2 | ------), ],

exhibition for exhibition Annual Exhibition Refined Oil Painting Painting Refined Oil Masterpieces National Fine Arts Exhibitions ). [The collectors] are cautious cautious are collectors] ). [The ) as well as the as well as )

Jiandang qishi zhounian meizhan zhounian qishi Jiandang (

) organized by the Oil Painting Art Art Painting ) organized by the Oil

take the take Annual Exhibition of Chinese Oil Painting Annual Exhibition of Chinese Oil Painting this also included a few artists working with artists working with this also included a few for many years, they set the benchmarks for the for benchmarks the set they years, many for — Beijing guoji yiyuan ). Chinese oil paintings later auctioned in Hong Kong later auctioned in Hong Kong ). Chinese oil paintings ). These exhibitions became sites for displaying and sell and displaying for sites became exhibitions These ).

Zhongguo youhua nianzhan ( Fengqing huazhan Fengqing

( Seventieth Anniversary Exhibition of the CCP Seventieth Anniversary Among the variety of exhibitions held in China, “national exhibitions” possess and the and all observed the standardized of requirements upholding thematic elements from partic the of terms In dates. commemorative and policies, events, political important exhi national these included, artworks the of styles artistic and mode operational ular unperturbed pursuits, academic and developments art new incorporate to tried bitions break the been has 1990s the since emerged What considerations. commercial any by the In exhibition. national of type this of down heavily on classical and a new exhibition model relying held in late November 1991, “thematically domi the previous distinct from was styles started to arise. This realist of development than seventy years after more years, nated” art exhibitions. In recent the established become has realism in China, of oil painting introduction the since oil paintings catego style in oil painting in the Chinese art world. With mainstream emerged as the to painting technique, after the mid-1980s, realism rized according China was and influential style. In the wake of the Open Door policy, most mature realism, galleries focusing on Western commercial Western art dealers. flooded with promoted and the Hawk Gallery, such as the Hammer Galleries, the Hefner Gallery, news of Chinese oil paintings entering the Western styles. The classical and realistic classical-realist instantly in the art world. The market and fetching good prices spread style mushroomed, and within a few short years, a prominent group of artists serious artwork, the vast except for a few artists who produced emerged. However, majority suffered from “anemia” in spite of their painting techniques. even There efficientraw ofWhen source materials.” this [now] relationship obsolete between supply and demand was exposed and became public after 1989, it underwent two domestic galleries as well as important galleries overseas changes. Namely, important than offer much higher prices began to and collectors stepped in, and art institutions ( artists professional by demanded been had what 10,000 medalists were and bronze gold, silver, for the price of purchase instance, the 3,000 RMB, respectively 5,000 RMB, and RMB [yuan], on their in own placing their bets. In selecting domestic artworks, they mainly rely galleries and institutions Various China. in artists the of recognition name the and taste high- market and promoted to meet the needs of the overseas organized exhibitions ( oil paintings commercial realist, quality, styles sophisticated realist more gal state-run large-scale, the by organized exhibitions of string the from came mainly ( Salon Art International Beijing lery of Chinese Oil Painting Committee, and the Oriental Gallery’s Oil specialized Painting Exhibition secondary overseas to galleries these from flowed Art artists. young by artworks ing to conduct their also used agents inside of China markets. International art dealers expanded also channel The overseas. tour to exhibitions organized directly or business, fea two prominent are There Beijing and coastal cities to the inner provinces. from are artworks international, are buyers the because First, operation. market this in tures exhi the name what in and where of regardless tastes, collectors’ overseas by dictated bitions are held. Second, the inevitable result of this is the dealing in professional market. art the of component significant a became which paintings, stature cultural significant own their artistic styles. On the one hand, “national exhibi of numerous genesis and growth the [of editions seventh the and sixth the as such tions,” ------hang ), broke the ), broke

today’s China National National China today’s ) 1996 Zhongguo youhua jingpin zhan (

refers to paintings that are low in artistic quality but require quality but require low in artistic that are to paintings refers ), co-sponsored by the Chinese Artists’ Association, and financed and Association, Artists’ Chinese the by co-sponsored ), hanghua Masterpieces of Chinese Oil Painting Chinese art since 1989 has undergone a series of fundamental changes. The naïve, The changes. fundamental of series a undergone has 1989 since art Chinese ). The term term ). The

acquired acquired skills through academic training, this type of oil painting constitutes an important source of income. Owing to the drastic discrepancy in living standards low prices and satisfy can pay extremely art dealers inside and outside China, foreign overseas the in them resell and cost “at paintings oil Chinese purchase They artists. the art market. In this sense, the so-called [Chinese] art market is nothing but a cost- nudes, romantic landscapes, portraiture, and still lifes, it is suitable for interior decora interior for suitable is it lifes, still and portraiture, landscapes, romantic nudes, intellectual level. by middle-class families with an ordinary tion and is well received market specific this serve to mostly painting of type this purchase dealers art Overseas with a modicum of artistic taste can critique the level of painting, and niche. People the that are paintings] professional these [for requirements basic only the that tell can in accordance are quality of materials, and measurements pleasantness, demeanor, with Chinese internationally low-income artists accepted For who standards. have works. Inadvertently, these standards furthermore became works. the Inadvertently, invisible hand that that the art market example shows of Chinese oil painting. This the direction steered paintings” ( in “professional the trade for Chinese oil paintings originated from hua type of for generic aesthetic enjoyment. This appreciated certain artistic skills and are painting basically has no collecting value. But, because its subject matter includes artists to follow international standards in determining the dimensions for their can in determining the dimensions artists to follow international standards gold, elected advertisements; through country the across from artwork solicited vases; these works in the medalists for outstanding work; and purchased and bronze silver, the classical, realistic, consisted, without exception, of Works name of the sponsors. art galleries in the by overseas favored that were and ethnic subject matters pastoral, inter and market art overseas the by adopted standards Apparently, period. preceding the of quality the measure to yardstick” “academic actual the became patrons national silence in this ambiance of depression and seemed to have found a new point of entry entry of point new a found have to seemed and depression of ambiance this in silence in the immediate popular attention and interest exhibition attracted The into reality. ( Arts Fine of Academy Zhejiang the at Held world. art Chinese Arts Fine of Academy operations market for model a provided exhibition this Club, Chiyoda Japanese the by participating required The exhibition for subsequent official and private exhibitions. most representative features of today’s art world are found in the various exhibitions found in the various exhibitions of today’s art world are features most representative art. selling at aimed promotions and reality as thwarted been have 1980s] the [of fervor humanistic and idealism impulsive exhi commercial unabashedly first the 1990, October In dormancy. into artists muted bition, confronted changes in artistic concepts and values engendered by the commercializa the by engendered values and concepts artistic in changes confronted art the in topics popular earlier, years few A economy. commodity a within art of tion At the time, and ontology. philosophy, art artistic expression, world included style, the to led This system. art the inside from art about questions with grappled people ques these if even Today, symposia. and groups, art schools, art various of emergence the focus of attention has resolved, or practically tions have yet to be theoretically the Thus, opportunities. venture and pricing, market, the to itself art of outside shifted CHINESE ART AND THE MARKET IN THE 1990S ( THE 1990S IN THE MARKET AND ART CHINESE Yongqing Lin and Ye By Wang Market-OrientedFads Painting Oil impact of longer under the Chinese art was no 1990s, the world of the As it entered art. Instead, it modernist about by Western brought art or the confusion New Wave

