehow adapted to it. Soh Eng Sim believes that once the human mind adapts to the great transformation, people should be allowed to understand what happened and why it actually happened and accept and embrace the new world and move bravely forward as Extra Sensory Intelligence ESI is a new form of human and social intelligence. It has been made known and is brought across the entire world openly and safely through the approval and collaboration with the authorities in Singapore. The National Arts Council of Singapore and the Singapore Government understood and endorsed the discovery of Extra Sensory Intelligence ESI and its art in late 2010 and early 2011 despite the early open public launching of Extra Sensory Arts exhibitions since 1996 and the attendant painstaking and to many at the time " unconventional and unorthodox efforts ". The elaboration and acceptance by all follow the approval by these two authorities. II AUTHENTICATION BY INTERNATIONAL COMMUNITY Soh Eng Sim is the Founder and Owner of EST Group of Businesses and it has a strong art business track record; the ESI Museum Singapore houses some 600 contemporary works of art, 800 Chinese poems and 1600 calligraphy; 4 solo exhibitions on Extra Sensory Intelligence ESI and arts were held from 1996; many works of art were sold to private collectors in Australia, Malaysia and Singapore in 2011 and EST Group was first established in 1991 and has more than 25 productive years in the art industry. Today the EST Group Singapore owns 4 subsidiaries namely Sohist EST, EST Paintings, EST Land and EST Timepieces and Jewellery. With this backdrop, it fosters a great deal of confidence in the acceptance of Extra Sensory Intelligence ESI and its arts amongst members of the public in Singapore, people of the world and beyond and the relevant authorities because they understand the importance, significance and relevance of Extra Sensory Intelligence ESI to societies across the globe. The EST website is supported everywhere. (B) ARTIST III GOVERNMENT POLICY AND SUPPORT The Singapore Government’s stand on the discovery of Extra Sensory Intelligence ESI and its arts had been verified and confirmed by Soh Eng Sim in late 2010. With this, he moves swiftly forward and embraces ESI fully, publicizes and exhibits his arts, values and markets them internationally a quarter of a century after the great discovery. IV TRANSFORMATION OF HUMAN MIND IN HISTORY OF MANKIND Many years had passed since Extra Sensory Intelligence ESI was discovered in Singapore and Batam between 1987 to 1991. The world has been totally transformed since, so is the human mind. The younger generation of people has been born with and taken to ESI. The older generation somehow loses the keen memory of what it was before since the very beginning of time. The earliest documented members of the genus Homo are homo habilis which evolved around 2.3 millions years ago; the earliest species for which there is positive evidence of use of stone tools.
Recommended publications
  • Sample Syllabus
    Contemporary Art, Architecture and New Media in China New York University A Private University in the Public Service Class Title Contemporary Art, Architecture and New Media in China Listed as “Contemporary Art and New Media in China” ARTCR-UE 9077 4 points Instructor Contact Name: Francesca Tarocco Information Class Time Thursday, 3:00-6:00 Course Description Over the past three decades, the contemporary art scene in China has expanded fast. The massive political, economic, and social changes the country has undergone since the end of the Cultural Revolution in 1976 have dramatically altered its cultural landscape. In this seminar course, the course will survey the main development areas in Chinese contemporary art. Dedicated to responding to the new textures of China’s metropolitan culture, it will look at the relationship between visual arts, new media, architecture and performance in the mega-city of Shanghai, often regarded as the cradle of Chinese modernity. The class will be complemented by guest lectures and visits to public museums, galleries and artists’ studios in and around Shanghai. Students will have the opportunity to meet leading figures from the art world in China as well as the international art community, including artists, museum directors, curators, art critics, and art dealers. Course Objectives * To develop your understanding and appreciation of some of the major intellectual and artistic transitions in Chinese contemporary art today. * To introduce you to many of the influential artists of as well as the important works in Chinese contemporary Art. * To explore the evolving understanding of artistic correspondences between Chinese context and he rest of the world.
