a.m. post (2018.03) by ArtMap 藝術地圖

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ART PLUS特輯

從藝博進入國際的生存戰略 SURVIVAL OF GALLERY: GOING GLOBAL THROUGH ART FAIR PLATFORM HONG KONG IN MARCH A FEAST FOR ART LOVERS 3月香港藝術全城熱辣辣

SOUTHEAST ASIAN ART: PROFITABLE INVESTMENT OR LIFE STYLE? 東南亞藝術：投資、市場還是生活方式？

李明則《善才》, 2016, 複合媒材 , 31x31cm

THE BORDERLESS WALL SONG DONG’S LARGE TIME-BASED INSTALLATION 「無界」之牆——宋冬的巨型時間裝置

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FEATURE

March / April 2018

There is a kind of seasonality in art, especially in the ever-emerging art expos. Towards the end of the Art Stage Singapore in late January, it was not uncommon to see people in the field bidding farewell to each other with “see you in March at Art Basel Hong Kong”. During the last week of March, the show (ABHK in short), along with Art Central, is expected to gather 350+ galleries in Hong Kong. Together with Sotheby’s and Poly auction which are scheduled in the same week, the city will probably become the world’s top art hub in the brief interval. Art Basel in Hong Kong 2017 © Art Basel

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從藝博進入國際的生存戰略 SURVIVAL OF GALLERY: GOING GLOBAL THROUGH ART FAIR PLATFORM

HONG KONG IN MARCH – 3月香港藝術全城熱辣辣

A FEAST FOR ART LOVERS

ART BASEL HONG KONG 2018: REVEALING REGIONAL CHARISMA IN ASIA ABHK achieved a record turnout in 2017 with 80k visitors, and the number might likely be refreshed again in the upcoming show. Growth is noted both in number and diversity of the galleries. With an increase of five galleries, 248 premier galleries will be featuring in the show and representing 32 countries, which has a marked increase from 18 countries in the 2017 edition. Among the galleries, 28 are new to Art Basel. That includes Asia Art Centre, which has branches set up in Beijing and Taipei, Made in Gallery, a Shanghai-based gallery established by Xu Zhen, and Capsule Shanghai, an emerging art space in recent years. Overseas participants such as the New York-based avant-garde gallery 47 Canal, Gavin Brown’s enterprise, which represents many blue chip artists, and Glasgow-based Modern Institute, will also be featuring in the event for the first time. Also worth noting is Carlos/Ishikawa (London) and Hive Centre for Contemporary Art (Beijing) will feature in the Galleries sector this year. Singapore Tyler Print Institute is the only Asian gallery which is featuring in the Art Basels on all three continents. To differentiate ABHK from the other two Art Basels and Miami Beach, Director Asia Adeline Ooi talked about the unique positioning of ABHK in a media lunch meeting earlier in Taipei, noting that the Hong Kong show was “the only globalized expo in Asia, but also the most Asian expo in the world, because there would be exchanges between East and West, and also within Asia”. As a result, in the Insights sector, Galerie du Monde (Hong Kong) will be putting on a solo show for Taiwan artist Wu Chi Tsung, where two pieces of sight-specific installation and a cyano-collage created specifically for the expo will be exhibited.

文 / 翁浩原

text / Eric Hao-Yuan Weng translation / Phoebe Cheng

The much-anticipated Encounters sector will be curated by Artspace Sydney Executive Director Alex Glass-Kantor for the fourth year. Compared to the 2017 edition, the number of exhibited items will be scaled down from 17 to 12, but two-third of the exhibits are created for the show to encourage audience interactions. Lehmann Maupin (New York), Galerie Thaddaeus Ropac (Paris), and König Gallerie (Berlin), will jointly exhibit the renowned One Minute Sculpture by Erwin Wurm, who featured in Austrian Pavilion at the Venice Biennale last year. The latest performance art by Chou Yu-Cheng will be exhibited by Edouard Malingue Gallery (Hong Kong). With the assistance by online housekeeping platform ayibang.com, the artist looks into hygiene, technology, and labour. Last but not least, Mind Set Art Center (Taipei) will feature Liminal Air SpaceTime, an attempt to capture the shape of air, created by Shinji Ohmaki, whose bubble-producing units was set up at the Harbour City mall last year. NEW DIRECTOR AT THE ART CENTRAL TO COLLABORATE WITH 4A IN PERFORMANCE ART Art Central is expected to take place at the harbour front for the fourth year with 102 galleries.The number of participating bodies is similar to the previous year, but thirty galleries will be featuring at the show for the first time, and the length of the exhibition will extend one day to last for a whole week. The fair director this year is Shuyin Yang, who was Associate Specialist at Christie’s for Asian 20th Century and Contemporary Art. Among the participating galleries, over 75% are from Asian countries, including Singapore, the Philippines, Malaysia, and Thailand, so the show is expected to feature a stronger regional characteristic than Art Basel. Also worth-noting is the shift in focus from Korean galleries to the ones that have a branch in either Hong Kong or Taipei, which represent over one-third of all galleries. Meanwhile, Puerta Roja will continue to play a role in bridging the art of Latin America and Asia by featuring the work of Laurent Martin “Lo”. The artist’s cooperation with the National Taiwan Craft Research and Development Institute is much represented by Floating Tea House, a large bamboo installation at the Tainan Wu Garden. 4A Centre for Contemporary Asian Art (Australia) will continue its partnership programme with Art Central this year and present a series of live and interactive works. Inspired by the polarities and expansive disparity across societies, the artists will work on concerns of excess and dispossession by daily on-site performances.The participating artists include Caroline Garcia (Australia), FJ Kunting (Indonesia), Sam Lo (Singapore), and artist duo Sampson Wong and Lam Chi Fai (Hong Kong). Pavilion for our living, the new media installation by the Hong Kong duo, contemplates the housing crisis currently affecting Hong Kong citizens. The installation they build in the show will invite participants to experience the struggle of living in micro-apartments.

Wu Chi-Tsung, Still Life 006 – Chrysanthemum, Courtesy of the artist and the gallery

ART BASEL EVENT HIGHLIGHT ART BASEL 期間亮點節目

At the Discoveries sector, A+ Contemporary (Shanghai) will utilize the entire booth to showcase the installation work by Hong Kong artist Morgan Wong, in which the relationship of absurdity and time will be presented through flashing neon texts and bargain watches. Another sector, the Kabinett, which was introduced last year, will continue to feature special works in the designated area. The ratio between Asian and non-Asian artists this year is almost 1:1. Chi-Wen Gallery will feature the convenient shop installation by Yu Cheng-Ta, and Zurich gallery Galerie Gmurzynska will feature Cuban artist Wifredo Lam, whose works have been shown in various retrospective exhibitions in recent years.

THE BLUE ROAD: MASTERCRAFTS FROM PERSIA

藍色之路：來自波斯的瑰麗藝術 MARCH 20-JUNE 24, 2018 LIANG YI MUSEUM 兩依藏博物館 94 carefully selected artefacts are exhibited in ‘The Blue Road: Mastercrafts from Persia’ curated by Dr. Yuka Kadoi that looks into the colour blue in Persian art and history. Exhibits are gathered from internationally institutions the Victoria & Albert Museum in the United Kingdom, the David Collection in Denmark and the Asian Civilisations Museum in Singapore. Glass, ceramic, textile, painting and manuscript are amongst the materials and categories on display. A gallery is also set up to showcase 80 blue vanities from Liang Yi Museum’s collection as a complement to “The Blue Road”.