| 1 4 | - - - - - ) repre ) galleries, associations galleries, no agent would serve as a “protective no agent would serve as a “protective — potential of the Asian market. Against this backdrop, the group of Chinese artists that artists Chinese of group the backdrop, this Against market. Asian the of potential had initially “gone international” in the American commercial art market had no prom representing dealers and Brokers circles.” “Chinese to back retreat to but choice auction the used Shaoguang Ding and Yifei Chen as such artists Chinese overseas inent houses to bolster their market prices and establish their presence in the market. domestic art, also jumped on the endorsed galleries, which traditionally Taiwanese auctions. Galleries licensed domestic artists’ prices through bandwagon in promoting market prices.” tactics to “safeguard to deal certain mainland artists’ works adopted artists’ notoriety in hopes of building a up their represented drove intentionally They this All markets. Taiwan and Kong Hong the in works their for collectors of base future At stigma. certain a Taiwan and Kong Hong in operations houses’ auction two the gave centering on the auction houses quickly the same time, the new model of operation the transformed This down the earlier small-scale market exchange structure. broke competi a to matter subject and style, fame, on purely based previously competition ( institutions various the among power economic of tion Taiwan in auction first Sotheby’s instance, for Take, artists. of groups different senting on 22, March 1992; the five lotsreceived that no bids included ones by the world- famous artist Zao and Wou-ki Ai Xuan, the most prominent follower of [Andrew] was apparent reason in China. The Wyeth Hong in Christie’s and Sotheby’s of success remarkable The biddings. their for escort” factor for the Chinese art world, but we is certainly an encouraging and Taiwan Kong invigorated Taiwan, where after 1987 the authorities terminated thirty-eight years of of years thirty-eight terminated the authorities after 1987 where Taiwan, invigorated soared, market stock the and relaxed currencies foreign on restrictions As law. martial instance, For international art market. enter the able to freely were buyers Taiwanese in 1988 jumped collectors tenfold the total sales to of Taiwanese Chinese ceramics competitor strong a became sudden a of all Taiwan year. previous the with compared market depressed subsequent to a In October 1989, respect. in this Kong with Hong bid on successfully Corporation Trust China Taiwan and calligraphy, for ink paintings the marked for US$6,600,000. This painting by the master Monet an Impressionist after more oil paintings. Moreover, attention toward collectors’ of Taiwan transition vast show to began also China mainland in painting oil progress, of years seventy than September on Kong Hong in auction an holding by first be to vied Christie’s potential. artists of young and middle-aged Chinese oil-painting during which a core 30, 1991, to sensitivity their both showed works Their attention. conspicuous most the attracted classical and of Western taste as well as their understanding a fundamental Chinese fetched at even took the high prices styles. Domestic media coverage modern realist in However, painting.” oil Chinese for “hope of sign a as houses auction overseas the a high level of one with impressed these works rarely quality, terms of the intrinsic commercial continued their affect not did course, of which, of lack the sophistication, five months auction held in Taipei success at auction. In comparison, the Sotheby’s and Taiwan, Hong Kong auctions by the two houses in as well as the numerous later, with culture, of the regional awareness pronounced started to show an increasingly auc clamorous and complex These auctions. actual the behind rallying groups interest clearly showed the auction houses’ optimism tions, occurring once every six months, opportu the as well as base collection its and paintings oil Chinese of sources the for nistic motivations of Hong Kong dealers. and In Taiwanese the 1990s, when the East, Middle the in warfare of prospect the at recession into slipped economy Western those in the and the U.S. also collapsed. Among galleries, the art market in Europe business of selling contemporary Chinese art suffered the most. Galleries dealing latent the reconsider and restrategize to had or business of out went either art Chinese ------Annual Annual ). After the 1970s, ). After the 1970s, was held. Its inclusion Its held. was ) ) was sold for HK$1,980,000 to

Yeyan

( insisted upon rectifying the untoward side effects of art side effects of art the untoward insisted upon rectifying Night Banquet Night Annual Exhibition of Chinese Oil Painting Painting of Chinese Oil Annual Exhibition ceramics were held separate from paintings and calligraphy. Among Among paintings and calligraphy. from held separate were ceramics — in which paintings and calligraphy remained marginalized remained in which paintings and calligraphy The The sensational performances by the two auction houses in Hong Kong and Since the autumn of 1991, the art world in China has been keeping track of the of the track the art world in China has been keeping Since the autumn of 1991,