    [Show full text]
  • Contemporary Asian Art and Exhibitions Connectivities and World-Making
    Contemporary Asian Art and Exhibitions Connectivities and World-making Contemporary Asian Art and Exhibitions Connectivities and World-making Michelle Antoinette and Caroline Turner ASIAN STUDIES SERIES MONOGRAPH 6 Published by ANU Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Antoinette, Michelle, author. Title: Contemporary Asian art and exhibitions : connectivities and world-making / Michelle Antoinette and Caroline Turner. ISBN: 9781925021998 (paperback) 9781925022001 (ebook) Subjects: Art, Asian. Art, Modern--21st century. Intercultural communication in art. Exhibitions. Other Authors/Contributors: Turner, Caroline, 1947- author. Dewey Number: 709.5 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover illustration: N.S. Harsha, Ambitions and Dreams 2005; cloth pasted on rock, size of each shadow 6 m. Community project designed for TVS School, Tumkur, India. © N.S. Harsha; image courtesy of the artist; photograph: Sachidananda K.J. Cover design and layout by ANU Press Printed by Griffin Press This edition © 2014 ANU Press Contents Acknowledgements . vii Introduction Part 1 — Critical Themes, Geopolitical Change and Global Contexts in Contemporary Asian Art . 1 Caroline Turner Introduction Part 2 — Asia Present and Resonant: Themes of Connectivity and World-making in Contemporary Asian Art . 23 Michelle Antoinette 1 . Polytropic Philippine: Intimating the World in Pieces . 47 Patrick D. Flores 2 . The Worlding of the Asian Modern .
    [Show full text]
  • This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
    “This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more.
    [Show full text]
  • Behind the Thriving Scene of the Chinese Art Market -- a Research
    Behind the thriving scene of the Chinese art market -- A research into major market trends at Chinese art market, 2006- 2011 Lifan Gong Student Nr. 360193 13 July 2012 [email protected] Supervisor: Dr. F.R.R.Vermeylen Second reader: Dr. Marilena Vecco Master Thesis Cultural economics & Cultural entrepreneurship Erasmus School of History, Culture and Communication Erasmus University Rotterdam 1 Abstract Since 2006, the Chinese art market has amazed the world with an unprecedented growth rate. Due to its recent emergence and disparity from the Western art market, it remains an indispensable yet unfamiliar subject for the art world. This study penetrates through the thriving scene of the Chinese art market, fills part of the gap by presenting an in-depth analysis of its market structure, and depicts the route of development during 2006-2011, the booming period of the Chinese art market. As one of the most important and largest emerging art markets, what are the key trends in the Chinese art market from 2006 to 2011? This question serves as the main research question that guides throughout the research. To answer this question, research at three levels is unfolded, with regards to the functioning of the Chinese art market, the geographical shift from west to east, and the market performance of contemporary Chinese art. As the most vibrant art category, Contemporary Chinese art is chosen as the focal art sector in the empirical part since its transaction cover both the Western and Eastern art market and it really took off at secondary art market since 2005, in line with the booming period of the Chinese art market.
    [Show full text]
  • Liu Xiaodong the Process of Painting 06.06
    Kunsthaus Graz English Liu Xiaodong The Process of Painting 06.06. – 02.09.2012 Space01 Kunsthaus Graz, Universalmuseum Joanneum, Lendkai 1, 8020 Graz, T +43–(0)316/8017–9200, Tue–Sun 10am – 5pm [email protected], www.museum-joanneum.at This text is published on the occasion of the exhibition Liu Xiaodong The Process of Painting Kunsthaus Graz Universalmuseum Joanneum June 6 until September 2, 2012 Liu Xiaodong is one of China’s most renowned contemporary painters. His paintings are large-sized, realistic, clear and very direct in their expression. The subjects he chooses sometimes relate to natural or created catastrophes or even to private matters. They also often refer to the question of change. For his exhibition at the Kunsthaus Graz, Liu Xiaodong stayed in Eisenerz for a month, where he lived amongst the resident s and studied the town. Liu Xiaodong has portrayed two great moments in the history of this communi ty in various aspects of his work: as paintings, film, photography and as a diary. The Process of Painting Out of Beichuan, Into Taihu Liu Xiaodong revitalised the tradi- Beichuan in China had long been tional Chinese easel painting a lovely, peaceful place until an technique and has thus become earthquake flattened it in May one of its major representatives. 2008, burying 70,000 people He understands the essence of oil underneath the ruins. Ever since, painting as a comprehensive pro- Beichuan has become a ghost cess of perception and observa- town whose reconstruction was tion, creating a style which one impossible. Instead, it was practi- could describe as New Realism.