SAMSON YOUNG: SONGS FOR DISASTER RELIEF WORLD TOUR

楊嘉輝的賑災專輯世界巡迴演 FEBRUARY 9-MAY 6, 2018 M+ PAVILION, WEST KOWLOON CULTURAL DISTRICT 西九文化區M+展亭 SamsonYoung was Hong Kong’s representing artist in the 57th Venice Biennale and had put up in M+ Pavilion an expanded adaptation of his Venice exhibition that consists of both works presented in Venice and a newly commissioned one. Objects, performances, and sound installations study the popularity of charity singles where the original specific charitable causes happen to be obsolete. Perceiving familiar tunes in a different light, viewers are invited and provoked by the work to reflect, reimagine and rethink the past and current ways of life.

Installation view of Palazzo Gundane (homage to the myth-maker who fell to earth), 2017. Silk-screen print on vinyl cover, felt tip pen on vinyl records, 3D-printed nylon, vitrine of found objects, movable curtain system, neon, video, animation and 10-channel sound installation Courtesy of the Artist.

由M+ 博物館及香港藝術發展局合辦，跨領域藝術家楊嘉輝參展第57 屆威尼斯雙年展載譽歸來，創作了一系列作品，為香港帶來新展「楊嘉輝的賑災專輯世界巡迴演」。他借雕塑、物件、錄像、聲音裝置及場域特定作品，別具心裁地修改和誤讀多首八十年代以來的「慈善單曲」，把看似毫不相干的歷史和現今事件串聯起來，帶領參觀者展開獨一無二的視聽之旅，在跨文化的脈絡中探尋經典歌曲在社會、政治及哲學方面所具有的意涵。

由門井由佳博士策展的《藍色之路》深入研究波斯藝術和歷史中藍色元素，展出94件手工藝品，網羅自世界各地頂尖博物館，包括英國國立維多利亞與艾伯特博物館、丹麥大衛收藏博物館及新加坡亞洲文明博物館。展品種類繁多，有玻璃、陶瓷、紡織、繪畫和手稿等。兩依藏博物館另設展廳展出80件館藏藍色的珠寶粉盒為《藍色之路》作結。

HARBOUR ARTS SCULPTURE PARK

OUR BONES ARE MADE OF STARLIGHT

藝遊維港

星光堆砌的我們

FEBRUARY 21-APRIL 11, 2018 CENTRAL AND WESTERN DISTRICT PROMENADE & WAN CHAI 中西區海濱長廊至灣仔一帶海濱

MARCH 24-MAY 6, 2018 1a space 1a空間

FEATURE

March / April 2018

More exhibitions are also expected to take place in Hong Kong during the same period. Samson Young’s work from the Venice Biennale 2017 will be exhibited at M+ Pavilion. Liang Yi Museum will kick off their latest annual show, The Blue Road: Mastercrafts from Persia. Centre for Heritage Arts & Textile, which is scheduled to open in Spring 2019, will put up a joint exhibition, (In)tangible Reminiscence, at the Annex. The show will revisit the modernisation progress of Hong Kong’s textile and fashion industry through the works of Jung Yeondoo, Iwasaki Takahiro, and Sarah Lai. George Condo will have his first solo, Extended Portrait Compositions, at the Maritime Museum. Not to miss out is the grand opening of H Queen’s, which will add yet another gallery to Queen’s Road Central. The work of Christopher Wool will be exhibited in the main hall by the Hill Art Foundation.

LEE Chung-Chung, A Rusty Call, 2017, Ink and color on paper, 124x124.5cm

Ulla von Brandenburg, Two Times Seven, 2017 Courtesy of the artist and the galleries

Erwin Wurm, One Minute Sculpture, 2000-2018, Courtesy of the artist and the gallery

藝術是有季節性的，這句話用四處遍地開花的藝術博覽會上，是最恰當不過的。還記得在1月底的登陸新加坡藝術博覽會（Art Stage Singapore），幾乎每一個藝術界的朋友都以「Art Basel Hong Kong 3月見」，作為一個不假思索的離別句。今年的Art Basel Hong Kong（巴塞爾藝術展香港展會，簡稱ABHK）和Art Central兩大展會即將在3月的最後一週將帶來超過350間的畫廊齊聚香港，更不用說蘇富比和保利將春拍時間定在同一週，讓香港頓時成為世界上藝術密度最高的城市。

ART BASEL HONG KONG 2018 聚焦亞洲呈現區域魅力 2017年ABHK創下史無前例的8萬人次造訪，今年渴望超前，因為畫廊數量不但成長，而且範圍更加遼闊，畫廊總數成長5間至248間，參展的國家從18個國家，躍升至 32個國家，有28間畫廊首次參展，像是北京、台北都有空間的亞洲藝術中心、藝術家徐震所經營的上海沒頂畫廊、近年受到注目的上海膠囊空間；在歐美畫廊部分，則是有經營新銳藝術家的紐約47 Canal、代理許多藍籌藝術家的Gavin Brown’s enterprise，以及英國格拉斯哥的 Modern Institute都是首次參與展會。值得一提，倫敦的 Carlos/Ishikawa和北京的蜂巢藝術中心首度晉身畫廊薈萃

（Galleries）主展區，而新加坡的泰勒版畫學院（STPI）是唯一參加3大洲Art Basel的亞洲畫廊。為區隔Art Basel的另外兩個巴塞爾和邁阿密海灘的亞洲特色，香港展會總監黃雅君先前在台北的餐會就曾表示：「香港展會是亞洲唯一國際化的展會，也是全世界最亞洲的展會，不只是東西方的交流，還有亞洲內的交流。這也是，為何她認為ABHK獨特的地方。因此，在亞洲視野（Insights）裡，香港的世界畫廊將帶來台灣藝術家吳季璁的個人作品展，展出兩件場域特定的裝置藝術，和為展會特別創作的大型氰化物拼貼。在藝術探新（Discoveries）則有上海A+ Contemporary呈現香港藝術家黃榮法的作品，會將展位轉換成單件的裝置作品，透過閃爍的霓虹文字和廉價鍍金腕錶，營造出荒謬和時間的關係。去年新增加的策展角落（Kabinett），也即將再度登場，讓畫廊可以在主要的展出外，另闢一個角落。今年很特別的是亞洲藝術家和亞洲以外的藝術家，以近乎1：1的形式組成，如Chi-Wen Gallery帶來台灣藝術家余政達的便利商店裝置；蘇黎世畫廊Galerie Gmurzynska 帶來近年在各大美術館舉行回顧展的古巴藝術家林飛龍。最受注目的藝聚空間（Encounters），連續四年依然由雪梨Artspace的行政總監Alex Glass-Kantor策劃，雖然比去年的17個作品少5個，但有2/3的作品都是為此次展會製

NILIMA SHEIKH

Shinji Ohmaki, The 8th Enku Grand Award Exhibition, The Museum of Fine Arts, Gifu, 2016 Courtesy of the artist and the gallery

