Friday , October 7 2022

Shanghai West Bund and Art021 Fairs


West Bund Art & Design (November 8-11, 2018). Courtesy of West Bund Art & Design.

The last time I visited West Bund Art & Design was four years ago when the fair was in the first year of operation: a small, boutique offer that was in a cavernous hangar that looked too much for him. Since then, much has changed. Stunning the rapid development of the city, West Bund has grown from 25 galleries in 2014 to a fair that received 87 galleries in the main section this year – 39 of which are for the first time, including Xavier Hufkens, Simon Lee Galleri, and Almine Rech Gallery.

The fifth edition of the fair coincided with the opening of the 12thth Shanghai Biennial (November 10, 2018-10 March 2019) and the sixth edition of Art021 Shanghai of Contemporary Art (November 8-11, 2018), which is open to VIPs one day after the West Bund. Above the original Art Bank in West Bund, the fair added an additional hall built by the state-owned Shanghai West Bund Development Group, which doubled the exhibition area of ​​the complex to 20,000 square meters. The small boutique that offered this was not in 2018.

West Bund Art & Design (November 8-11, 2018). Courtesy of the Ocul in collaboration with West Bund Art & Design. Photo: Ksing Zhenzhong 邢 振 中.

The fair was opened with a moderately busy VIP front night on Wednesday for mainly Asian collectors, while some galleries such as Lehmann Maupin reported quick sales in Kader Attia, Marilyn Minter, McArthur Binion, Hernan Bas (who also was present at and held an interview on his art collection) and Angel Otero. West West Bund's first Western Thaddaeus Ropac presented a double image of Georg Baselitzsind vir schon yes?, 2018) and the painting of the Romanian superstar Adrian Ghenie, Favela (2018), which was sold for $ 1.2 million.

However, several smaller galleries cited interest, but few sales in working hours, and several presenters observed that sales seemed slow compared to previous years. Some art fairists were nervous about the fact that the market led to an economic downturn due to developments during a trade war between China and the United States, which resulted in the weakening of June. Although Chinese art and antiquities were spared from being included in the list of goods included in tariffs imposed in the United States, the conflict continued to be discussed during the first night.

Lee Bul, Untitled (Mekamelencolia – Velvet # 6 DDRG10NB) (2018). Human hair, pearl shirt, acrylic, dried flower and ink on silky velvet. 145 × 207 cm; Marilyn Minter, Deep Frost (2016). An enamel on metal. 219.7 × 182.9 cm. From left to right. Exhibition: Lehmann Maupin, art and design of West Bund (November 8-11, 2018). Courtesy of the Ocul in collaboration with West Bund Art & Design. Photo: Ksing Zhenzhong 邢 振 中.

However, this did not diminish enthusiasm and admiration for the fair. "This has to be one of the most beautiful fairs I've ever been on," said one curator. Spacious, well-lit halls made the perfect ambience for sophisticated and elegant presentations in many gallery stalls, which compiled good boxes and thoughtful exhibits, given significantly less experimental and risky work, as well as less surprises. A popular turning point to the use of KR codes helped visitors to move around through presentations and get to know the works. And unlike many international art fairs, brand sponsors are discreetly removed into corners.

Exhibition: Gagosian, West Bund Art & Design (November 8-11, 2018). Courtesy of the Ocul in collaboration with West Bund Art & Design. Photo: Ksing Zhenzhong 邢 振 中.

The contemporary art of the blue chip was presented by Gagosian, featuring Richard Prinz, Sterling Ruby, Rudolf Stingel, and Jonas Vood's favorites. Timothy Tailor presented the electric display of colorful textiles Shezad Davood and neon works ArtReviev AsiaXian Chang section, which brought together larger installations and special projects. Pace Gallery exhibited the sound booth of all female artists, with several works by American artist Kiki Smith from Germany, including a large aluminum sculpture (Shooting Star, 2011) and a huge colored work of stained glass, Prelude (2014), which stretch across the whole of the cabin walls. Equally the arrest at Pace's stand was the beautiful work of the porcelain Jewish part of the Chinese sculptor Iin Ksiuzhen. The pieces of glazed porcelain are trimmed with rugs and holes, and are filled with a blade of clogged clothes. These "personalized" objects represent a gift of the lives of individuals who are often neglected in the progress towards excessive urbanization, rapid modern development and a growing global economy.