    [Show full text]
  • Chinese Contemporary Art-7 Things You Should Know
    Chinese Contemporary Art things you should know By Melissa Chiu Contents Introduction / 4 1 . Contemporary art in China began decades ago. / 14 2 . Chinese contemporary art is more diverse than you might think. / 34 3 . Museums and galleries have promoted Chinese contemporary art since the 1990s. / 44 4 . Government censorship has been an influence on Chinese artists, and sometimes still is. / 52 5 . The Chinese artists’ diaspora is returning to China. / 64 6 . Contemporary art museums in China are on the rise. / 74 7 . The world is collecting Chinese contemporary art. / 82 Conclusion / 90 Artist Biographies / 98 Further Reading / 110 Introduction 4 Sometimes it seems that scarcely a week goes by without a newspaper or magazine article on the Chinese contemporary art scene. Record-breaking auction prices make good headlines, but they also confer a value on the artworks that few of their makers would have dreamed possible when those works were originally created— sometimes only a few years ago, in other cases a few decades. It is easy to understand the artists’ surprise at their flourishing market and media success: the secondary auction market for Chinese contemporary art emerged only recently, in 2005, when for the first time Christie’s held a designated Asian Contemporary Art sale in its annual Asian art auctions in Hong Kong. The auctions were a success, including the modern and contemporary sales, which brought in $18 million of the $90 million total; auction benchmarks were set for contemporary artists Zhang Huan, Yan Pei-Ming, Yue Minjun, and many others. The following year, Sotheby’s held its first dedicated Asian Contemporary sale in New York.
    [Show full text]
  • Time in Liu Xiaodong's Hotbed No.1 and Three Gorges
    Cinematic Painting: Time in Liu Xiaodong’s Hotbed No.1 and Three Gorges Dam Yutong Shi, University of Illinois at Urbana-Champaign ABSTRACT Liu Xiaodong is a Chinese oil painter who is best known for his depiction of ordinary people in their actual lived reality. At the same time, Liu’s engagement with film production has been widely recognized by public. However, the exact way that Liu has incorporated the structures of film into his painting has not been thoroughly analyzed. In this essay, I focus on Liu’s monumental work Hotbed No.1 from 2005, a multi-panel painting that is part of his series of Three Gorges Dam. Liu addresses the environmental problems that the Three Gorges Dam created by focusing on its human cost, rather than entirely on the degradation of the place itself. I argue that the most striking innovation of Hotbed No.1 lies in its rendition of the passage of time, which creates what I call a “cinematic painting.” It is significant because the incorporation of temporality enables Liu to depict the progressive harm and loss experienced by those living in proximity to the Three Gorges Dam. By introducing a durational component into his work, Liu effectively shows the complexities of depicting human suffering. Furthermore, it enables Liu to document the processes of dissolution and disappearance caused by the dam’s construction. KEYWORDS Liu Xiaodong, Hotbed No.1, Three Gorges, Cinematic Painting Re:Search Introduction Liu Xiaodong 刘小东 (b. 1963) is a figure painter, well known for his realistic oil paintings. Liu focuses on human dimensions situated with social and geopolitical problems both locally and globally.
    [Show full text]
  • The Kwanyin Clan
    e-ISSN 2385-3042 ISSN 1125-3789 Annali di Ca’ Foscari. Serie orientale Vol. 55 – Giugno 2019 The Kwanyin Clan: Modern Literati Graffiti Writers An Aesthetic and Text Analysis of their Main Artworks Adriana Iezzi Alma Mater Studiorum, Università di Bologna, Italia Abstract After illustrating the varied artistic production of the Kwanyin Clan, one of the most important Chinese graffiti crews, this paper analyses six of their main artworks in detail (styles, techniques, aesthetic conceptions and artworks texts). In these artworks, the Kwanyin Clan tried for the first time to merge Euro-American graffiti practice with the ancient traditional arts practiced and appreciated by the Chinese literati (calligraphy, poetry, painting, seals and ceramics). Comparing the Kwanyin Clan members to ‘modern literati writers’, the present article shows how this crew succeeded in reinventing ancient Chinese art forms using Euro-American graffiti vocabulary, paving the way for a new development of graffiti art in China. Keywords Kwanyin Clan. Graffiti. Contemporary Chinese art. Chinese literati. ‘Three perfections’. Summary 1 Introduction: the Kwanyin Clan in Beijing. – 2 ‘Modern Literati Graffiti Paintings’ by the Kwanyin Clan: Shanshui PIC (2007) and New Style (2008). – 3 ‘Modern Literati Calligraphy Graffiti’ by the Kwanyin Clan: Shirupozhu (2008) and Shengongyiji- ang (2010). – 4 ‘Modern Literati Graffiti Ceramics’ by the Kwanyin Clan:Blue and White Porcelain (2009-2010) and the Artwork Made for the Exhibition ‘Street Art, a Global View’ (2016). – 5 Conclusion: the Kwanyin Clan as ‘Modern Literati Graffiti Writers’. Peer review Submitted 2019-03-18 Edizioni Accepted 2019-06-24 Ca’Foscari Published 2019-06-27 Open access © 2019 | cb Creative Commons Attribution 4.0 International Public License Citation Iezzi, Adriana (2019).