作，多數聚焦在觀眾的參與和互動。如紐約立木畫廊、巴黎的Galerie Thaddaeus Ropac，和柏林的König Gallerie 共同呈現去年奧地利威尼斯雙年展藝術家之一Erwin Wurm，展出最有代表性的《One Minute Sculpture》；香港的馬凌畫廊則是帶來周育正全新的表演作品，邀請網路鐘點「家事幫」來探討衛生、科技和勞動；台北的安卓藝術則是帶來，去年在海港城展出泡泡雕塑的日本藝術家大卷伸嗣的《Liminal Air Space-Time》捕捉空氣的形狀等。

延攬新總監 ART CENTRAL 再度攜手 4A 呈現行為藝術而在進入第4年在中環海濱的Art Central，今年則是有102間畫廊參與，和去年同期相比，數量相差不多，但開放時間延長一天，一共展出7天。今年有30間畫廊新加入，畫廊總數以超過75個百分比的畫廊來自亞太地區，與ABHK相比，區域的色彩更加濃厚，更延攬前佳士得東南亞副總監楊淑茵的加入，可見如新加坡、菲律賓、馬來西亞、泰國等的畫廊。更加深入畫廊名單會發現，來自韓國的畫廊不若過去以往盛行，台灣和香港設有據點的畫廊佔據超過1/3，引領整個藝博會的走向。作為拉美和亞洲的橋樑，Puerta Roja（紅門）將呈現洛朗．馬丁「Lo」曾為台灣吳園藝文中心設計的巨型竹藝裝置「竹茶頂」，展現他在台灣工藝研究發展中心的合作。

去年籌劃的行為藝術項目的澳洲4A當代亞洲藝術中心，今年即將再度為Art Central帶來一系列，探討探討當代社會對過度和剝奪議題的互動作品，感召於一個兩極分化和社會差距不斷擴大的時代，藝術家每日會在現場透過表演回應，包含澳洲藝術家Caroline Garcia、印尼藝術家FJ Kunting、新加坡Sam Lo，以及香港藝術家組合黃宇軒和林志輝。其中黃宇軒和林志輝的新媒體裝置《Pavilion for our living》深入探討香港市民目前的住房危機。他們將在會場搭建一個空間裝置，邀請觀眾走入，並聆聽住在這些微型單位的居民，是如何在裡頭掙扎。同期在香港，M+ Pavilion會展出楊嘉輝2017威尼斯雙年展的作品；一年換展一次的兩依藏博物館將帶來《藍色之路：來自波斯的瑰麗藝術》；2019即將落成的六廠基金會將在Annex舉行鄭然斗、岩崎貴宏和黎卓華的《觸到的回憶》，向向觀眾展現香港紡織工業的現代化進程；香港海事博物館將有喬治康多的首次個展《Extended Portrait Compositions》；當然還有畫廊群聚的中環皇后大道的 H Queen’s的盛大開幕，大廳即將有美國The Hill Art Foundation帶來的Christopher Wool展覽。

(In)Tangible Reminiscence

觸到的回憶 MARCH 22-JUNE 30, 2018 ASIA ART ARCHIVE (AAA) 亞洲藝術文獻庫 In March, the Women’s History Month, Asia Art Archive (AAA) presents a series of programmes that celebrates women’s contributions in art. An exhibition will be on view at the AAA Library from 22 March to 30 June 2018, exploring the role of travel and movement in Indian artist, Nilima Sheikh’s practice. For Art Basel in Hong Kong, AAA showcases at booth P7 the programme Women Make Art History, bringing the first appearance of the Guerrilla Girls in Asia. The artists’ new works on the status of women in the Hong Kong art world will be on display, alongside highlights from AAA’s Collection. A Wikipedia edit-a-thon and a series of talks will be held at the booth to spotlight women art practitioners in Asia.

March 24-April 22, 2018 Centre for Heritage, Arts and Textile (CHAT) 六廠紡織文化藝術館

The Guerrilla Girls, Is it even worse in Europe?, 2016. Courtesy of the artists.

亞洲藝術文獻庫於三月推出一系列活動，關注並表揚女性在藝術上的貢獻。印度藝術家Nilima Sheikh的展覽將於3月22日在文獻庫開幕，探討動態和遊歷在其藝術實踐中的角色。另外，文獻庫將參展巴塞爾藝術展香港展會，以《女性創藝記》為其展區主題，帶來藝術團體The Guerrilla Girls在亞洲的首度亮相及其新作，展示女性在香港藝壇中的處境。同場將展出文獻庫的精選館藏，以及舉行維基百科「編輯馬拉松」和藝術家講座，弘揚亞洲女性藝術工作者的貢獻。

The Centre for Heritage, Arts and Textile (CHAT) is set to open next year but its programme is already running. ‘(In)Tangible Reminiscence’ is an exhibition that revisits personal and collective memories of the textile and fashion industry of Hong Kong. Cotton sculpture by Iwasaki Takahiro depicts the landscape transformation of Hong Kong. Jung Yeondoo presents a video work relating a former worker in the textile industry who migrated from Shanghai to Hong Kong in the 1950s. Local artist Sarah Lai creates a spatial installation to plot the memory of retail experience in Hong Kong’s 1990s. Curator Takahashi Mizuki will moderate an artist talk to explore further the exhibition. 六廠紡織文化藝術館預計明年開幕，但展覽節目經已展開。《觸到的回憶》重塑對香港紡織工業珍貴的個人和集體回憶。岩崎貴宏的棉花雕塑描繪香港城市景觀的變化；鄭然斗的錄像作品講述一位1950年代從上海移民香港的紡織女工；本地藝術家黎卓華則創作空間裝置處理對香港1990年代零售經驗的記憶。策展人高橋瑞木將主持藝術家講座與藝術家更深入探討展覽。

FEATURE

March / April 2018

feature /

從藝博進入國際的生存戰略 SURVIVAL OF GALLERY: GOING GLOBAL THROUGH ART FAIR PLATFORM

洪凌溶秋 2017 油彩, 畫布, 150×160cm (Courtesy of Asia Art Center)

馮鍾睿 FONG Chung-Ray

1972, 83.8×89cm (Courtesy of Asia Art Center)

Taiwan’s rich history in the Asian art market manifests itself in events like the launch of Sotheby’s and Christie’s in the region before the year 2000. The opening of the two auction houses greatly influenced the local art scene, leading Taiwan to be amongst the first Chinese-populated regions in Asia to hold largescale art fairs like ART TAIPEI, helping to lay a firm foundation for the region’s development in the field. Unfortunately, Taiwan’s art market soon lost its international appeal owing to political factors and changes in circumstances in Asia post-2000. Despite its short-lived revival resulting from enthusiasm for contemporary art in mainland China, the marginalization of Taiwan’s art market became a brutal reality, which in turn encouraged local art galleries to strive to turn the international spotlight back on the Taiwan’s art market.

SURVIVAL OF TAIWANESE GALLERIES: GOING GLOBAL THROUGH THE HONG KONG PORTAL 進入節點台灣畫廊從香港進入國際的生存戰略

文 / 羅禾淋

text / He-Lin Luo translation / Maggie Wong

Meanwhile, Hong Kong being the Asian outpost for Art Basel (a mainstream Western art fair) opened up new possibilities for Taiwan in the international art scene – Hong Kong became the ‘portal’ to the global network for Taiwanese art galleries.