back by the less than adequate laws and regulations addressing the taxation of art addressing back by the less than adequate laws and regulations were Kong Hong in shop up set to decision Christie’s driving forces the Among works. laws that and Hong policies Kong’s contributed art to market. a In prosperous the changes due to the meantime, the Southeast Asian art market underwent dramatic in turn, This, decrees. governments’ adoption of new economic policies and cultural office in Asia. It was only after Sotheby’s made inroads in Hong Kong auctioning In 1980s. the in Kong Hong in arrived Christie’s that calligraphy and paintings Chinese conser fairly a in still but Kong, Hong in art Chinese of auction an held Christie’s 1987, vative manner all were in the ink paintings except and two calligraphy, oil paintings, which were meant to test the waters. Sotheby’s and Christie’s had the determination and the markets a long time ago, only to be held to enter the mainland and Taiwan strategy sisted of antiques, ceramics, ink paintings, and calligraphy, and they were often side and they were ink paintings, and calligraphy, sisted of antiques, ceramics, decades After houses. aforementioned two the by held auctions international in lined Chinese ceramics an auction of ancient Sotheby’s held in Hong Kong of preparation, ( in 1974 in New of Chinese paintings and calligraphy even though Christie’s held an auction an establish to rush not did prudence, business its for known house, auction the York, Hong Hong Kong, Chen Yifei’s paintings. oil Chinese for record auction the setting Shaw, Run Run Sir raised questions regarding the Taiwan new ecology of Chinese art. Christie’s and Sotheby’s attention to Chinese artworks is closely related and attributable to the on China brought in mainland and reforms booming Southeast Asian economic zone art mainly con the 1970s, Chinese Before by its Open Door policy since the 1980s. ups and downs of contemporary Chinese oil paintings in international auctions. From From auctions. international in paintings oil Chinese contemporary of downs and ups successful auc 1993, Sotheby’s and Christie’s held several September 1991 to March as such artists oil-painting Chinese mainland prominent of coverage broad a with tions Huaiqing, Shao Luo Fei, Zhongli, Wang Yidong, Guanzhong, Wang Wu Chen Yifei, in paintings oil of auction second Christie’s In others. among Duoling, He and Xuan, Ai mises under the general climate of Western-style commercialization. The exhibition exhibition The commercialization. climate of Western-style mises under the general ones, skillful less the from paintings professional skillful more the differentiated only while academic evaluation was marginalized and could only be conducted in the cannot pos jurors and committee galleries. Curators overseas limbo of domestic and the is China where state irreversible this and rules market ironclad the surpass sibly materials. raw of source underlying Chinese art with regard to the increasingly entrenched underlying influence to Chinese ofentrenched the art the increasingly with regard influence, and acceptance or negative proactive through Whether market economy. commer the resistance, passive or concession through catering to rise giving whether cialization of art pose and an already its enormous problems concomitant task for 1990s Chinese art to undertake. Although the organizing committee of the Painting Exhibition of Chinese compro of the exhibition attested to necessary the actual result commercialization, emerged artists who specialized in Native Soil art, images of ethnic minorities, still life, still minorities, ethnic of images art, Soil Native in specialized who artists emerged this against was It China]. [toward exoticism Western to catering mainly landscape, or 1991 the that backdrop indis works of such styles artworks made and realist number of classical of a larger status quo of The oil painting exhibitions. Chinese for future pensable components being manhandled by overseas commercial standards foregrounds the problems

| 3 6 | ------are not inter not are — ) that ) ) and Lü Peng’s “Heading Peng’s Lü and ) a secret, friendly exchange friendly secret, a — )]. Many other critics beg to differ )]. Many other critics beg to differ ): ). The ). former The article posits that market- in the international art market art international the in in most situations most in — — “Piping zai yishu shichang de weizhi” de shichang yishu zai “Piping “Zouxiang shichang to yishu piping” yishu to shichang “Zouxiang “Shei lai zanzhu lishi” zanzhu lai “Shei “Zouxiang “Zouxiang shichang”

all that matters is to seize the moment, to control trends, and to and trends, control to moment, the seize to is matters that all induced recent mainland realist artists to indiscriminately and and to indiscriminately artists realist mainland recent induced — — “Wo men rengran re’ai yishu ma?” re’ai men rengran “Wo critics are opportunists. The latter article believes that “art ought to be latter article believes that “art ought to be opportunists. The critics are — only those artworks interpreted and recommended by art critics would — This is why places like Sotheby’s like places why is This some extent this is because China ested in auctioning modern Chinese art. To lacks a tradition of influential criticism that addresses artwork from the dual value. commercial and positioning historical of standpoints under such circumstances, art critics are actually facing a far more complicated complicated actually facing a far more art critics are under such circumstances, art domestic the As movement. art modern a in part taking than task onerous and crit art of position the own, its on properly function to begun not still has market theoretical a up build to is goal ultimate the However, established. be cannot ics Chinese contemporary with terms to come to one help would which structure art market. art the in products competitive most the becoming of chance the stand by phi spiritual analysis of rambling In China, art criticism . . . is either that kind or aestheticians, and losophers written essays flattering of kinds Those artist. the and critic the between favors of has China in criticism art that indicator main the are occasions social particular for art, modern of development the of needs the suit cannot It maturity. reached not achieving international recognition. obstructs Chinese art from and furthermore the role of an “arbiter,” of an “arbiter,” critics should play the role He believes that in the market context art and quality artistic on judgments make to authority and capacity the to “points which for those involved in the business of art.” Huang Zhuan changing art trends [predict] negation of spiritual analysis,” yet to jump to a conclusive sharply criticizes “rambling questions as monetary issues is also dan spiritual analysis and to attribute all artistic Xiaoyan’s “Market- misguided. gerously Radical positions have been taken in Yang ( Criticism” Art Oriented the Market” ( Toward no and analysis, theoretical no evaluation, historical no needs criticism art oriented reasoning aesthetic stars create pricing monetary society commercial a “in that and sale” of purpose the for produced over endless academic a decree no God to provide With is the most effective arbiter. debates, money becomes the most effective referee.” On another occasion, he We “Do Peng, [Lü money” is activities art today’s for premise basic “the that claimed Still Love Art?” ( commercialization obsequiously cater to overseas middle-class tastes. The previously lofty and self- pres because of the customers, also prized by overseas was “avant-garde” important market buyers’ this of institution misshapen The China. mainland in under was it sures on of the art one criticism, hand yet utilizes literature on the the preexisting other of Position “The in wrote Ying Yi critic art The play. critics art role the eliminates hand ( Market” Art the in Criticism Art Because one of the of features modern art is that the audience cannot effectively inter experience, life individual or standards classical from artworks of value the judge to customers for authority of source main “the become should critics art by pretations understand modern art; this principle also applies to buyers of artworks.” Huang Will “Who in context market the from removed far is that criticism art describes Zhuan ( History?” the Sponsor ------) , obsessed with Yishu shichang Yishu ( — ntext o ) and is not limited to to limited not is and )

