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December 2007 | Winter Issue Inside Special Issue on the Chinese Contemporary Art Market Interviews with Liu Jianhua and Shan Shan Sheng Dialogue on documenta 12 US$12.00 NT$350.00 china square 1 2 Contents 4 Editor’s Note 6 Contributors 8 Contemporary Chinese Art: To Get Rich Is Glorious 11 Britta Erickson 17 The Surplus Value of Accumulation: Some Thoughts Martina Köppel-Yang 19 Seeing Through the Macro Perspective: The Chinese Art Market from 2006 to 2007 Zhao Li 23 Exhibition Culture and the Art Market 26 Yü Christina Yü 29 Interview with Zheng Shengtian at the Seven Stars Bar, 798, Beijing Britta Erickson 34 Beyond Selling Art: Galleries and the Construction of Art Market Norms Ling-Yun Tang 44 Taking Stock Joe Martin Hill 41 51 Everyday Miracles: National Pride and Chinese Collectors of Contemporary Art Simon Castets 58 Superfluous Things: The Search for “Real” Art Collectors in China Pauline J. Yao 62 After the Market’s Boom: A Case Study of the Haudenschild Collection 77 Michelle M. McCoy 72 Zhong Biao and the “Grobal” Imagination Paul Manfredi 84 Export—Cargo Transit Mathieu Borysevicz 90 About Export—Cargo Transit: An Interview with Liu Jianhua 87 Chan Ho Yeung David 93 René Block’s Waterloo: Some Impressions of documenta 12, Kassel Yang Jiechang and Martina Köppel-Yang 101 Interview with Shan Shan Sheng Brandi Reddick 109 Chinese Name Index 108 Yishu 22 errata: On page 97, image caption lists director as Liang Yin. Director’s name is Ying Liang. On page 98, image caption lists director as Xialu Guo. Director’s name is Xiaolu Guo. 3 Editor’s Note YISHU: Journal of Contemporary Chinese Art Volume 6, Number 4, December 2007 president Katy Hsiu-chih Chien The art market is currently a topic of heated r Ken Lum discussion, and so it should be. This is an r Keith Wallace unprecedented moment in the history of n r Zheng Shengtian contemporary art, one in which the prices of i Julie Grundvig artworks are escalating at an unheard-of pace, Kate Steinmann with some magazines even providing quarterly web site r Julie Grundvig reports about which works and artists are et tr Larisa Broyde d n Joyce Lin increasing in value, and by how much. This has intern Chunyee Li led to confusion about what is determining the real value of contemporary art. Does value lie disry b primarily within the artwork as a philosophical Judy Andrews, Ohio State University Melissa Chiu, Asia Society Museum or perceptual proposition, or is it based on how John Clark, University of Sydney much money it commands? Lynne Cooke, Dia Art Foundation Okwui Enwezor, San Francisco Art Institute Britta Erickson, Independent Scholar & Curator Yishu 23 has been guest-edited by Dr. Britta Fan Di’an, National Art Museum of China Fei Dawei, Guy & Mariam Ullens Foundation Erickson, who, during this past year, carried Gao Minglu, University of Pittsburgh out research on the art market in China with Hou Hanru, San Francisco Art Institute Katie Hill, University of Westminster the assistance of a Fulbright Fellowship. Claire Hsu, Asia Art Archive Along with her own incisive observations and Martina Köppel-Yang, Independent Critic & Historian Sebastian Lopez, Institute of International Visual Arts