In light of this, this feature will discuss how Taiwan sets foot in the international art scene through the ‘portal’, and will attempt to re-orient Chinese cultural heritage and Taiwan’s post-war contemporary art by distinguishing between different types of Chinese contemporary art. These will be presented in four articles written from different perspectives: Eastern values vs. Western rules: approaches of Taiwanese galleries at Art Basel Hong Kong; The ‘Satellite Effect’: Taiwanese galleries at Art Central at record high; No money talk at art fairs – and the response from Taiwanese artists; and Envisaging Taiwan’s future from the Hong Kong experience: discussion on Taiwan’s united strike in the next five years.

CANTON ART TRIP

廣東藝術行 MARCH 24-MARCH 25, 2018 TIMES MUSEUM 廣東時代美術館 A two-day art trip in Guangzhou and Shenzhen. Guided tours of leading contemporary arts institutions including Design Society, Frank F.Yang Art and Education Foundation, Guangdong Times Museum, Mirrored Gardens, OCT Art & Design Gallery, and OCAT Shenzhen. 為期兩天的廣州和深圳考察之旅，將安排與多間極具代表性的當代藝術機構作深度交流，包括：設計互聯、楊鋒藝術與教育基金會、廣東時代美術館、鏡花園、華．美術館和OCAT深圳館。

XCHANGE : SOCIAL GASTRONOMY

盛食當灶

MARCH 25, 2018 Oi! 油街實現 Experimental project ‘XCHANGE : Social Gastronomy’ aims to tackle the problem of food waste by raising the public’s awareness of the issue in Hong Kong and introducing new practices through design. The project works as an open kitchen and community living space. By transforming leftover food materials into creative dishes, it establishes examples of food recycling for the community. Special event ‘Taste Beyond Imagi-Nation’ will bring together artists, designers, architects and the neighbourhood to create a feast that advocates green eating. 實驗項目「盛食當灶」透過提高公眾對廚餘的關注，並通過創新設計，改善食物浪費的問題。這個項目以油街實現為基地，將活動室改造為開放廚房及社區生活空間，建立社區食物循環的例子。特別活動《嚐共享》將集合藝術家、設計師、建築師和社區成員，共同創造綠色飲食的宴會。

The first article, Eastern values vs. Western rules, will focus on galleries and artworks at this year’s Art Basel Hong Kong. Apart from introducing the artists and works that will be featured at the 2018 art fair, the article will also depict how Taiwanese galleries are responding to the rules of the West with their deep-rooted values of the East. Specifically, it is how they approach the Art Basel, which was developed on a Western framework, in regard to their oriental background. The second piece, ‘The Satellite Effect’, will center on the participating galleries at this year’s Art Central. Besides introducing the artists and artworks involved, the article will also describe the rapid changes and development of the art fair. The third text, No money talk at art fairs, will adopt an artist’s perspective in exploring why closing deals isn’t the focus at Art Basel Hong Kong. More importantly, the text will then depict how artists manage to venture further outside conventions in their creations after the fair. The last piece of writing, Envisaging Taiwan’s future from the Hong Kong experience, is based on interviews with a number of gallery directors who have participated in Art Basel Hong Kong. With regard to their exhibition experiences in Hong Kong, the directors will share their thoughts on the connection between the ambience for indigenous art and the new art fair in Taiwan, which is established by Magnus Renfrew and due to open in 2019. Due to geographical constraints and limited coverage, the feature will only be able to cover the four topics mentioned – with the first two articles centering on this year’s exhibits, and the latter two on reflections from the perspectives of artists and galleries. Through these articles written in varying contexts, we will review the changes brought about

by Hong Kong’s recent transformation into Asia’s art market giant, as well as identify Taiwan’s role under such circumstances.

台灣在亞洲藝術市場，有著悠久的歷史，包含2000年之前，蘇富比與佳士得兩家拍賣公司在台灣落地，影響其台灣收藏環境之熱絡，使台灣早於亞洲其他華人地區舉辦台北藝術博覽會，讓台灣打下不錯的基礎。不過隨著2000以後政治的因素與亞洲環境的變遷，台灣藝術市場已經失去國際的舞台，雖然隨著中國大陸當代藝術狂熱，台灣市場短暫回春了幾年，但是邊緣化已經是不爭的事實，因此重新找回國際能見度，變成台灣各家畫廊當下首要的課題，而香港在西方主流藝術博覽會Art Basel的落地之後，台灣在國際上有了新的可能性，「香港」即是台灣畫廊進入國際網絡最重要的「節點」。因此本專題將以台灣如何進入節點為引子，引出透過節點進入國際舞台，並試著區隔中國當代藝術，重新定位中華文化之傳承與台灣在戰後當代藝術的脈絡，而在這次的專題會分成，四篇面向，分別是「深東擊西 – 談台灣畫廊參展Artbasel HK的新東方與大中華」、「衛星效應 – 台灣畫廊參展Art Central數量再創新高」、「在藝博會不談銷售 – 論台灣藝術家在藝博之後」、「以香港向台灣投影 – 談台灣這五年的分進合擊」。第一篇「深東擊西」，以今年參展於Art Basel HK的畫廊與展出作品為主軸，除了介紹2018展出之藝術家與作品外，也精要敘述台灣畫廊如何用東方的根源，回應西方遊戲規則所建立的Artbasel HK，以東方之深，回擊西方之矩。第二篇「衛星效應」則是以今年參展Art Central為的畫廊為主軸，介紹今年參展Art Central的藝術家與作品之外，也點出Art Central這幾年快速的變化與發展。第三篇「在藝博會不談銷售」則是以藝術家的觀點，來觀看香港巴塞爾藝術博覽會為何要不談銷售，而不談銷售之後藝術家如何更能不被限制的創作。第四篇「以香港向台灣投影則是訪談了多位參展香港巴塞爾的畫廊總監，並以這幾年參展香港的經驗，思考未來2019由Magnus Renfrew於台灣設立新的藝博會，與台灣自身藝術環境之間的關係。限於篇幅與地緣之故，因此只能先暫時聚焦此四篇主題，前兩篇以今年展出的內容為重，後兩篇則是用藝術家與畫廊兩方的觀點進行回顧，透過四篇不同面向的專題，再次檢視近幾年香港成為亞洲核心後的變化，也點出台灣在此情況下要扮演什麼角色。

SOUTH ISLAND CULTURAL DISTRICT OPEN DAY

南港島藝術區開放日 MARCH 29, 2018

The Southern District of Hong Kong Island continues to grow as a dynamic art hub of galleries and artist studios. Twice a year, the South Island Cultural District (SICD) organises an open day that allow art lovers to visit various galleries and artist studios on the same day. There will be exhibition openings, performances, artist talks and guided tours arranged for the open day. 藝術活動和機構在香港島南區不斷發展，該區成為香港最具活力的藝術區之一。南港島藝術區每年兩次舉辦開放日，讓各方藝術愛好者一覽區內包括的藝術活躍份子。開放的畫廊和藝術家工作室將舉辦展覽開幕、表演、藝術家講座、導賞團等配套活動。

CULTURAL ANNUAL DEBATE

GUIDE TOUR

年度文化辯論大會

導賞

MARCH 29, 2018 INTELLIGENCE SQUARED

MARCH 31, 2018 FOTAN ARTISTS 火炭藝術家

March / April 2018

FEATURE

March / April 2018

Asia’s largest art fair Art Basel Hong Kong opens on 27th-28th March to VIPs and 29th-31st March to the public. The 6th edition of the show features 248 premier galleries from 32 counties and territories. Taiwanese galleries participating in the Galleries sector include Chi-Wen Gallery, Eslite Gallery, Tina Keng Gallery, Liang Gallery, Project Fulfill Art Space and Soka Art Center, while Asia Art Center and Mind Set Art Center will be exhibitors in the Insights sector. Attempting to play by the ‘rules’ of Western art fairs while being confronted by issues of inadequate resources and marginalization of the local art field, Taiwanese galleries came to realize the drastic differences between the two worlds in terms of conventions as well as operation. Yet, it is the exploration of this foreign framework that makes the process so appealing and intriguing.