it’s a question of the social it’s a question of the social — Art • Market tates of Mind in the Market C s’ S c rt Criti including publication, exhibition, and collection and exhibition, publication, including , talked about the positive as well as negative impact money has on art: on has money impact negative as well as positive the about talked , it is precisely this that has induced the Westerners’ bias and their sense of supe of sense their and bias Westerners’ the induced has that this precisely is it alienated reality. The consequences of these changes is that contemporary art has art contemporary that is changes these of consequences The reality. alienated development. of name the in verve and spirit progressive and proactive its lost The important point is that [money] gradually changed people’s perception of the of perception people’s changed gradually [money] that is point important The a for have who artists Chinese for significant is which art, of value and function the benefits long time followed the doctrine that art serves politics. However, easily dwarfed by the costs it art are bring to contemporary commercialization the discouraged has commercialization of temptation tremendous The . . . incurs. of pursuit meaningful questions. people More now unconditionally accept an The artist Zhang Peili, in his interview on “art and money” published in the journal the in published money” and “art on interview his in Peili, Zhang artist The —

rtists’ and A

agents and managers. In the 1980s, the way a certain artist, an exhibition, or an art In the 1980s, the way a certain artist, an exhibition, or an art agents and managers. official prizes and critics’ school established status and influence was mainly through be to started has “effectiveness” and “success” of system value Today’s endorsements. market overseas the to artists domestic connecting channels the and price, to pegged have become increasingly publicized. The consumerist spirit Lü Peng, on the Lü other Peng, hand, believes that “in a market, future without agents and it would be difficult to socialize artists’ work managers, artists by about brought labor of division social the that is reality The labor.” of division ( multifarious is and art critics found it hard to accept the reality of having to survive and struggle money, Would based on the market economy of the 1990s. within a social structure thousands of years, constant disdain by Chinese intellectuals for which had received curse? a or blessing a be it Would art? Chinese for catalyst the as serve Market • Art published its inaugural issue. However, debates over the “art market” and “art and issue. published However, its inaugural money” failed to truly attract attention from the international art market toward work critics art and artists on impact strong a had instead, debates, These art. Chinese ing inside China with regard to their preexisting notions of art and culture. Even yearned critics art and market the through paintings more sell to hoped artists though the majority of artists transactions, art-market by promoting in royalties for increases torically significant value system. value significant torically A for artwork, domestic art journals activity market vibrant In the wake of increasingly 1991, January In market. art the by raised questions at comprehensively look to started journal to focus exclusively on the art market, the first remedy the tremendous cultural deficit of the Chinese-speaking world in modern his modern in world Chinese-speaking the of deficit cultural tremendous the remedy tory evaluation aesthetic the of advancement the run, long the In values. cultural in riority historically advent of a high-quality, depends on the of collectors and qualifications input of d. A generous criticism in the Chinese-speaking worl and spiritually rich art amount of worth in the equivalent for procuring is indispensable economic resources his broader, a into complex cultural “regional” a of dissolution the as well as artwork, must also realize that the difference between the East and the West is not limited to limited to is not the West East and between the the difference that also realize must the between difference a six digit and eight digit auction price. Even impor more a of paintings Chinese if Even culture. of quality overall the in discrepancy a is it tantly, domestic Chinese if even auction, international an in compete freely can caliber higher transpar increasingly becomes of art and culture on the market regulation legislation nothing can to pay high prices, willing are and consumers if collectors ent, and even

| 5 8 | - - - - - Shoujie Shoujie ( ), and the

), proclaimed in eye- ), proclaimed

Guangming ribao ( Chinese critics commented on commented on Chinese critics Annual Exhibition of Chinese Oil Annual Exhibition of Chinese Oil “Meiyuan chongji xia de dangdai de dangdai “Meiyuan chongji xia — but also kept commercialization from from commercialization kept also but Aogang xingxibao ( — First Chinese Oil Painting Biennial Chinese Oil Painting First Guangming Daily ) in 1993 and the

. ), the

Jingji ribao ( ): . “Investment” implies economic returns, so when the relationship of “invest so when the relationship . “Investment” implies economic returns, All this seemed to be heralding a hot art market, but fads are transient and hot and hot transient a hot art market, but fads are All this seemed to be heralding Critics distributed the awards among young contemporary artists, and attempted attempted and artists, contemporary young among awards the distributed Critics prices. by raising culture the social image of artists in contemporary to promote is instantaneity commercial such but society, Western from comes approach This to be built up. Modern for art to the time required fundamentally contradictory society has curtailed this distance, but only by a slight amount. In fact, the the any top-notch artists through society has yet to create consumerist Western a not revealed tendencies in China have the commercializing market. Moreover, market discipline that could control the art I market. suspect Therefore, that art is fully absorbed and accepted, Chinese inves Chinese contemporary before the as such ventures idealistic during shortchanged themselves find again will tors Fair Art Biennial 1990s First the Biennial from the very beginning restricted the consignment period to six months, six to period consignment the restricted beginning very the from Biennial the and arranged for the ultimate destination of the exhibition to be the Asian reflect above mentioned aspects two The Kong. Hong in held Expo Art International in putting of the biennial’s organizers the deficiencies in experience and knowledge together art media on commercial coverage exhibitions. the The biennial’s award- [as investments], putting art their promise winning artworks also unduly exaggerated in the same category as real estate and stocks. Full-page advertisements in the Economic Daily Information News Guangdong and Hong Kong the be will market art the market, stock the and estate real “Following print: catching Shenzhen Donghui Ltd.’s media also reported hottest investment of the 1990s.” The Sichuan Art RMB and Western works for 1,000,000 of the award-winning purchase this Company’s sale move of as for what 450,000 it RMB, and purchased regarded underwriting.” estate “real to similar soccer matches and music from art market is ultimately different The spots cool off. managers disperse, after the crowds concerts. After the applause and the brouhaha, might that fair, art an for But, profit. to stand still can concerts and matches sports of to mind of cast the possess not do today investors art Chinese beginning. the be just face long-term intent to investment and invest, when its accompanying risks. The mis can only lead to “extraordinary by shortsighted frenzy, misled and exaggerated works to Shenzhen Donghui Ltd. for 1,000,000 RMB, all conducted pursuant to legal legal to pursuant conducted all RMB, 1,000,000 for Ltd. Donghui Shenzhen to works first “election of procedure The coverage. media extensive attracted this processes; divided the labor second” not only and acquisition art in invested businessmen Chinese while art further invading academic meaning. This operational model maintains a certain After the and debate. deal of questioning a great idealism and instigated amount of “Contemporary article his in biennial the about wrote Xianting Li concluded, exhibition ( of U.S. Dollars” under the Siege Chinese Paintings Zhongguohua” was subse investment. This based on corporate of the Biennial were operations The the among others, by, quently borrowed Zhongguo youhua shuangnian zhan Painting between the the cooperation does not appear to be profitable, ment” and “return” and tar “rules” the devise who critics and of organizers side the and side “investing” Due to limited knowledge, abilities, and experience, will rupture. gets for “returns” ------held in held in