thoughts, she invited other writers to comment Lu Jie, Independent Curator upon the implications of the current art market. Charles Merewether, Australian National University Their response was so strong that the core Ni Tsaichin, Tunghai University Apinan Poshyananda, Ministry of Culture, Thailand of this issue is dedicated to this topic. Dr. Chia Chi Jason Wang, Independent Critic & Curator Erickson has gathered together writers with Wu Hung, University of Chicago Pauline J. Yao, Independent Scholar varying points of view about the art market and its stakeholders—artists, galleries, auctions, pb Art & Collection Group Ltd. and collectors. Yishu extends its thanks to her n d Leap Creative Group and all the writers who have contributed to this retie diretr Raymond Mah important issue. It is especially appropriate Art Diretr Gavin Chow that Yishu 23 will be launched at Art Basel/ webster Website ARTCO, Taipei Miami Beach, one of the most important Chong-yuan Image Ltd., Taipei international art fairs, where the market is - expressed in its full glory. Yishu is published quarterly in Taipei, Taiwan and edited in Vancouver, Canada. As of 2008 Yishu will be published bi-monthly on the first day of January, March, May, July, September, and On a different note, the staff at Yishu is November. pleased to announce that the journal will To subscribe please go online www.yishujournal.com or call be published bi-monthly as of January 1.604.649.8187. 2008. The encouraging response we are Subscription rates: one year: US $60; two years: US $110. For air- receiving from individuals who want to know mail delivery please add US $18 per year for Asia; US $24 for other regions. about contemporary Chinese art, and the number of writers who want to participate All subscription, advertising and submission inquiries can also be sent to: in a discourse about it, has increased to Yishu Office the point that more frequent publication is 410-650 West Georgia Street, Vancouver, BC necessitated. We will continue to maintain Canada V6B 4N8 Phone: 1.604.649.8187; Fax: 1.604.591.6392 our intentions of producing a publication that E-mail: [email protected] is not a throwaway, but one that will stay Distributors: on bookshelves and become an important U.S.A. source for future research about the history of Journals Department, University of Hawai’i Press [email protected] contemporary Chinese art. Canada Disticor Magazine Distribution Services www.disticor.com Keith Wallace Australia Selectair Distribution Services www.selectair.com.au Advertising inquiries may be also sent to: YISHU EDITIONS Art & Collection Ltd. 6F. No.85, Section 1, Chungshan N. Road, Taipei, Taiwan 104 Now available. Xu Bing’s limited edition Phone: (886)2.2560.2220; Fax: (886)2.2542.0631 print of his new project at MOMA/NYC in E-mail: [email protected] the exhibition Automatic Update, June 27- September 10. www.yishujournal.com Book from the Ground, 2007, digital print, No part of this journal may be published without the written 29.7 X 35.6 cm, produced by Xu Bing Studio, permission from the publisher. New York. Edition Size: 199. For more information please see We thank Mr. Milton Wong, and Mr. Daoping Bao, Paystone www.yishujournal.com Technologies Corp., for their generous support. 