Art Market Info

Which Asian contemporary artists made Artprice auction revenue top 500?

In Uncategorized on January 11, 2011 at 8:00 am

INTERNATIONAL ART MARKET TRENDS ASIAN ARTISTS AUCTION REVENUE

Art Radar Asia has put together a list of this year’s biggest-selling Asian artists, compiled from the Artprice Annual Report (2009/2010). Out of the 500 international contemporary artists named by Artprice, 238 come from Asia.

And with artists like Yifei Chen (China), Anish Kapoor (India) and Takashi Murakami (Japan) topping the list, the results of this report are a testament to the continued growth of the Asian art market.

In terms of list entry, not by dollar value but by inclusion, Chinese artists dominate the list with a staggering 90 entries (between 7th and 500th place). In second place are the 23 artists from Japan (between 25th and 442nd place) and Turkey comes in third with 18 artists (between 140th and 475th place). China and India are the only Asian countries with artists in the top 10 and of the 15 Asian countries represented in the list only artists from China, India, Japan, Indonesia, Taiwan, Korea and Iran make the top 100.

CHINA

A painting by Chinese artist Yifei Chen. Image taken from artodyssey1.blogspot.com.
•7 CHEN Yifei (1946-2005) – € 8, 880, 726
•8 ZENG Fanzhi (1964) – € 8, 064, 144
•12 ZHOU Chunya (1955) – € 5, 301, 760
•17 YUE Minjun (1962) – € 4, 227, 355
•18 ZHANG Xiaogang (1958) – € 4, 064, 425
•19 LIU Ye (1964) – € 4, 009, 978
•21 CAI Guoqiang (1957) – € 3, 743, 662
•22 WANG Guangyi (1957) – € 3, 564, 679
•26 SHI Chong (1963) – € 3, 205, 086
•28 FANG Lijun (1963) – € 2, 872, 800
•34 WANG Yidong (1955) – € 2, 220, 513
•36 LIU Wei (1965) – € 2, 047, 201
•38 LUO Zhongli (1948) – € 2, 018, 661
•42 YANG Feiyun (1954) – € 1, 747, 830
•43 LIU Xiaodong (1963) – € 1, 720, 204
•52 YAN Pei-Ming (1960) – € 1, 453, 005
•55 ZHAN Wang (1962) – € 1, 330, 839
•58 LI Songsong (1973) – € 1, 215, 090
•59 AI Xuan (1947) – € 1, 174, 279
•61 HUANG Gang (1961) – € 1, 124, 733
•63 FENG Zhengjie (1968) – € 1, 067, 935
•66 DING Yi (1962) – € 1, 007, 479
•67 YANG Shaobin (1963) – € 1, 003, 667
•68 CHEN Danqing (1953) – € 993, 605
•76 WANG Mingming (1952) – € 866, 041
•82 YE Yongqing (1958) – € 762, 952
•88 LENG Jun (1963) – € 699, 416
•93 XIANG Jing (1968) – € 681, 853
•96 CHEN Yanning (1945) – € 639, 427
•109 XU Bing (1955) – € 555, 440
•110 ZHANG Huan (1965) – € 554, 064
•111 CHEN Zhen (1955-2000) – € 553, 022
•113 YIN Zhaoyang (1970) – € 534, 837
•117 LI Hui (1977) – € 484, 764
•121 HONG Ling (1955) – € 473, 622
•125 GUAN Yong (1975) – € 454, 440
•133 FENG Dazhong (1949) – € 425, 324
•138 LONG Liyou (1958) – € 406, 548
•143 SHI Guoliang (1956) – € 396, 219
•144 HE Jiaying (1957) – € 395, 797
•145 XUE Song (1965) – € 392, 591
•148 CHAO Ge (1957) – € 384, 600
•153 HE Sen (1968) – € 376, 618
•157 XU Mangyao (1945) – € 341, 681
•158 PANG Maokun (1963) – € 340, 595
•159 TANG Muli (1947) – € 340, 413
•163 JI Dachun (1968) – € 332, 345
•168 LI Jikai (1975) – € 324, 453
•170 MAO Xuhui (1956) – € 321, 102
•175 QI Zhilong (1962) – € 316, 335
•179 LING Jian (1963) – € 311, 507