) First 1990s 1990s First the Western Sichuan Art tions; for procedure, legal legal tions; for procedure, — on entati m le Imp biennial organizers became conscious of how became conscious of how biennial organizers — Shoujie 90 niandai yishu shuangnian zhan deals and I ( for instance, in many solo exhibitions of young artists held in in held artists young of exhibitions solo many in instance, for ). We cannot say that criticism has been degraded to the subor the to degraded been has criticism that say cannot We ). n Between tion were mostly contemporary artworks that diverged from conventional from diverged that artworks contemporary mostly were c through this exhibition through bought out the works for 450,000 RMB and then resold all twenty-seven twenty-seven all resold then and RMB 450,000 for works the out bought — — ontradi the values, which determines whether or not the transformation [from cultural to cultural [from transformation the not or whether determines which values, the of artworks rich in value the circulation social values] is complete. In a society, depos society contemporary where site main the constitutes perhaps judgments requires It accomplished. easily not is values orient actually to But, culture. its its contempo the toward intuition sharp a and history of understanding profound a society. to offer can critics art what is which rary, I feel that critics should have a leading position in the transaction of artworks. of artworks. position in the transaction I feel that critics should have a leading values cultural of commodity exchange that turns Dealing artwork is a process of direction the of grasp strong a have to critical it’s this, Within values. social into First First 1990s Biennial Art Fair

he C he

economic model is capable of supporting contemporary art, it becomes possible to art, it becomes possible to economic model is capable of supporting contemporary expand space. the In cultural fact, the artworks that in won the awards Biennial Art Fair modern art aesthetics. The investor in these works Company contracts supersede official ‘notices’; for academic operations, a critic-organized jury a critic-organized jury official ‘notices’; for academic operations, supersede contracts the past ‘selection committees’ consisting mainly of artists; for opera has replaced and academy substitutes the sin society, tional objectives, ‘efficacy’ in the economy, hard not therefore is It ‘success.’” artistic of field debated endlessly and narrow, gular, to see how influ of weakening subsequent the and life, social with interferes power economic art. Because the ence of outmoded ideological and political power on contemporary T The in investing companies domestic of era the jump-started 1992 October in Guangzhou char its summarizes exhibition the to preface The artwork. purchasing and exhibitions ‘endorsement’; replaced has ‘investment’ operation, economic of terms “In acteristics: for enterprises organiza­ sponsors, have cultural replaced nk of the role art art question “what do you think of the role comment was incisive in answering the market?”: art the in play critics of the critical discourse ( discourse critical the of to criticism reduced has exhibition and criticism of combination the 1993, since Beijing embellishment verbal the no market that unconditionally requires is In fact, there dinate status of a server. Criticism principle. market ubiquitous single no also is there criticism; of participation Fang’s Ding identical. not are but overlap, They fields. separate two are market the and y realized through art through is mainly realized a guide for the market of art criticism as the meaning arising out of invest purposes. Any economic benefits work collected for investment as evaluated upon artists’ eventual accomplishments dependent are ment purchases in the art world starting point of criticism remains “the Here, by history in the future. histori and value, cultural value, spiritual the explicate “to context,” historical the and function that criticism serves “the guiding Accordingly, cal value of art phenomena.” appropriation an of instead criticism, of nature the from naturally arises market the for from this reverence toward the myth of the market. Wang Lin believes that “art criti that Lin believes Wang of the market. the myth toward this reverence from “art because market,” the of independent exists value this and value, own its has cism nature the and history, our then and intellect our concerns foremost and first criticism is, to comment a position, that a price but to establish is not to establish of criticism history. cultural and intellect mankind’s and creation art between connections the on that believes further He history.” art is form, critical a in presented when history, Such

| 7 10 | - - - - - ), which ), which

ent m Meishu pipingjia, Meishu pipingjia, [ ) Ink p and Manage larshi o h c Sc i m ade experimented with every step of market operations every step of market operations experimented with ] was held at the National Art Gallery in Beijing. The The Beijing. in Gallery Art National the at held was ] )

shuimo

’93 Art Critics Nomination Exhibition ( p Between Ac they can call it a draw at most. Fan believes that the operational they can believes call at that most. it the a Fan operational draw — nshi o elati The establishment of market mechanisms and corresponding regulations implies implies regulations of market mechanisms and corresponding establishment The establishment The of an art market is a serious undertaking, and unlike what In June 1993, the First 1990s Biennial Art Fair 1990s First he R e.g., financing, selection, marketing, advertising, law, tax, and insurance law, advertising, marketing, e.g., selection, financing,