    [Show full text]
  • Biography Liu Xiaodong
    Biography Liu Xiaodong Liaoning, China, 1963. Lives and works in Beijing. SOLO EXHIBITIONS 2021 2021 - Borders, Dallas Contemporary, Dallas, USA. Catalogue 2020 2020 - New England, Massimo De Carlo, London, UK. Catalogue 2019 2019 - Expedition to Uummannaq, Greenland, Louisiana Museum, Humlebæk, USA 2018 2018 - Slow Homecoming, Kunsthalle Düsseldorf, Düsseldorf, D. Catalogue 2017 2017 - Chittagong, Massimo De Carlo, Milano, I. Catalogue 2016 2016 - Liu Xiaodong: Migrazioni, Palazzo Strozzi, Firenze, I. Catalogue 2016 - Painting as Shooting, curated by Jérôme Sans, Farschou Foundation, Nodhavn, DK. Catalogue 2016 - Weight of Insomnia, Chronus Art Center, Shanghai, PRC 2015 2015 - Painting as Shooting, Fondazione Cini, Venezia, I 2015 - Diary of an empty city, curated by Jérôme Sans, Faurschou Foundation, Beijing, PRC 2014 2014 - Liu Xiaodong in Indonesia, ESLITE GALLERY, Taipei, TW 2014 - Liu Xiaodong: Childhood Friends Getting Fat, Minsheng Museum, Shanghai, PRC. Catalogue 2014 - Liu Xiaodong's Two Projects, Shao Zhong Foundation Art Museum, Guangzhou, PRC 2014 - Liu Xiaodong: Half Street, Lisson Gallery, London, UK. Catalogue 2013 2013 - Liu Xiaodong: Hometown Boy, Seattle Art Museum, Seattle, USA. Catalogue 2013 - Liu Xiaodong's Hotan Project, Today Art Museum, Beijing, PRC 2013 - Liu Xiaodong: In Between Israel and Palestine, Mary Boone Gallery, New York, USA. Catalogue 2012 2012 - Te Process of Painting, Kunsthaus Graz, Graz, A. Catalogue 2012 - Tese Days, Very Happy, Massimo De Carlo, Milano, I 2011 2011 - Liu Xiaodong: Hometown
    [Show full text]
  • 210806 Liu Xiaodong/ Your Friends Press Release Final
    Liu Xiaodong: Your Friends Released August 7, 2021 The first solo exhibition at UCCA Edge charts the artistic development of pioneering Chinese realist painter Liu Xiaodong in the past decade with over 120 new and existing works. Exhibition Period: SHANGHAI, China — From August 8, 2021 to October 10, 2021, UCCA Edge 2021.8.8 – 2021.10.10 presents its first solo exhibition, “Liu Xiaodong: Your Friends.” A pioneering painter of a new realism in China, Liu Xiaodong (b. 1963, Jincheng, Liaoning province, lives and works in Beijing) emerged in the 1990s, known for his acute and lucid Exhibition Location: depictions of the minute changes he observed in different slices of China’s rapidly UCCA Edge urbanizing and developing society. Since the early 2000s, he has been known to 2F, No. 88 Xizang Bei Lu work on-site in locations of particular poignance, from the construction site of the Jing’an District, Shanghai Three Gorges Dam to the U.S.-Mexico border during the Trump administration. China This exhibition charts Liu’s artistic development in the decade since his 2010 exhibition “Hometown Boy” at UCCA Beijing, bringing together more than 120 new and existing works, including his latest series “Your Friends,” as well as sketches, Media Contact: diaries, and a new documentary film by long-time collaborator, the director Yang Laura Xue Bo. “Liu Xiaodong: Your Friends” is curated by UCCA Director Philip Tinari and Media Relations Manager UCCA Curator Yan Fang. +86 21 6628 6861 +86 15010858162 The title of the exhibition was inspired by Liu’s amusement at his friend, the [email protected] director Zhang Yuan’s constant use of the phrase “your friends” during their portrait sessions.