Dan Flavin, without title (Sonji) (1969). Yellow and green fluorescent light. Approximately 976 cm. Exhibition: David Zvirner, Art & Design West Bund (November 8-11, 2018). Courtesy of the Ocul in collaboration with West Bund Art & Design. Photo: Ksing Zhenzhong 邢 振 中.

David Zvirner introduced the solo speaker, with Dan Flavin without title (Sonji) (1969) – a two-part neon installation built of mesh barriers of green and yellow fluorescent lamps facing each other – at a price of $ 3.5 million. One of the most beautiful and impressive stands was the installation of Hongarč Gallery Hanart TZ, the installation of ink for Xu Longsen on paper works, which were exhibited at the Art Institute in Chicago in 2017. Six large inks on abstract landscape paintings were shown along with eight sensors and ink on wooden pillars that looked like they were made of marble, moving through the cabin space as a mini pantheon's porch.

Exhibition: The work of Xu Longsen in the view of Hanart TZ Gallery, West Bund Art & Design (November 8-11, 2018). Courtesy of the Ocul in collaboration with West Bund Art & Design. Photo: Ksing Zhenzhong 邢 振 中.

At the Taipei TKG + stand Thai artist Mit Jai Inn, who recently exhibited in Taipei's gallery project space, presented a number of his chromatic images. The works of young Taiwanese artist Joice Hoa were also taken into account, including her sculpture made of fiberglass from t-shirts (Osmosis, 2018) and a video installation under the title No surprise (2018), which shows a couple of hands by typing the lyrics of a single Radiohead song. The papers point to the immediate disappearance of certain forms of work; in this case, typing and hand wash. Ho, whose works amplify the little details of everyday life, presented a public art installation outside the fairground, as part of the Xian Chang section. Titled Balancing (2018), a pair of black fence with swinging legs that inspire and inspire on the inherent tension in China in maintaining the balance between captivity and protection.

Joice Ho, Balancing (2018). Exhibition: West Bund Art & Design (November 8-11, 2018). Courtesy of TKG +.

While West Bund was more sober and more reserved, Art021 (November 8-11, 2018) was a chaotic set of art, brands and people held throughout the city at the Shanghai Exhibition Center. In its sixth edition, the fair jumped from only 29 exhibitors to its first fair in 2013 to 103 galleries this year. Prior to that, West Bund and Art021 used different collectors and presented various galleries, and West Bund has been supplying more international and established galleries, and Art021 presents new and regional galleries.

Art021 Modern Art Fair in Shanghai (November 8-11, 2018). Courtesy Art021.

The founder of the luxury brand Bao Iifeng and former director of the Kelli Iing gallery, several players described Art021 as a younger fair "catering to a fashion show" and focusing on new collectors. And for those who were not yet ready to bargain with art, but wanted to buy some windows, there was a lot of harassment from the luxury and beauty sponsored by the brands. It is surprising that co-operation with Murakami Taxi Collection with designer and creative director Louis Vuitton Men's Clothing Virgil Abloh appeared in Gagosian's cabin.

Exhibition: Gagosian, Art021 Fair of Contemporary Art in Shanghai (November 8-11, 2018). Courtesy Art021.

Although the atmosphere at two fairs was extremely different, the difference between these two events has become poorer than ever this year. The Peres and Ota Fine Arts project showed both: a result explained by a gallery about the selection process. Art021 applications were first submitted, with galleries being accepted that they did not know if they would cut off the Western Bund, resulting in participation in both cases, if another application was confirmed.