•181 GUO Wei (1960) – € 308, 688
•184 XUE Liang (1956) – € 298, 504
•185 CHEN Ke (1978) – € 298, 502
•186 YAN Ping (1956) – € 295, 164
•191 MIAN Situ (1953) – € 287, 108
•198 DUAN Zhengqu (1958) – € 274, 460
•199 DING Fang (1956) – € 274, 253
•201 ZHANG Dali (1963) – € 273, 490
•202 ZHONG Biao (1968) – € 273, 251
•203 WANG Shuping (1955) – € 268, 410
•205 CHEN Yiming (1951) – € 266, 188
•206 TANG Zhigang (1959) – € 265, 345
•207 GUO Jin (1964) – € 265, 195
•208 SHI Xinning (1969) – € 262, 937
•209 AI Weiwei (1957) – € 262, 611
•222 LIANG Zhuoshu (1953) – € 246, 295
•225 REN Xiaolin (1963) – € 237, 514
•232 WEI Jia (1975) – € 230, 813
•240 LIU Yi (1957) – € 222, 824
•244 ZHU Wei (1966) – € 217, 460
•249 CAI Zhisong (1972) – € 210, 277
•251 GU Wenda (1955) – € 207, 933
•259 JIANG Hongwei (1957) – € 197, 363
•265 WEI Ershen (1954) – € 195, 216
•267 WANG Mai (1972) – € 193, 534
•272 HUANG Yongping (1954) – € 190, 102
•275 SUN Liang (1957) – € 187, 672
•277 ZHAO Qing (1970) – € 185, 858
•278 PAN Dehai (1956) – € 185, 825
•286 FENG Yuan (1952) – € 183, 106
•288 WANG Xijing (1946) – € 182, 836
•290 CHANG Qing (1965) – € 179, 766
•294 KAO Yu (1981) – € 176, 756
•299 LOU Bo’an (1947) – € 174, 385
•305 MAO Yan (1968) – € 170, 344
•306 GUO Runwen (1955) – € 169, 944
•309 WANG Keping (1949) – € 168, 984
•310 WEI Rong (1963) – € 168, 711
•313 SHI Liang (1963) – € 166, 424
•315 YU Hong (1966) – € 164, 927
•322 FANG Chuxiong (1950) – € 161, 201
•328 XU Jiang (1955) – € 160, 010
•333 LI Guijun (1964) – € 158, 116
•334 WANG Xiangming (1956) – € 157, 315
•335 XIANG Qinghua (1976) – € 156, 615
•339 CHENG Conglin (1954) – € 152, 599
•340 JIA Aili (1979) – € 152, 352
•342 HE Baili (1945) – € 151, 428
•348 XIA Junna (1971) – € 148, 128
•350 SUN Lixin (1955) – € 146, 888
•354 LI Huayi (1948) – € 143, 178
•355 ZENG Chuanxing (1974) – € 143, 172
•357 XIONG Yu (1975) – € 142, 417
•358 QU Guangci (1969) – € 141, 792
•365 WANG Qingsong (1966) – € 139, 517
•367 CAO Li (1954) – € 138, 227
•371 ZHANG Yu (1959) – € 135, 559
•373 LI Tianyuan (1965) – € 134, 320
•374 HANDFORTH Mark (1969) – € 132, 602
•376 XIAO Huirong (1946) – € 131, 393
•377 QIU Xiaofei (1977) – € 130, 642
•381 HE Duoling (1948) – € 127, 730
•382 SUI Jianguo (1956) – € 127, 700
•388 WANG Jinsong (1963) – € 122, 631
•390 CHE Pengfei (1951) – € 121, 251
•396 CHEN Liu (1973) – € 119, 555
•399 JIAO Xingtao (1970) – € 117, 571
•400 YUAN Zhengyang (1955) – € 117, 537
•412 WANG Yigang (1961) – € 113, 104
•415 WANG Xinsheng (1949) – € 112, 493
•426 REN Jimin (1959) – € 108, 872
•430 LI Xiaogang (1958) – € 106, 839
•434 JIANG Jianzhong (1957) – € 105, 742
•435 QU Lei Lei (1951) – € 105, 523
•441 WU Mingzhong (1963) – € 103, 397
•444 KOH Terence (1977) – € 102, 045
•454 LONG Rui (1946) – € 99, 642
•455 WANG Guanjun (1976) – € 98, 870
•458 XIE Dongming (1956) – € 98, 065
•459 WANG Keju (1956) – € 97, 978
•468 TIAN Liming (1955) – € 94, 706
•469 CHEN Shuzhong (1960) – € 94, 671
•471 YANG Qian (1959) – € 94, 165
•474 SHI Dawei (1950) – € 93, 768
•477 SUN Weimin (1946) – € 92, 439
•483 CHEN Wenling (1969) – € 91, 433
•498 AH XIAN (1960) – € 87, 915
•500 HE Hongzhou (1964) – € 87 784