rested with the chairperson. Even though the selection process to a certain extent extent certain a to process selection the though Even chairperson. the with rested the same, to a remained the judgment of some critics, the end result incorporated had a lot to result nullifying the meaning of these critics’ input. Such a large degree prob Numerous chairperson. exhibition the of operations individualistic the with do of money and return of the award lems surfaced after the exhibition. Disbursement sponsors the but exhibition, the of rules the in stipulated expressly were artworks the Shui rules and make good on their promises. to follow the refused and the curators against resentment the biennial’s misuse Tianzhong’s of critics’ suggestions is not merit. without entirely historical Ethics itself is a fairness, and disclosure. the ethical principles of equality, normal the to opposition their in lies deceit and barbarism of irrationality The concept. market. today’s of functioning of degradation and sacrifice the upon premised not is believe, to us like would some academic How scholarship. to negotiate the between relationship and scholarship business, and between criticism and operational administration, is an overarching art. Chinese of development the further to order in face must we question ( zhan timing niandu 93 its conception to execution, and model from exhibition adopted a new operational nature of art expos, buyers from all over the world are only interested in collaborating collaborating in interested only are world the over all from buyers expos, art of nature odds at was biennial the of strategy initial The artists. represent that galleries with trouble had also cycle business short-term biennial’s the and model, fair art the with when faced with the longer operative convention widely adopted among art fair patrons. In light of this, the hundreds of thousands of yuan spent on renting the organizers Biennial taught. lessons the for except benefits, actual few achieved space short fell also but corporations, by invested initially funds back pay to failed only not the interna Chinese art into and pushing contemporary of publicizing, promoting, among anextent, the anxiety shared biennial a greater reflected tional market. To “effec economically and culturally being toward investors and critics, artists, Chinese period. transitional a in tive” T The ( Chinese the of development the for experiences and lessons valuable many provided economic lay in its disconnect from of the biennial’s failure art market. One aspect collec bombarded hastily organizers collectors, of base domestic a Without realities. they result, a As manner. gradual a in step by step them approaching than rather tors accompanying scholarly The operations. lacked support for the later stages of their way: the Di’an put it in an interesting was also too individualistic. Fan production One game. the play to ways two are there but well-known, are chess Chinese of rules board the across pieces scatter to is other the and beginning, very the from start to is only lose the pieces fall. In the latter case, the challengers wherever and play from and never win rea the fact, In former. the than rather latter the was Biennial the in adopted model son why the biennial did not include artists important from cities such as Beijing, biases. Throughout the jury had preexisting Shanghai, and Guangzhou was because always in the appointing theand finalword winners selection the process, review ------Art • Art • they only had mana had only they ). In terms of the business First 1990s Biennial Art Fair 1990s Biennial Art Fair First chances chances to turn around are few and far

— , as the only participant from mainland China, did not not did China, mainland from participant only the as , this this has a number of precedents in the and Western — comments comments by Luo Haiquan, chief manager of the Western

). Among the public opinions preceding the biennial, published exciting comments by entrepreneurs such as “buy out a great piece piece great a out “buy as such entrepreneurs by comments exciting published As we all know, the influence of art fairs is becoming increasingly significant for significant for is becoming increasingly the influence of art fairs As we all know, First 1990s Biennial Art Fair Art Biennial 1990s First

ies. Therefore, even though sales often total tens of millions of U.S. dollars, most gal most dollars, U.S. of millions of tens total often sales though even Therefore, ies. even. rent and, thus, break leries would be satisfied as long as they could earn their The ( agent an by represented is that artist an by work single a submit gerial authority over the awarded twenty-seven works art dealers enter the broad international market through more open-ended and the for this very reason, communication. Perhaps direct submitted the winning artworks to the Hong Asian Kong International Art Expo. of the art perspective from galleries, of the the nature art fair a is really However, the vast majority of galleries, the goal is not to sell For show for “products.” trade to and artists, more sign to themselves, advertise to as much as fair the during works galler other against competition the in out win to order in clientele, broader a build Madrid, and international art expos in Hamburg, Frankfurt, Chicago, and Tokyo. visitors of participation the attract only not expositions commercial large-scale These art world a snapshot of the contemporary and thousands of galleries, but also offer one to world the of corner every from galleries individual of hundreds condensing by news latest the of pulse the feel to able are critics Art days. few a of span the in place opportunities and choices; and artists and enjoy unprecedented buyers and trends; market exchange and the lack of confidence make art a very risky investment. Relying Relying investment. risky very a art make confidence of lack the and exchange market often be misled by will taste, art investors solely on idealist impulses and individual like this, the art art advice and fall victim to market speculation. In times erroneous market is just like the stock market caution. exercise to ought investors and between, in ARCO Spanish the Paris, in FIAC French the as such society, and art contemporary ¥4,470,000,000. This relatively conservative Japanese investment model may be an Japanese investment model may be an conservative relatively ¥4,470,000,000. This art. Art investment for Chinese institutions and individuals who invest in inspiration art consultation services, and the collection and sale of artworks on accurate relies scientific administra systematic and standardized through ought to be coordinated tion, which not requires only financial clout but also patience and opportunities. secondary a for space of lack the off, takes investment art for system entire an Before though though their purpose is to make a withthe profit, aid of art consultants,they are directed trends art and history art to tailored strategies and plans detailed of capable Kaii the of by collection Corporation, Higashiyama Andomori by the Take market. from running investment of period a with ¥2,260,000,000 around to amounts which works on the sells Higashiyama’s 1990 to 2000. Once every decade, the corporation market for gradually increasing prices. The final aggregate sales reached bought out and be sold off the next moment, thus fashioning a new history of entre of history new a fashioning thus moment, next the off sold be and out bought preneurial art investment invest business for that is difference The contexts. cultural and commercial Japanese ncing” and “property art collecting is one form of “fina ment in developed countries, is of a longer business model investment purposes. Their investment,” with explicit term in comparison to that of Chinese companies. foreign These companies and wealthy people view art collecting capital as a regular item of expenditure. Even takes” takes” and “sacrifice”( Sichuan Art Company Market considered are that works to refer to understood be only can here history.”History of be bought out, they if they can However, be of historical significance. by critics to they can be The only truth is that historical significance. of extraordinary cannot be