While the charisma of individual artists and solid support from collectors are vital, success comes down to the gallerists’ structural analysis of the industry, their strategies in exhibiting the works of both acclaimed and up-and-coming artists, as well as their ability to single out non-time-sensitive, verbal and stance-taking pieces amongst a range of modern and contemporary artworks from the early 20th century. In view of this, a number of galleries are reevaluating Taiwan’s contemporary art from new academic perspectives, taking into account the influences of Chinese cultural heritage and cultural clashes with Europe, America and Japan. These factors are what make contemporary art from Taiwan unique in Asia, and are what define the role of Taiwanese art galleries in Chinese society in the eyes of the West. In the coming three years, Taiwanese galleries will be considering the island’s art history in two contexts: the ‘New Eastern’ context, which explores new oriental art by handling Western media with the Eastern spirit, and the ‘Greater China’ context, which probes into cultural roots and changes under globalization through Chinese artists worldwide.

Po-Lin Yang, Watching Idol 2012, acrylic on canvas, 145.5x89.5cm,YuanRu Gallery Po-Lin Yang, Distant Water, Nearby Water 2012, acrylic on canvas, 145.5x89.5cm,YuanRu Gallery Po-Lin Yang, Across Infinity And Beyond 2012, acrylic on canvas, 145.5x89.5cm,YuanRu Gallery

EASTERN VALUES VS. WESTERN RULES: APPROACHES OF TAIWANESE GALLERIES AT ART BASEL HONG KONG 深東擊西談台灣畫廊參展 Art Basel 新東方與大中華

HK 的

文 / 詹雅婷、洪萱育、周佩穎、羅禾淋

text / He-Lin Luo, He-Lin Luo, He-Lin Luo, He-Lin Luo translation / Maggie Wong

李明則, 善才

31×31cm

亞洲最具規模的藝術博覽會，第六屆香港巴塞爾藝術展（Art Basel HK）即將於3月27日和28日舉辦貴賓預展，3 月29日(周四)至31日(周日)對公眾開放。除了如大會所公布，將呈現248家來自32個國家及地區的頂尖畫廊，其中來自台灣的Chi-Wen Gallery、誠品畫廊、耿畫廊、尊彩藝術中心、就在藝術空間、索卡藝術中心將參展畫廊薈萃(Galleries)，亞洲藝術中心、安卓藝術將參展亞洲視野 (Insights)。在西方的規則之下，長時間處於資源少與邊緣化的位置，不少台灣畫廊開始認知到本身熟悉的、與來自歐美的藝術博覽會運作模式，是兩個領域、兩套規則，然而，要走進這樣的規則結構往往是充滿摸索的、有著強大吸引力的；不僅止是靠著藝術家的魅力，或是有著收藏家的大力支持，還需要更有結構地理解，並為廣為人知或新銳藝術家做出策略性的展出，在二十世紀初的現代時期至當代藝術當中，找到不受時間約束、充滿語彙及表述立場的作品，因此不少畫廊重新用學術的角度，思考台灣在中華文化的傳承下，接受歐美與日本的文化衝擊，延異融合之後所誕生的當代藝術，在亞洲有其獨特性，其獨特性也是西方觀看台灣畫廊在華人圈所扮演的角色。在這三年下來，台灣畫廊明顯的有了兩條脈絡來面對自我的藝術史，其一為「新東方」以東方靈魂運行西方媒材，探討新的東方藝術、另一為「大中華」以世界各地旅居的華人藝術家，探討全球化的文化根源與變遷。

Mei-Hui Lee, Old Juilu Trail 2016, charcoal, and oil on canvas, 260x140cm,YuanRu Gallery

陳敬元 Chen Ching-Yuan

Draw the bow, connect, past stories 2016, 197x227 197x138.5, Oil on canvas

陳逸鋒, #046 2017, 油彩、木板、麻布, 120×120cm

Chia-En Jao, American cartoon in 1882 depicting John Bull as octopus... 2017, Watercolor on paper, 56.5 x 76 cm

A BEAST, A GOD, AND A LINE

一獸、一神、一線 MARCH 17-MAY 20, 2018 PARA SITE PARA SITE藝術空間 Co-organised with the Samdani Art Foundation and the Museum of Modern Art in Warsaw, Para Site serves as the second station of the travelling exhibition ‘A beast, a god, and a line’ after being shown in Dhaka Art Summit. Raja Umbu, skirt with Kadu motif The exhibition is a complex depicting the arrival of ancestors to the geographical study woven island of Sumba, 2010. Textile. through the connections and circulations of ideas intertwined with art, politics, history, culture, religion across a region. Western-centric ideologies are challenged with the help global examples, especially from South Asia, Southeast Asia, and the Pacific, tracing broad stories on routes going back several historical eras. This will also renegotiate art’s role in today’s world. 《一獸、一神、一線》為達卡藝術峰會、香港Para Site藝術空間和華沙現代美術館聯合舉辦的大型巡迴展覽的第二站。展覽是一個複雜的地理研究，通過與藝術、政治、歷史、文化、宗教等範疇，在整個地區交織在一起的思想聯繫和循環進行探索。以西方為中心的意識形態受到全球範例的幫助，特別是來自南亞，東南亞和太平洋地區的挑戰，追溯了幾條歷史時期的路線廣泛故事。也將重新談判藝術在當今世界的角色。

ART BASEL CONVERSATIONS PROGRAM HIGHLIGHT 與巴塞爾藝術展對話亮點節目 WEDNESDAY, MARCH 28, 2018

FRIDAY, MARCH 30, 2018

13:30-15:00 Collector Talk — The Evolving Collector: Collecting as a Beginning

15:00-16:30 Museum Talk — The Collecting Institution: Acquisitions and Representations