Art Stage Singapore to tap into growing Southeast Asian collector base

In Uncategorized on November 10, 2010 at 2:59 am

SINGAPORE CONTEMPORARY ART FAIR

Art Stage Singapore will soon be joining the international art fair circuit. The event is planned for January 2011, to be held at the new Marina Bay waterfront development. Japanese English-language contemporary art website ART iT conducted an interview with Lorenzo Rudolf, the director of Art Stage Singapore, the former director of Art Basel, inventor of Art Basel Miami Beach and co-creator of Shanghai Contemporary. Below we summarise the interview with Rudolf in which he discusses the plans for Art Stage Singapore and the potential for the development of a regional art market.

The 2011 logo design for Art Stage Singapore, a new fair for the country. Image taken from artstagesingapore.com.

As explained in the Art iT interview, Art Stage Singapore focuses on the Asia-Pacific art scene and art market and “faces the challenge of convincing regional and international galleries and collectors alike that Singapore can become a destination for high-quality contemporary art.” In the past few years, art fairs in the Asia-Pacific region have found it hard to meet their aims and expectations, often resulting in events that have little staying power. Art Stage Singapore is part of “a series of government-backed initiatives to promote contemporary culture in the Southeast Asian city-state.”

Art Stage Singapore strong on assisting regional art market

Rudolf describes how the art fair has a place in the regional art market. A large annual art exhibition, taking place at the Singapore Art Museum and other venues, will run parallel to the fair. Rudolf elaborates:

“Through this exhibition we want to do something that has never been done in Asia. In Europe or the US, you have major works by major artists hanging in public museums. That means there is public access to these works. In much of Asia, because you don’t have these public institutions – and if you do, few of them are actively buying – everything is in private hands…. So through this planned exhibition … we will bring together Asian contemporary art masterpieces from major collections in collaboration with the collectors themselves.”

Alongside the museum exhibition, an educational program will be put in place in regional museums and universities. In addition, Art Stage Singapore is backed by a “healthy task force” of Singapore’s government-run institutions such as the National Arts Council and the Economic Development Board.

Architectural plans of the Marina Bay Sands development, the venue for next year’s Art Stage Singapore. Image taken from artstagesingapore.com.

Local art collectors enlisted as “brainstorming partners”

Art Stage Singapore aims to attract local, regional and international collectors in order to be “commercially successful.” As Rudolf comments, the client is the collector not the gallery.

“I think we can attract local, regional and international collectors. Southeast Asia has a rapidly growing collector base, and these collectors dearly want to support this fair. When I invented the new concept for Art Basel in the 1990s, … we decided that the main client of the art fair is not the gallery but the collector. And it was absolutely right. So we are integrating the local and regional collectors here, not only as support, but also as brainstorming partners.”

Art Stage Singapore ditches the art brands

To support and strengthen the market Lorenzo Rudolf aims to focus on “quality” and not make the art fair “too big.” He says,

Lorenzo Rudolf, Director of Art Stage Singapore. Image taken from Artintern.net

“There is a young, growing art market in Asia and it’s important to show this market quality. Even if the local art scenes are all growing here, many of them lack strong institutions. In other words, there aren’t hundreds of strong galleries to choose from, so you have to be careful not to make the fair too big. The focus of Art Stage Singapore will be on quality, and that means we will start with only around 100 galleries, with about half from the region.”