| 9 12 | ------tivities and delof “early lanning,late c larly p nal mo larly a o o o h h c c erati p in which “the academic conference rshi o parating s m the op ns r iddle stage s le of se ing, m p n” i c c o 1990s Biennial Art Fair rin inan ] erati tivities, and fo n f c o Second iti b ent the p ial a ent, and Cultural Spo c arket op m m er le The The principle of separation between scholarly and business activities elimi Admittedly, Admittedly, the rules, operation, and relevant laws for the critics’ nomina nvest 2. Imp comm stage exhi stage m group. a as critics the by at arrived proposals followed exhibition the for Financing The budget was put forth by the sponsors, who also solicited funding. Investors crit the and exhibition, the of components scholarly the with interfere not would nom as such activities, Scholarly operations. business of out stay would group ics by conducted independently were publication, and exhibition, selection, ination, the critics with assistance from the sponsoring institution. The investors and the compensatory and model operating the on agreed and negotiated directly artists plans. In principle, artists and agents these representing artists were expected to take the exhibition expenses into consideration in negotiating deals with inves tors. At the end of the exhibition, the investors scale, in independently limited are market and genres the particular for art held are exhibitions the Since works. steps may be taken gradually to expand the domestic market for art. Long-term market expansion may also be beneficial for investment opportunities provided price. in appreciation for potential works’ the to attention pay buyers the that charitylike both from differs It exhibition. the over monopoly investors’ the nates Critics’ com by money. and the contamination of scholarship patronage cultural pensation for their contribution to the to exhibition pursuant budget activities, planned the through including directly provided royalties is fees, attendance and inter to subject not is and Property,” Intellectual on Convention Critics’ “Art the ference from investors. Likewise, scholarly activities related to the exhibition are also funded through the planned budget, so as to guarantee academic indepen dence and proper conduct. [Such procedures] can avoid the embarrassing out come of the [ not invited back to attend the exhibition.” the attend to back invited not upon contingent is development its and improved, be to need still exhibition tion domestic a collectors. progressive, serious, However, and fair operational model is obviously beneficial to the continual advancement of academic criticism,market. art the of establishment gradual the as as well and the opening ceremony were suddenly called off and participating critics were were critics participating and off called suddenly were ceremony opening the and aw, I aw, L eco and cultural a of functioning proper the society, modern a of conditions the Under in However, regulations. legal, tax, and insurance nomic system necessitates relevant any there nor are governed under any legal framework; not are China, art transactions art fledgling ostensibly The market. art the controlling regulations insurance and taxation a into fallen fact in have operations market corresponding the and country our in market regula or rules special any in stated clearly not is artwork of taxation The limbo. lawless has to make do with an elastic spectrum between the indi practice current tions. The vidual income tax at the rate of 20 percent and the tax rate for commodities at 60 point starting the while world, the in highest the is China in artwork on tax The percent. inartworks for rate tax low a maintain commonly countries Foreign lowest. the at set is percent; 5 of rate a has Kong Hong instance, For creation. artistic encourage to order identified as the cost for housing by half for those who are countries reduce European artists; the U.S.’s tax but rate is the price slightly higher, point at which it becomes

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): “Perhaps ): a “Perhaps sin ugh o lished artists thr ’93 Art Critics Nomination Exhibition ( ccomp “Shichang shenhua yu piping quanwei” m is c reative and a riti c tive tive resent c c lle critics reserve the right to publicly report on and monitor activities. monitor and on report publicly to right the reserve critics committee, and the final review committee is to be governed by the chairperson chairperson the by governed be to is committee review final the and committee, members the and chairperson the committee; nominating the by upon voted and of the finalreview committee are entitled to two and three votes each, and nei vot the with result, voting the determine to power sole the have shall party ther chairperson the extent; some to chairperson the toward slightly leaning power ing crit the of number the in change the terms; successive two to elected be cannot participating whole; a as committee the by decided be to is committee the on ics mitted through collective criticism. First, the collective shall not devour the indi collective criticism. First, mitted through vidual. Second, the individual shall not dominate in the name of the collective. Accordingly, when formulating regulations for activities, one needs exhibi the by to inhibited be not will keep activities critical critics’ in guidelines: few a mind tion; all members of the nominating committee enjoy independent nominating rights and voting powers; the chairperson is to be elected by the nominating mechanism for collective criticism facilitates the advantages criticism objective of through recognition social collectivity gain and To authority. critical establishes and selection is the normal conduit to historical critique. Collective criticism can it time the shortening trends, aesthetic set and opinion societal influence only not a on market the direct also can but art, avant-garde accept to public the for takes macro-level to induce a mutually beneficialrelation between criticism and the com abuse possible any against order in also are precautions Certainly, market.” personal personal favoritism, and to promote the impartiality of academic With scholarship. regard to this, Wang Lin said Authority of Criticism” ( in his essay “The Market Myth gle critic’s viewpoint and may be inaccurate, but the the opinion shared by many critics merits attention. Maybe the selection in a certain year is mistaken, but the con tinuum observed across many years possesses its own accuracy. Instituting a nomination receiving more than two-thirds of the critics’ votes would pass, and commit review final The committee. review final the to submitted be then would tee then voted on the works, committee review with final The the each. vote chairperson one having members having committee two two other votes and the These works. nominated the of percent 20 to up on power veto enjoyed members any avoid to nomination, the of worthiness the guarantee to designed were rules The invited critics consisted of eighteen influential domestic critics. Among them, Among critics. domestic influential eighteen of consisted critics invited The a nominating committee was formed. The critics committee elected a chairper final the of Members committee. review final the together put turn, in who, son, review committee were also subject to a majority vote by the nominating com mittee. For the exhibition, critics first made individualnominations. recommendationsThe entire nominating and committee reviewed the submitted works, inclusive of both their visual and textual parts, and voted on each work. Any 1. To p co

made a renewed effort to sort out the relation between scholarship and business, and and business, and scholarship between relation the out sort to effort renewed a made between criticism and operations. The characteristics: unique two possessed and impact, cultural long-term emphasized