13:30-15:00 Creatvie Cities Talk — Hong Kong x Buenos Aires x Shenzhen

17:00-18:30 Artworld Talk — Feminist Aesthetics?: Movements and Manifestations

收藏家講座 —— 收藏家的角色演變:以收藏為起點

博物館講座 —— 收藏機構:蒐羅及代理藝術品

創意城市講座 —— 香港x布宜諾斯艾利斯x深圳

藝壇講座 —— 女性主義美學：藝術運動與體現

THURSDAY, MARCH 29, 2018

SATURDAY, MARCH 31, 2018

16:00-17:00 Curator Talk — Curating in Context: Making Exhibitions Work

15:00-16:00 Collector Talk — The Evolving Collector: Collecting as a Beginning

16:00-17:00 Artist Talk — Communism as Common ‘ism’: Artist Perspectives

16:00-17:00 Artworld Talk — Video Art: Social Content in the Age of Digital Distribution

策展人講座 —— 合乎情境的策展:使展覽奏效

藝壇講座 —— 運作模式：演進中的藝廊建構

藝術家講座 —— 共產主義為共同的主義：藝術家的視角

藝壇講座 —— 錄像藝術：數碼放送時代中的社會題材

FEATURE

March / April 2018

THE ‘NEW EASTERN’ APPROACH A HOLISTIC AND ABSTRACT NARRATIVE FROM A CHINESE PERSPECTIVE At last year’s Art Basel Hong Kong, participating galleries from both Taiwan and Hong Kong coincidentally held painting exhibitions – The Fifth Moon and The East – that have been deeply influential in Chinese contemporary art development. And enthusiasm for Eastern abstract art has not died down – its growing influence remains evident in the curation at this year’s event. One example is the collection of artworks by artists Wu Dayu, Zao Wou-Ki, George Chann, Wang Huaiqing and Su Xiaobai, presented by Tina Keng Gallery. Artworks on display will include Zao’s late masterpiece 21-2-92, Wu’s free-tempo oil paintings, Chann’s abstract collages, and the simple yet refined works of Wang and Su. Showcased in the Kabinett sector of the Art Basel are the installation artworks of mounted letters created by artist Peng Wei. Presented in the context of ‘classical disjunction and continuation’, her works depict Chinese people with traditional values who live abroad and who are exposed to Western media and culture. At the same time, they also exhibit an artist’s search of identity and represent an innovative interpretation of art. The works embody the very essence of Chinese abstract art since the early 20th century.

The works of Fong, a low-profile and relatively less well-known Chinese artist living in San Francisco, will also be presented by Asia Art Center. His abstract works venture outside of conventional frameworks and are characterized by strong sentiments, dark tones and unembellished, powerful strokes. In addition to exhibiting the artworks of Chu and Fong, the gallery will also be conducting large-scale research on the two artists in the next couple of years, compiling and publishing their findings. Now taking part in Art Basel Hong Kong for the fourth time and adopting the theme of ‘The 20th Century’s Abstract Chinese Art’, Liang Gallery will continue to display widely-acclaimed ink-wash paintings by Chao Chung-Hsiang, Chu Ko and Li Chung-Chung, as with previous years. Additional exhibits this year are the post-war artworks of Li Yuan-Chia, the father of abstract art and conceptual art, which will include ink-wash art, photography and multi-media works. While continuing to observe and look into the philosophies behind abstract ink-wash art, the gallery also aims to make the mentioned globally-recognized artists, who have transcended national and cultural barriers and who perpetually explore the question of self-identity, the focal point of the exhibition and its exchange with collectors. THE CHINA FACTOR – LOCAL IDENTITY VS. GLOBALIZATION

At Asia Art Center’s inaugural presence at the Art Basel, the gallery will be presenting artworks of Chu Weibor (born 1929) and Fong Chungray (born 1934), pioneers of Taiwanese modern art from the Cold War period. The selected post-war pieces by the two artists will explore the theme of ‘Revisiting the origins of Taiwanese modern art of the 1960s’.

Several Taiwanese galleries have opted to exhibit works of contemporary artists, who are either ethnic Chinese or residing in Taiwan, at Art Basel Hong Kong. Through varying geographical perspectives and the use of different media, the galleries attempt to reflect upon changes and challenges for Taiwanese and Asian artists brought about by globalization and rapid transformation.

In conjunction with the display, the gallery will also be hosting a retrospective exhibition of Chu’s art back in Taipei, creating contrast in time and space. The exhibition is also a determined effort to examine the Ton Fan Art Group and Fifth Moon Group’s quest for reflection on and experiment with the notion of ‘the oriental spirit’. While demonstrating his skillful cutting and needlework techniques to create a sense of space, the selected works of Chu go back to focusing on the original textures of media and color. In comparison to Lucio Fontana’s art that features cool colors and minimalism, the plainness and mildness of Chu’s pieces are even more prominent.

Putting forward the primary concept of ‘Greater China’, Eslite Gallery’s exhibition finely demonstrates Malaysian artist Wong Hoy Cheong’s course of creation. Exhibits will include series of photographic works displayed at Taipei Biennial 2008 and Ural Industrial Biennial of Contemporary Art 2015, and videos shown at Fukuoka Asian Art Triennale. Also on display will be one of Wong’s distinguished works Re: Looking (2002) which, through fabricated ‘history’, reveals problems stemmed from capitalism, and The Definitive ABC of Government & The Definitive ABC of Ethnography (1999), text printed on handmade paper made from

four pulped books. The creation probes into the issues of mass migration and globalization through various media, such as the present, fact and fiction, language, photography and videography. Participating in Art Basel Hong Kong for the fifth year, Soka Art Center will mainly be exhibiting works of Hong Ling, Mao Xuhui and ZhangYingnan, as well as those of Hsi Shih-Pin and the recently contracted Wang Ting-Yu. Hong and Mao, who have established great rapport through long-term collaboration and shared experiences of art market fluctuations in China and Taiwan, will have works from different periods displayed at the Art Basel. Exhibits will include Mao’s classic pieces from 1990, paper sketches from 2016 as well as recent bright-colored paintings by the master, all of which vividly conveying his course of creation. Worthy of recommendation are Taiwanese artist Hsi Shih-Pin and his sculptures, and Kaohsiung Award winner Wang Ting-Yu, who has introduced a unique visual lexicon by piling totems and symbols from myths in his works. At the Insights sector of Art Basel Hong Kong, Mind Set Art Center will be featuring Lee Ming-tse’s solo exhibition, which will be a brew of martial arts cartoons, temple paintings and cultural symbols used by Taiwanese civilians. Besides graphical paintings, the exhibition will also include installation artworks created from found objects. Another highlight of the fair is a joint exhibition hosted by Project Fulfill Art Space that will showcase the works of Chen Chien-Jung, Yuko Mohri, Zhang Xu Zhan and Hsu Yinling. Chen, whose works were displayed and acquired at last year’s Art Basel, will be presenting a new series of paintings this year, while budding Taiwanese artists Zhang and Hsu will be making their debut exhibitions. Zhang’s singlechannel videos featuring paper doll sculptures will illustrate his remembrances of traditional art and observations of society. Meanwhile, Hsu will be revealing her personal memories through tranquil scenes shown on her oil paintings. Academic context over market considerations Interviews conducted for this feature article have amplified the prominence of the academic context – something that theWest has been placing emphasis on. With greater efforts and at higher costs, galleries now strive to reach premier art platforms in the rapidlyevolving contemporary art market. By providing precise services for collectors, congregating curators and art galleries and increasing their media exposure, Art Basel Hong Kong have exerted enormous effects in the field. The effects, in turn, have helped the fair accomplish a higher level of sales activity, rendering it the leading art exhibition amongst numerous counterparts in other Asian cities. Ironically, this very platform will also be speeding up the integration of artistic entities around the globe, particularly collaborations between Asian contemporary artists and Western galleries. The accelerated expansion of large galleries has mounted an overwhelming challenge for modest galleries struggling for resources, exerting pressure on them to flexibly adapt to the rapidly-evolving market. Hence, closing deals may not be the top priority for gallerists in this day and age. Instead, they will need to take the academic approach in presenting their artists in order to stand out at Art Basel Hong Kong and to gear themselves up for the Western stage.