4 Cover: Zhong Biao, Beyond Painting (detail), 2007, charcoal and acrylic on canvas, 380 x 1200 cm. Courtesy of the artist and Xin Dong Space for Contemporary Art, Beijing. Yishu: Journal of Contemporary Chinese Art 典藏國際版‧第6卷第4期‧2007年12月5日出版 4 編者手記 典藏國際版創刊於 2002年5月1日 作者小傳 社 長： 簡秀枝 6 總策劃： 鄭勝天 創刊編輯： 林蔭庭（Ken Lum） 藝術市場專輯 主 編： 華睿思 (Keith Wallace) 副編輯： 顧珠妮 (Julie Grundvig) 8 當代中國藝術：致富光榮 史楷迪 (Kate Steinmann) 林似竹（Britta Erikson）本期特約編輯 行 政： 藍立杉 (Larisa Broyde) 實 習： 黎俊儀 17 關於剩餘價值積累的一些思考 網站編輯： 顧珠妮 (Julie Grundvig) 廣 告： 林素珍 楊天娜（Martina Köppel-Yang） 顧 問： 王嘉驥 19 2006-2007中國藝術品市場的宏觀描述 安雅蘭 (Judy Andrews) 巫 鴻 趙力 林似竹 (Britta Erickson) 展覽文化與藝術市場 范迪安 23 招穎思 喻瑜 洛柿田 (Sebastian Lopez) 侯瀚如 29 與鄭勝天在798七星酒吧的談話 徐文玠 姜苦樂 (John Clark) 林似竹（Britta Erikson） 姚嘉善 倪再沁 34 賣畫之外：畫廊與藝術市場規範的建設 高名潞 湯凌雲 費大爲 楊天娜 (Martina Köppel-Yang) 44 藝「股」熱談 盧 杰 Lynne Cooke Joe Hill Okwui Enwezor Katie Hill 51 日常奇跡：民族自豪感和當代中國藝術的 Charles Merewether 收藏家 Apinan Poshyananda Simon Castets 出 版： 典藏雜誌社 台灣臺北市中山北路一段85號6樓 58 奢盼：在中國尋找「真正」的藝術收藏家 電話: (886) 2.2560.2220 姚嘉善（Pauline J. Yao） 傳真：(886) 2.2542.0631 電子信箱：[email protected] 62 市場繁榮之後： Haudenschild 收藏的個案研究 編輯部： Yishu Office 410-650 West Georgia St., Michelle M. McCoy Vancouver, BC, Canada V6B 4N8 電話: (1) 604.727.6187 72 鍾飆與「全球在地化」的想象 傳真：(1) 604.591.6392 電子信箱: [email protected] Paul Manfredi 訂閱、投稿及廣告均請與編輯部聯系。 藝壇聚焦 設 計： Leap Creative Group 印 刷： 中原造像股份有限公司 84 出口—貨物轉運 Mathieu Borysevicz 網 址： www.yishujournal.com 管 理： 典藏雜誌社 90 關於「出口—貨物轉運」— 與 劉建華的對話 國際刊號: 1683-3082 陳浩揚 本刊在溫哥華編輯設計，臺北印刷出版發行。 一年四期。自2008年起改為雙月刊。一年6期。 93 René Block 的滑鐵廬 — 對12届文件展 逢一、三、五、七、九、十一月一日出版。 的一些看法 售價每本12美元。 楊詰蒼／楊天娜（Martina Köppel-Yang） 自2008年起訂閲一年60美元，兩年110美元。 航空郵資亞洲一年加18美元。其他地區一年加 101 盛姗姗訪談 24美元。 Brandi Reddick 訂閱單可從本刊網址下載。 中英人名對照 版權所有，本刊內容非經本社同意不得翻譯 109 和轉載。 封面：鍾飆，出神入畫（局部），2007，布面木炭和壓克力，四幅裝 置，380 X1200公分，程昕東國際當代藝術空間及藝術家提供 5 Contributors Mathieu Borysevicz is an artist, critic, and curator who divides his time between New York and Shanghai. He has been involved with contemporary art in China since 1994, focusing on the intersections of social transformation and artistic production. His writing has appeared in publications such as Artforum, Art in America, Art Asia Pacific, and tema celeste. His photography and video work has been shown internationally at the Tribeca Film Festival, the Institute of Contemporary Art, London, the Bauhaus, the Shanghai Duolun Museum, the Bronx Museum, and the Israeli Center for Contemporary Art, Tel Aviv. He is currently working on Learning from Hangzhou, a photographic case study in the form of book and exhibition that examines the relationship between architecture and signage in Hangzhou. Simon Castets is currently pursuing his M.A. in curatorial studies at Columbia University. He was a recipient of the Louis Vuitton Moët-Hennessy Asia Fellowship in 2006. His recent and current projects include developing corporate partnerships for Palais de Tokyo, conducting the Young Curators’ Invitational program at FIAC from 2006 to 2007, and completing research for the Georges Pompidou Art and Culture Foundation. Chan Ho Yeung David is a curator based in Hong Kong and Shanghai. He completed an M.A. from the Center for Curatorial Studies at Bard College and has been curator at the Shanghai Gallery of Art since 2003.