| 11 14 | ------Jiushi Urumqi: Xinjiang rly 1990s”] in ], ed. Zhang Qing ( 1992 – 69. Translated by Kela Shang. by Kela 69. Translated – ), 155 1990s Chinese Art, 1990 [ 1992 – y. In foreign coun In foreign y. topic that has been discussed a lot latel “Art investment” is a Excerpted from a section titled “90 niandai Zhongguo meishu yu shichang” in a text originally pub a section titled “90 niandai Zhongguo meishu yu shichang” in a Excerpted from — means of “cultural patronage.” In some developed countries, while investing in art, In some developed countries, while investing in art, patronage.” means of “cultural companies and individuals also “sponsor art and for and devise culture” tax breaks with related is not directly This such initiatives as beautifying the built environment. represents that art serious of existence the with do to more has it instead investment, a nation’s Otherwise, cultural even identity. if a country provides sufficient legal of artworks, even if a consumer taxation, and insurance underpinnings for the trade, compati is market art domestic the if even and form, to starts investment art for base ble with international market protocols, the operational space of art and culture remains incomplete in that there is only “investment” and no “sponsorship.” Art or society at whether for companies or individuals, investment and art sponsorship, embellishments for well-fed and well-clothed societies, but the not mere large, are the elevating the quality of economic and material life through toward healthy road institutions, agency operations, market professional more expect We space. spiritual and auction Only regulations. in such an art market can we truly recommend out and to function competently within standing artworks to the people and to society, advocates. art of role the play and ecology artistic and cultural the of totality the lished as “90 niandaichu yishu shichang xunli” [“Survey of the Art Market in the Ea niandai Zhongguo meishu 1990 Publishing House, 1996 Fine Arts and Photography was a hit, and the bidding was heated. The most heartening and unexpected aspect aspect unexpected and heartening most The was heated. bidding hit, and the was a mainland were sold whose works were of the artists 95 percent than was that more Chinese artists. This undoubtedly brings hope and confidence to the growth ofa art Chinese of distribution and exchange the However, market. art Chinese mainland and the accepted rules by the lack of internationally to be plagued works continue counterfeit as such problems Until transparency. and discipline market normal of lack will not investors even Chinese resolved, can be provenance of [proven] ing and lack of sense a Without buyers. foreign mention to not compatriots, their by works the buy of is out and appreciation its value, cannot retain the investment economic security, question. the on its own, much has become a means of business and profiting tries, art investment introduced was it When estate. real and market, stock the transactions, securities like companies recently prosperous as a new field of investment for in China, it was seen in success its of terms in artwork judging of activity new the with along individuals and market mecha as run through status as a special commodity, the marketplace. Art’s people’s to closer it brings and art of popularization the to contributes naturally nisms, is a sign normal and of social lives. encouraging This development, but “art invest investment propels significance. Commercial profound ment” also contains a more func commercial its Besides prosperity. social furthers directly and activity, economic commodity, a becomes artwork an Once spirit. human the of product a also is art tion, it comes out of the confines of the artist’s studio and can be enjoyed by society at mar Through this. achieving for avenue effective most the is Commercialization large. ket mechanisms, art can be disseminated to the public, realizing art’s objective of if “investment” is misconstrued as an popularization. On the other hand, however, dom is that mindset a to rise gives necessarily it wealth, and profit of pursuit exclusive follow the market. of marketability and the hope for art to inated by considerations open another window spiritual meaning of “art investment” is to profound more The and wealth, and to perfect the measures into society and life, to accumulate spiritual ------) was held at held was )

), was held in Beijing. ), was held in Beijing.

to participate, one had to had one participate, to ), the quota set for different regions regions ), the quota set for different turned out to be a disappointment for Beijing guoji paimai hui Beijing guoji paimai (

First Auction of Calligraphy and Painting by Contemporary Auction by First of and Contemporary Calligraphy Painting dollars ] 15,000 Taiwan Shoujie dangdai Zhongguo mingjia zihua jingpin paimaihui jingpin zihua mingjia Zhongguo dangdai Shoujie ( ), and certain items in the auction were neither publicly disclosed nor disclosed publicly neither were auction the in items certain and ), Beijing International Auction Beijing International Auction Beijing International In October 1992, the for the Chinese It seems that cutting off the flow of art objects would not work for the Chinese The phrase “art market” has become widely used in China in recent years. In the In the years. in recent has become widely used in China “art market” phrase The

among the 1,000 admissions tickets in total, Taiwan received 300, Hong Kong 200, 200, 300, Hong Kong received admissions tickets in total, Taiwan among the 1,000

Chinese Masters Chinese Masters the birthplace of China’s opening and reform, the Yanshao, southern Lu city as such of auction, Shenzhen. the in featured were artists painting ink Chinese Mainland auction Ming, Deng Lin, Chang Jin, and Chen Xiangxun. The Xie Zhiliu, Cui Zifan, Ya ago, a piece of Chinese Neolithic pottery would sell for twenty thousand to thirty thou six to thousand four for goes item same the today, But more. even or thousand, underpriced! are art Chinese of Masterworks sand.” cut effectively be cannot off cut be should What backfire. only would That market. art policy in fact only current to lose has been lost. The and what we cannot afford off, artworks. of exchange normal the facilitate not will and smuggling, protects ing remains rampant. Furthermore, the Furthermore, flow ofing rampant. largerelicsremains quantities to of cultural sold for a these art objects are smuggling. While was exacerbated through overseas low price inside China, once they smuggled are the across they border fetch huge However, country. our for loss enormous an to amounts price in difference The sums. How objects overseas. the price of Chinese cultural lowers this situation also directly years “Fifteen reports: Chait, Ralph York, New from dealer antique An loss? a of much unexpectedly, the Beijing and authorities said made “now an is about-face not the unexpectedly, time,” and the rel cultural of auctioning the that feared government the Allegedly, buyers. expectant ics would be charged as “treason” and the “loss of precious cultural heritage.” the art to deregulate such as China, the refusal for a nation rich in culture However, only perpetu policies and laws would market and the absence of lenient yet rational trad private overt, not While market. art Chinese the for status market” “black the ate and Europe 300 Europe and kind, its of first the was auction this Because advance. in catalogue the in reproduced items deemed the debut of seven ceramic and the organizing committee guaranteed of the art world was elated by the prospect to be at the level of “national treasures,” as the fact that of the domestic market for art and antiques, as well the deregulation However, relics.” China qualified as “cultural almost all high-quality fine art objects in whole new level. In October 1992, the first auction sanctioned by government offi October 1992, the first whole new level. In cials, the Many of the rules set during this auction were trailblazing, such as the issuing of ( participants of number the controlling for tickets admission put up [the equivalent of ( steps toward the healthy and gradual progress of the Chinese art market. art Chinese the of progress gradual and healthy the toward steps by aficio only collected were and phenomena spiritual as seen were objects art past, in practiced consistently been has collecting although Therefore, collectors. and nados and publicly traded rise of the market that artworks became China, it was after the they as much as phenomena” “spiritual are Artworks “commodities.” like exchanged collecting to a of art objects brings art of value”: the commercialization “objects are effective is higher as well; many countries allow artists to deduct raw material expenses, material raw deduct to artists allow countries many well; as higher is effective related reasonably as relations expenses public to fieldwork, and costs related traveling and amount, high relatively a deduct can artists German art. of business and trade the to the develop this is beneficial to taxes. All of of reporting very conscious are therefore regulations of laws and introduction the enterprise. Accordingly, cultural ment of their critical the among is market cultural and art the to regard with insurance and taxation on

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