Art Stage Singapore will focus on “content not brands.” As Rudolf explains, the fair aims to include “galleries that already work with Asian artists, or galleries that represent artists that we want to introduce to the Asia-Pacific audience.” He goes on to say that “the goal must be to showcase the strengths of contemporary art in the region and to bring that art into a dialogue with the contemporary art from the U.S. and Europe that makes sense in this context, and to not only run behind brands.”

当代中国画悄然走进西方市场

In Uncategorized on November 10, 2010 at 2:54 am

20世纪90年代以来,中国当代艺术引发世人关注,很多当代油画家和观念艺术家成为艺术明星,然而,以传统水墨方式创作的中国画家却在很大程度上被忽略了。现在,情况在悄然地发生变化,近一段时期,美国几家大型的博物馆和美术馆都在举行与中国画相关的展览,不仅涵盖古代书画,当代中国画也进入西方观众的视野。当然,不能不说的是,这样的现状与中国画在金融危机之后拍卖市场的强劲表现不无关系。在西方视觉的关注下,中国画呈现出一种新的景观。

  继“中国画大师杰作——谢稚柳”个展之后,纽约大都会博物馆于9月拉开了声势浩大的“忽必烈的世界——中国元代艺术展”的帷幕。展出作品300多件,不仅包括以重金作为担保,从中国大陆各大博物馆借来的109件作品,而且还包括200多件来自中国台湾、日本、欧美博物馆以及私人藏家的藏品。该展涵盖不同的艺术流派和门类,旨在通过不同的艺术作品展现元代历史的发展,系统地向西方观众展示元代艺术的面貌。为配合这次盛大的历史文物展览,大都会博物馆已于8月份推出“元代书画艺术特展”。展览作品包括赵孟的《红衣西域僧图》、《人骑图》、《水村图》,盛懋的《老子授经图》,倪瓒的《六君子图》,日本大阪市立美术馆馆藏的龚开《骏骨图》,大都会博物馆馆藏钱选的《王羲之观鹅图》……

  元代艺术展的策展人认为“我的关注点在于寻求古代艺术品与不同文化背景、时代背景的观众产生一种交互感”。

  与此同时,与大都会博物馆齐名的波士顿美术馆最近发起了一个更有创意的艺术项目和展览——“与古为徒 —— 十位中国艺术家的回应”(Fresh Ink: Ten Takes on Chinese Tradition)。波士顿美术馆是美国收藏中国古书画最为丰富,精品最多的机构,其中包括名声显赫的唐代阎立本的《历代帝王图》,传范宽的《山水图》,宋徽宗的《五色鹦鹉图》,陈容的《九龙图》……

  “与古为徒”并非只是简单的呈现馆藏的中国艺术品,展览的真正目的在于以古为模,呈现中国当代书画的面貌。该展以波士顿美术馆收藏的古代书画为基础,邀请十位当代中国艺术家选择其中一件作为创作灵感,根据这些作品进行创作。展览中,当代作品与其相对应的古代作品并列展示,形成一对一的关系,从而创造一个精彩、互动的平台。“我希望将当代作品和古代作品并置时,对作品的阐释也是并行的,古代作品为当代绘画提供了一种历史背景,彰显当代对传统的承继,而新的作品又为古代画作增加了一种新的阐释方式。” 波士顿美术馆中国部策展人盛昊如此说,“现在有必要让更多人以审美、思考的方式了解中国”。

  “与古为徒”为西方观众展现的是一个中国艺术借古开今的面貌。这次展览选择的艺术家,他们以各自不同的方式在某种程度上都与中国画的传统发生关系,有的在寻求古代艺术的最高标准,有的却在有意破坏它们,然而,这些挑战都是基于对传统的深刻认知。喻红选择了12世纪早期的作品《捣练图》,她把画中的12位宫廷妇女转化为当代女性形象,直接用毛笔在绢本上进行写意性的创作。作品的媒材和内容都与《捣练图》发生关系。

  徐冰则有意避开馆藏名作,选用17世纪的《芥子园画谱》作为素材,从中找到一些山水画主题,将其聚合在一起,重新安排,用刻板、雕版印刷的形式,组合成新的山水画长卷。作品虽然保持中国画长卷的形式和组成山水的最基本元素,但不再纠结于中国画“笔墨”概念,是一件“无笔无墨”的作品,“看上去温文尔雅,但实际上具有强烈的颠覆性”。