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    ASIAN CANADIAN ART AND ARTISTS BIBLIOGRAPHY Compiled by the Ethnocultural Art Histories Research group (EAHR) Founded in 2011, The Ethnocultural Art Histories Research group (EAHR) is a student-led research community that facilitates opportunities for exchange and research-creation in the examination of issues of ethnic and cultural representation within the visual arts in Canada. Based within the Department of Concordia University, EAHR leads an annual public programming agenda of symposia, artist talks, public lectures, and curatorial projects as a means to disseminate knowledge and provoke discussion. Allen, Jan and Baerwaldt, Wayne. Germaine Koh : Personal. Kingston, ON: Agnes Etherington Art Centre, 1997. Anon.. Gu Xiong : The Mirror : A Return To China. Whitehorse, YT: Yukon Arts Centre, 1999. Anon.. The Lab 6.2 : Ho Tam : Romances. Victoria, BC: Art Gallery of Greater Victoria, 2006. Anon.. Lost Secrets of the Royal : SoJin Chun, Louise Noguchi. Toronto, ON: A Space Gallery, 2011. Anon.. Resistance is Fertile : Dana Claxton ; Thirza Cuthand ; Richard Fung ; Shani Mootoo ; Ho Tam ; Paul Wong. Toronto, ON: A. Space Gallery, 2010. Anon.. REviewing the Mosaic : Canadian Video Artists Speaking Through Race. Saskatoon, SK: Mendel Art Gallery, 1995. Anon. Seven Years in Korea. Seoul, South Korea: Dongsoong Cinematheque, 1999. Anon.. Strangers in a Strange Land. Regina, Sask.: Rosemont Art Gallery, 2001. Arnold, Grant. Ken Lum. Vancouver BC: Vancouver Art Gallery, 2010. Arnold, Grant and Enwezor, Okwui and Schõny, Roland. Ken Lum. Vancouver BC: Vancouver Art Gallery, 2011. Arnold, Grant and Qiang, Zhang and Li, Jin. Here not There. Vancouver, BC: Vancouver Art Gallery, 1995. Baden, Mowry. Yoko Takashima. Kamloops, BC: Kamloops Art Gallery; Lethbridge, AB: s.n., 2003.
  • Behind the Thriving Scene of the Chinese Art Market -- a Research

    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.
  • Big-Character Posters, Red Logorrhoea and the Art of Words

    Big-Character Posters, Red Logorrhoea and the Art of Words

    History Writ Large: Big-character Posters, Red Logorrhoea and the Art of Words Geremie R. Barmé, Australian National University In 1986, the Zhoushan-based artist Wu Shanzhuan worked with other recent art school graduates to create an installation called ‘Red Humour’ (hongse youmo 红色幽默). It featured a room covered in the graffiti-like remnants of big-character posters (dazi bao 大 字报) that recalled the Cultural Revolution when hand-written posters replete with vitriol and denunciations of the enemies of Mao Zedong Thought were one of the main cultural weapons in the hands of revolutionary radicals (Figure 1). It was an ironic attempt to recapture the overwhelming and manic mood engendered by the red sea of big-character posters that swelled up in Beijing from mid 1966 and developed into a movement to ‘paint the nation red’ with word-images during the second half of that year and in 1967. In the reduced and concentrated form of an art installation Wu attempted to replicate the stifling environment of the written logorrhoea of High-Maoist China (Figure 2). Figure 1: ‘Red Humor,’ Wu Shanzhuan. Source: Gao Minglu (2008) ’85 Meishu Yundong—80 niandaide renwen qianwei, Guangxi shifan daxue chubanshe, Guilin, vol. 1. PORTAL Journal of Multidisciplinary International Studies, vol. 9, no. 3, November 2012. Politics and Aesthetics in China Special Issue, guest edited by Maurizio Marinelli. ISSN: 1449-2490; http://epress.lib.uts.edu.au/ojs/index.php/portal PORTAL is published under the auspices of UTSePress, Sydney, Australia. Barmé History Writ Large Figure 2: Red Sea, Beijing 1967. Source: Long Bow Archive, Boston.
  • Chinese Contemporary Art-7 Things You Should Know

    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.