For galleries such as Hauser & Virth, for which the fee for participation in the art fair is barely in favor of their budget, the reason was much simpler: why not? one representative from Hong Kong shook hands. Galleria Continua, David Zvirner and Perrotin also showed at both fairs.

Exhibition: Ota Fine Arts, Art021 Modern Art Fair in Shanghai (November 8-11, 2018). Courtesy of Ota Fine Arts, Shanghai / Singapore / Tokyo.

The biggest difference between them was consistency of quality – it was a mixed bag in Art021, where the prevailing trend was for lively, colorful and attractive works. Successful examples of this approach were Kasmin, who for the first time showed up with Mark Ryden Salvator Mundi (2018): a sweet, blue, fluffy large-eyed creature, holding a crystal ball guarded by two guards, playing with the same name Leonard da Vinci, sold last year for $ 450 million. (Richard's work was allegedly sold for USD350,000.)

The Hong Kong Blindspot Gallery presented a beautiful and attractive booth of Sarajevo works, which consisted of winter sherbet pop, Japanese and commercial paintings inspired in the 1980s.

Exhibition: Blindspot Gallery, Art021 Fair of Contemporary Art in Shanghai (November 8-11, November 2018). Virtual Blindspot Gallery.

The city has offered a lot of other disruptions to art outside of two fairs, and in some rather fantastic places, although it has become a challenge for many. I finished three kilometers from the explosive and vandalistic installation of Katharina Grosse, Mumbling Mud, in the art museum Chi K11. I passed the length of the Cultural Corridor West Bund, a government initiative that already includes the Long Museum and the Yuz Museum, and will soon include the Shanghai branch of the Pompidou Center designed by David Chipperfield, which runs through a cultural theme park of some of the galleries and museums.

Exhibition: Katharina Grosse: Mumbling Mud, chi K11 art museum, Shanghai (November 10, 2018-24 February 2019). Courtesy of K11 Art Foundation and Gallery Nachst St. Stephan, Vienna. © Katharina Grosse and VG Bild-Kunst, Bon.

Through the road from the West Bund art fair, located on the shores of the Huangpu River, Tank Shanghai sits; complex of five repurganized fuel tanks. The complex presents the experimental works by a Japanese electronic composer and visual artist Rioji Ikedea, who uses mathematics to study the characteristics of sound and light. His data.tron exhibition (November 10, 2018 – January 6, 2019), part of the exhibition datatics project, was a series of experiments that explored such issues both physically and mathematically.

Rioji Ikeda, data.tron [WUXGA version] (2011). DLP projector, computer, speakers. Edition 1/3 + AP. Enjoy the Almine Rech artist and gallery. © Rioji Ikeda. Photo: Alek Wang.

The tank complex was developed by the owner and collector of the nightclub Kiao Zhibing, whose four-door club KTV blurs so much for its young housewives, who give gifts out of the identified numbers for them, and for art that includes works by Traceia Emina Antonia Gormlei and Damien Hirst. In less than ten years, as well as a large part of the country, Kiao found himself again, becoming one of the best Chinese collectors. He is also the founder of Kiao Space, where for the first time an American artist Matthev Dai Jackson in China (New landscape, November 7, 2018-21. January 2019). The sequence of Dai Jackson scenery grows between the past and the present, mythical and historical, which results in clever visual collages that are both hoping and metaphorical warning stories.

Louise Bourgeois, Maman (1999). Steel and marble. 927.1 to 891.5 to 1023.6 cm. Exhibition display: Louise Bourgeois: Eternal Thread, Long Museum, West Bund (November 3, 2018-24 February 2019). The Tate Collection, presented by the artist 2008 © The Easton Foundation / VAGA (ARS), NI. Photo: Jiaki & zhe.