毛旭輝, 靠背椅 2018, 油彩、壓克力、畫布, 195x195cm

TAIWANESE GALLERY HIGHLIGHT

參展台灣畫廊

新東方 - 華人抽象的宏觀敘事去年香港巴塞爾藝術展，台港的參展畫廊無獨有偶於場地內外均舉辦了在華人當代藝術發展扮演舉足輕重影響的畫派展覽——「五月」與「東方」，東方抽象的熱潮延續，在今年的參展畫廊策展概念當中，也能看見其影響力不斷遞增。其中，耿畫廊帶來吳大羽、趙無極、陳蔭羆、王懷慶、蘇笑柏五位藝術家的作品，藉此論述近百年來華人抽象藝術在全球各地的分斷與延續。其中展出趙無極晚期《21-2-92》精彩作品、吳大羽充滿奔放韻律的油畫作品、陳蔭羆經典的抽象拼貼、王懷慶與蘇笑柏的簡約精煉作品。同時，在策展角落(Kabinett)展出藝術家彭薇以書簡裝裱作為媒材的裝置作品，在相同「經典的分斷與延續」的脈絡上，整體展出可見華人既有的文化底韻及旅外經驗對西方媒材、文化的探索，藝術家自我身份的辯證、充滿開創性的藝術見解，完整展現廿十世紀初至今華人抽象藝術的精粹。首次參展的亞洲藝術中心，以《重探1960年代台灣現代藝術的濫觴》為題，展出冷戰時期台灣現代藝術先鋒人物朱為白(生於1929年)及馮鍾睿(生於1934年)兩人戰後的作品，同時，在台北的空間也將展出朱為白的回顧展，形成一種時空對照，聚焦性地深入探尋東方畫會、五月畫會對「東方精神」的追尋反思與實驗。所帶來的朱為白作品，回溯到媒材和色彩本身的質地，利用擅長的刀剪線縫手藝營造空間感，相較於Lucio Fontana的冷調極簡，更加素樸和溫潤。另外一位移居美國舊金山的馮鍾睿，為人低調較不為人知，但其抽象作品突破傳統形式，色調沉穩、情感豐沛、筆觸渾厚璞真。除了展出之外，也將在這幾年持續對這兩位藝術家做大量的研究、整理及出版。第四次參展的尊彩藝術中心，以《20世紀華人抽象藝術之路》為題，延續去年展出受到好評的趙春翔、楚戈、李重重的水墨紙本媒材作品之外，還加入以抽象畫、觀念藝術的前衛開拓者李元佳，將展出李元佳戰後時期的創作，包含水墨、攝影、複合媒材的作品，持續關注、深入探究抽象水墨的創作思維之外，期待藉由這些超越國籍界限、東方西方文化、不斷探尋自身定位並立足於國際的藝術家，作為這次展出與收藏家交流的重點。

大中華 - 在地感知與全球化議題其他參展的畫廊，則是挑選華裔或旅台的當代藝術家展出，嘗試用不同地域的視野、媒材，展現在全球化、快速的變化當下，無論是台灣或是亞洲藝術家面對的相同挑戰，深刻反思後所轉變出的不同樣貌。誠品畫廊提出「大中華」的核心主軸，以美術館的策展方式，完整呈現馬來西亞藝術家黃海昌的創作歷程。其中包括在2008年台北雙年展、2015年烏拉爾當代藝術工業雙年展曾展出過的不同攝影系列、曾參加過福岡亞洲藝術雙年展的錄像作品，另外將重現該藝術家的重要創作《再：注視》（2002），以偽歷史的方式，揭露資本主義下的問題，加上《治國ABC定本與民族誌ABC定本》（1999）是用四本書撕下來的紙張打成紙漿後重製而成的手工書，用現在、真實和虛構、語言、圖像和影像等不同媒材，討論移民浪潮和全球化的議題。已連續五年參展的索卡藝術，主要將展出洪凌、毛旭輝、張英楠三位藝術家作品，另外也將呈現席時斌與新簽約藝術家王挺宇的作品。洪凌和毛旭輝，以長久代理合作的默契，並經歷了兩岸藝術市場的起伏周期，此次將有不同時期的創作於展位當中展出，其中毛旭輝1990年的經典創作、2016年的紙本草圖、到近期彩度明亮的繪畫，完整呈現藝術家的創作脈絡。另外推薦台灣藝術家包括席時斌的雕塑作品及曾獲高雄獎的王挺宇，則以圖騰及神話符號的堆疊，帶出獨特的視覺語彙。安卓藝術以李明則個展「遊俠戲影」於亞洲視野（Insights）展出，雜揉了武俠漫畫、寺廟彩繪、台灣常民文化的符號，除了平面繪畫作品之外，也將有現成物製作的立體裝置出現在展位當中。就在藝術空間則展出陳建榮、毛利悠子、張徐展與許尹齡四位藝術家聯展。去年參展受到機構收藏的陳建榮，今年將展出新的繪畫系列，張徐展和許尹齡則是今年首次展出的台灣年輕藝術家，以單頻錄像並加入紙偶裝置雕塑，呈現張徐展對傳統藝術的記憶，及其對社會觀察的回應；另外許尹齡的油畫紙本新作，在安靜的畫面當中，揭露一段自身的記憶。

陳硯平 CHEN Yenping, 人入回 Human in the Loop 2017, 複合媒材 Mixed Media , 130x162cm, RIVER ART(F02)

DER-HORNG ART GALLERY 德鴻畫廊

CAPITAL ART CENTER 首都藝術中心

ARTISTS ／ TAKAHIKO SUZUKI , DAISUKE TAJIMA , SHU-KAI LIN 參展藝術家／鈴木貴彥、田島大介、林書楷

ARTISTS ／ MAX LIU, LIU GUO SONG, YORK HSIAO 參展藝術家／劉其偉、劉國松、蕭耀

What would you do, when the city comes at you snarling?

The greatest wonder of life may be the moments when unforgettable feelings are delivered and maintained like everlasting poems. To an artist, creating is like breathing, and each of his/her artworks is an amazing chapter of his/her life that are able to touches beholders from different times and places. In Art Central 2018, the Capital Art Center will exhibit the classic works of Max Liu, Liu Guo Song and York Hsiao, presenting to you without reservation the most fascinating and touching moments of their lives.

The concept of architecture and city has been evolving nowadays. Its spatial and geographical characteristic is full of a sense of uncertainty. The individual’s identification has become relatively faintly discernible, it triggers the examination of one’s existence. Through the figurative and abstract presentation of the artists, standing on the turbulent continent of the city, whether it is the stress caused by being in the society, the uneasiness by the urban renewal progress, or catching the unique character under globalization from the image of city unification. Architecture is no longer just the carrier of human activities, it is the reflection of its habitant. To explore their artworks from the aspect of architecture and urban design, they are romantic mind map sketches, but they are also the most real epiphanies and insights from living in the city.