  李华弋作品《龙潜山脉》整体布局是取于陈容《九龙图》的局部,他把作品中的阴阳符号转化为中国山水画中的“龙脉”,而画家采用的呈现方式则包括中国传统的屏风画和立轴画,最终展现为装置的形式,不仅体现了传统中国画的形式美感,还体现了中国画展示、装裱的美感。曾小俊《九棵树》也选择了《九龙图》,他却将作品表现为九棵树。

  唯一出生、成长于美国的艺术家张洪(Arnold Chang)则选择了一件非中国的作品——美国抽象表现主义大家杰克·波洛克的抽象画。之所以选择这件作品,张洪认为,“波洛克的绘画和中国绘画所追求的目标有很多相似之处”,在此基础上,他完成了一件具有相同维度的山水画。张洪从小学习古代书画,在美国的经历,使艺术家更注重对传统的吸收,他认为,“学取古法的观念是所有艺术创作的根本,也是中国艺术的深厚传统”。

  无疑,“与古为徒”是一次将中国当代水墨艺术介绍给西方的重大尝试,给西方观众一次接触中国当代水墨画的机会。现在的问题是,对中国古代绘画和近现代绘画的热情是否能波及至当代中国画作品?

  20世纪80年代伊始,中国当代水墨画运动就引发了欧美学者、藏家的关注。而随着当代艺术在金融危机遭受重创,中国画在拍卖市场上的杰出表现,当代水墨画再次激发了西方人的视野。加利福尼亚大学艺术史教授、理论家、批评家沈揆一认为,中国当代艺术的所有形式都能与水墨画的传统相结合。水墨是一种观念,一种美学诉求,它们能反映当代人的观点。“在目前,很多西方人不是真正理解或者介入中国水墨画,但当前任何一个关注水墨画发展的人都明白,这是一场真正重要的运动。”独立策展人、关注中国当代艺术的学者林似竹(Britta Erickson)这样说,目前,他正在制作一系列关于当代水墨画家的视频。

  在世界各地,也有很多画廊开始经营中国画,比如纽约的前波画廊(Chambers Fine Art),Ethan Cohen Fine Arts画廊和文良画廊(China 2000 Fine Art);伦敦的戈士豪画廊(Michael Goedhuis)和Eskenazi画廊;“我一直致力于推介中国新水墨画,不仅是因为它们的艺术价值被低估,还在于它们的价位相对适中。因此,在当前,当代中国画家创作了很多有意思的作品,藏家能够建立很好的收藏。”专注于中国当代艺术的画廊老板麦克·戈士豪(Michael Goedhuis)这样说。他现在代理一些中国水墨画家,其中包括刘丹、秦峰和李津。据他本人介绍,这些艺术家作品的价位在7.5万美元以下,而一些采用更为传统方式表现的画家价位则相对高些,比如李华弋,他的作品价位在30万美元到100万美元之间。秦峰的作品最高可卖到50万美元,他的作品在拍卖场上的最高价格为45万美元。另一些实验水墨画家的作品价位也并不高,在香港,邱志杰的水墨画作品价位在2万美元至20万美元之间;用燃烧的香烟在宣纸上创作书法作品的艺术家王天德作品的价位则在15万美元以上。

  纽约佳士得中国艺术专家伊丽莎白·汉默(Elizabeth Hammer)介绍:“当前,我们看到,对中国当代水墨画感兴趣的人群不断增大。但是,当代水墨画显然不会沿着中国当代艺术发展的那种步伐,因为这两个领域的藏家、市场发展模式和针对人群一直就不同,而且这种差异还将继续。”

  就中国画的海外推广和鉴赏而言,目前也面临众多困难,而其中障碍之一在于西方人对传统中国艺术方面所受教育有限,在这一领域没有培养其相关的鉴赏能力。因此,他们无法辨别中国绘画在各个时期和当代的细微差别,更无法找到当代的中国画作品的欣赏语境。一直致力于推广中国艺术的大都会博物馆亚洲部主管何慕文(Maxwell Hearn)讲到:“我在美国博物馆工作,展示中国最优秀的艺术品。然而,要让西方人真正理解这些作品非常美丽,也非常重要,是极具挑战性的,西方观众对中国艺术的理解还尚待时日。”

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