    [Show full text]
  • Contemporary ART MARKET 2010/2011The Artprice Annual Report
    CONTEMPORARY ART MARKET 2010/2011ThE ARTPRICE ANNUAL REPORT ART & CRISIS ART MARKET CAPITALS ARAB CONTEMPORARY ART / OVERVIEW PHOTOGRAPHY AND VIDEO / PERFORMANCE AND PROSPECTS TOP 500 CONTEMPORARY ARTISTS SPECIAL 2011 CONTEMPORARY ART MARKET 2010/2011ThE ARTPRICE ANNUAL REPORT Guess which art market company is quoted by over 6,300 media outlets worldwide? · Alchemy and mysteries of Artprice http://web.artprice.com/video Discover the secret universe of Artprice Artprice is the world leader in art market information with over 27 mil- updates its databases with information from 3,600 international auc- lion auction prices and indices covering over 405,000 artists. Artprice tion houses and provides daily information on art market trends to Images® off ers unlimited access to the largest database of art market the main fi nancial press agencies and to 6,300 press titles worldwide. information in the world, a library of 108,000,000 images and engra- Artprice off ers standardised adverts to its 1,300,000 members and is vings of art works from 1700 to the present day. Artprice continuously the world’s leading market place for buying and selling works of art. THE WORLD LEADER IN ART MARKET INFORMATION Artprice is listed on Eurolist by Euronext Paris: Euroclear: 7478 - Bloomberg: PRC - Reuters: ARTF with 18,000 shareholders. Best stock performance with a +270% increase in value and €630m traded between 01 Jan and 31 Aug 2011 THE LATEST TRENDS SUMMARY THE CONTEMPORARY ART MARKET 2010/2011 THE LATEST TRENDS Art & Crisis . page 9 Art as an alternative investment . page 11 The best semester ever .
    [Show full text]
  • The Dreaming Mind and the End of the Ming World
    The Dreaming Mind and the End of the Ming World The Dreaming Mind and the End of the Ming World • Lynn A. Struve University of Hawai‘i Press Honolulu © 2019 University of Hawai‘i Press This content is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0), which means that it may be freely downloaded and shared in digital format for non-commercial purposes, provided credit is given to the author. Commercial uses and the publication of any derivative works require permission from the publisher. For details, see https://creativecommons.org/licenses/by-nc-nd/4.0/. The Creative Commons license described above does not apply to any material that is separately copyrighted. The open-access version of this book was made possible in part by an award from the James P. Geiss and Margaret Y. Hsu Foundation. Cover art: Woodblock illustration by Chen Hongshou from the 1639 edition of Story of the Western Wing. Student Zhang lies asleep in an inn, reclining against a bed frame. His anxious dream of Oriole in the wilds, being confronted by a military commander, completely fills the balloon to the right. In memory of Professor Liu Wenying (1939–2005), an open-minded, visionary scholar and open-hearted, generous man Contents Acknowledgments • ix Introduction • 1 Chapter 1 Continuities in the Dream Lives of Ming Intellectuals • 15 Chapter 2 Sources of Special Dream Salience in Late Ming • 81 Chapter 3 Crisis Dreaming • 165 Chapter 4 Dream-Coping in the Aftermath • 199 Epilogue: Beyond the Arc • 243 Works Cited • 259 Glossary-Index • 305 vii Acknowledgments I AM MOST GRATEFUL, as ever, to Diana Wenling Liu, head of the East Asian Col- lection at Indiana University, who, over many years, has never failed to cheerfully, courteously, and diligently respond to my innumerable requests for problematic materials, puzzlements over illegible or unfindable characters, frustrations with dig- ital databases, communications with publishers and repositories in China, etcetera ad infinitum.
    [Show full text]