Neo-brutalistic Concrete Debt Museum – once used as a port for the transportation of coal – host of Louise Bourgeois mother of all spiders, Maman (1999), filling the paved, cavernous space within the first major exhibition of works by artists in China (The eternal thread, November 3, 2018-24 February 2019).

Another private museum nearby is the Yuz Museum, founded by the Indonesian-Chinese collector Budi Tek – a special space that reminds me a little about the Soviet gymnasium, but it was once the hangar of the Longhua Airport. The space exhibited a popular exhibition presented by Gucci, the exhibition Maurizio Cattelan The artist is present (From October 11 to December 16, 2018), based on the concept that "originality is overrated". The show is represented by over 30 local and foreign artists who investigate the appropriation, presentation and copying; with works by Vim Delvoie, Gillian Vearing and Philippe Parreno. Far away, Cindi Sherman displayed her first solo exhibition in China in kinetic Foster + partners and Heathervick Studio designed Fosun Foundation, a retrospective consisting of 128 series of photos, 2 wallpapers and wallpapers from the 1970s, together with 9 completely new works.

Cindi Sherman, Untitled # 588 (2016/2018). Metal dye sublimation. 168.9 to 168.9 cm. © Cindi Sherman. With the help of artists, Metro Pictures, New York.

In Ota Fine Arts, the solo exhibition of Iaioi Kusama filled the walls of the gallery with plates of curious and bright, graphic paintings of points that resembled autochthonous Australian art (I started the love of my love from my heart, November 7, 2018-20. January 2019). There was also a room dedicated to one of the seducing chamber of narcissism – even the most sought-after among us, we stood for reflexive kaleidoscopic glass to record images, thanks to our multiplying thoughts.

ShanghART presented the solo exhibition of the work of the Chinese contemporary art star Ding Ii, with large textured abstract canvases filled with its multicolored meshes and crosses of trademarks. Hong Kong artist Samson Ioung, who represented the city in 57th placeth Venetian Biennial, he held an independent exhibition at the Edouard Malingue Gallery, for which he invited the visitors to fight around the gallery space in a large boot-shaped bumper.

Exhibition: Ding Ii, Interchange, ShanghART, Shanghai (November 7, 2018 – January 6, 2019). Combined media on bass. 120 to 120 cm. ShanghART.

Xu Zhen Gallery in Madein placed in the center of attention Miao Iing, a young Shanghai artist who was on hand and who led me through his solo exhibition Stones From Other Hills (November 6 – December 30, 2018): A project consisting of oil paintings, sculptures, videos and VR, including Hardcore Digital Detok, a strategic brand and website concept, was commissioned by the Hong Kong Museum of M +. Miao is also home to digital worlds – the World Vide Web and "Chinternet", the limited Chinese Internet behind the big firewall. Her Hardcore Digital Detox bans users of the Internet connection against Chinese censors by "ignore users to set up their virtual private network (VPN) in the whole of China", where popular websites and applications such as Google, Instagram and Facebook are blocked.

Miao sees images and content blocked by a large protective wall like "liu bai" (negative space) similar to that found in Chinese traditional painting ink, spaces within which imagination can still be stimulated, a space that in the digital world requires the ingenuity and resourcefulness of Chinese users of the Internet.

Exhibition: Miao Iing, Stones From Other Hills, MadeIn Galleri, Shanghai (November 6 – December 30, 2018). Virtual MadeIn Made.

Potential economic crisis or not, China is currently the world's second-largest art market, lags behind the US, last year reported $ 13.2 billion of sales, according to the Art Market 2018 report, prepared by economist dr. Clare McAndrevs. The number of dollar billionaires in the country, estimated at around 580, according to a Swiss Credit Suisse estimate – more than a doubling of 221 in 2016, the appetite for art seems unlikely to disappear soon. Shanghai art fairs are an opportunity for many international galleries to test water on the Chinese market, and if the last five years have been anything to go, they have already become a major attraction. -[O]

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