林書楷，陽台城市文明系列—衝破雲端乍現的宮殿， 100F，2018

當城市以劍拔弩張的氣勢襲來，你會以怎樣的姿態應對? 在建築與都市概念不斷演進的今日，城市的空間與地理特性皆充滿了浮動感，個體的自我定位則相形變得渺小虛幻，引發對於存在本質的探問。透過藝術家具象與抽象的表現，踩踏在動盪的都市版圖上，不論是在巨大的群體中產生的各種壓迫感、隨著都市更新引發的不安、或是在從城市的統一形象中抓住了全球化底下的獨一特性；建築不再只是人類活動的載體，更是成為居民心靈的投射。從建築與都市設計的角度去探索他們的作品，是一種浪漫的心智草圖，卻也是生活在城市中，最真實的體悟與看見。

生命的歷程，最動人之處或許是能夠留下令人無法忘懷的情感，像是優美的詩篇般，持續傳誦吟唱。對藝術家而言，創作如同他的呼吸、他的生命，而藝術品就如同藝術家的生命歷程中，每一個創作階段中譜出 Liu Guo Song, Tibet series No.89, 的動人篇章，帶給任何觀賞者在不同時空背景中，卻 185×92cm, Colour Ink, 2007 能獲得相同的巨大感動。此次，首都藝術中心將於Art Central 2018中，預計呈現劉其偉、劉國松與蕭耀的經典鉅作，期盼能夠與藝術家攜手，將他們曾譜出最絕妙的詩歌，最真實的感動，毫無保留地呈現給您。

FEATURE

March / April 2018

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從藝博進入國際的生存戰略 SURVIVAL OF GALLERY: GOING GLOBAL THROUGH ART FAIR PLATFORM

文 / 羅禾淋、詹雅婷、洪萱育、周佩穎

text / He-Lin Luo,Ya-Ting Chan, Michelle Hong, Patrice Chou translation / Maggie Wong

大象, 團塊 2018, 電腦零件.銅箔.水泥.樹脂, 41×41x3cm

THE ‘SATELLITE EFFECT’: TAIWANESE GALLERIES AT ART CENTRAL AT RECORD HIGH 衛星效應台灣畫廊參展 Art C en tral 數量再創新高

Scheduled to open in late 2019, the M+ museum has attracted a number of globally prominent art galleries to Hong Kong. The establishment of the museum and the hosting of art fairs in the city together indicate Hong Kong’s growing devotion to its identity as a cultural hub.

This year marks the fourth edition of Art Central in the city – with VIP preview and official opening night on 26th March, and events open to the public from 27th March to 1st April at the Central Harborfront. With organizers different from those of Art Basel Hong Kong, Art Central distinguishes itself as an exploratory art event that is relatively more welcoming and open to a wider range of media. For example, by including performance art in last year’s event, Art Central has provided more options for both art lovers and exhibitors. The number of Taiwanese galleries participating in this year’s Art Central is at record high – from 11 galleries last year to 13 this year. These include Da Xiang Art Space, Der-Horng Art Gallery, Dynasty Gallery, Julia Gallery, River Art, Yuan Ru Gallery, Metaphysical Art Gallery, Ke-Yuan Gallery, Artnutri Gallery, Capital Art Center, Mizuiro Workshop, Parkview Green Art and UP Gallery. It is hopeful that the event will allow collectors worldwide to get to know more Taiwanese artists. A MULTI-MEDIUM AND EXPERIMENTAL PLATFORM FOR THE YOUTH

朱為白 CHU Weibor 天道 Look Into 1971 油彩、塑膠片、玻璃版 Oil, plastic, glass plate,

84×67cm (Courtesy of Asia Art Center)

曾偉豪, 《觀音》 2017, 聲音互動裝置, 120x120cm

In comparison with Art Basel Hong Kong, which bears high operational costs, Art Central has a greater capacity to accommodate young artists as well as artworks presented through media that are not as well-received in the art market. Benefitting from the influence of Art Basel Hong Kong,Taiwanese galleries have produced favorable results at Art Central in the past few years, encouraging more Taiwanese galleries to give experimental works a chance to be exhibited. One example is the approach of Da Xiang Art Space at this year’s edition of Art Central – instead of holding joint exhibitions as with previous years, the gallery will be dedicating a fair booth to Elsewhere, the solo exhibition of Huang Zan-Lun, an artist who specializes in exploring future technology and the ethics of individuals and society. The exhibition will

feature his new installation artworks Arena and Flesh, which examine and present the self-consciousness of humans and robots under modern technology, as well as the future and its associated anxiousness. Being Taiwan’s most outstanding kinetic installation artists under 40, Huang perfectly demonstrates the features of Art Central. His works, involving the use of various media, make display exceptionally challenging at the booth. Fox example, his installation artworks consist of lighting and the use of integrated circuits parts, including motherboards, soldering pins and capacitors, while his wall art is created using computer parts and copper foil. Der-Horng Art Gallery, now exhibiting at Art Central for the third time, will be presenting works of Lin Shu-Kai, Daisuke Tajima and Takahiko Suzuki. Through a range od media, the curation is an attempt to explore special scenes of the city, the sense of insecurity derived from high-speed mobility between cities, and the latent woes of confrontation with global urbanization and rapid development. One remarkable exhibit was put together by Lin, who was born in 1983. His creation is an invisible city made with waste from wooden molds, a tool that provokes with strong emotions and that is representative of declining industries. In addition to producing twodimensional graphics, Lin will also be presenting a three-dimensional ‘sketch’ of the graphics in the form of an installation that is custom-made to suit the exhibition venue, reversing the conventional process of creating three-dimensional works from twodimensional graphics. At the event, the fine works of artists Lin Yu-Ching & Wei Hsing-Yu, Tseng Wei-Hao and Mizutani Atsushi will also be presented by Dynasty Gallery. Amongst the works is an interactive audio installation created by Tseng, who is an expert in this very type of art. Through the use of conductive ink and pencils, the installation combines audience ideas, images and sound, and turns the viewers’ body into ‘wires’ that transmit music and white noise by means of touch, graffiti, etc. Creating a personalized aural experience for viewers, the installation highlights non-visual force and reaction, and also brings out the senses and feelings of indifference and impersonality. Meanwhile, Yuan Ru Gallery will be exhibiting artworks of Taiwanese artists Mei Lee and Po-Lin Yang (Xiang Yang), whose respective paintings and sculptures are both inspired by nature. In the process

DYNASTY GALLERY 朝代畫廊

博物館M+在2019年底即將開幕，重要的國際畫廊紛紛進駐，以及藝術博覽會的加成效益之下，都顯示出香港對於文化形象愈來愈重視。而即將踏入第四屆的Art Central也將在3月26日舉行貴賓預覽及開幕夜，3月27日至4月1日於中環新海濱對公眾開放，不同於香港巴塞爾藝術展的族群所籌劃，以較親民的形象及媒材多元的實驗性藝術項目做出區隔，包括去年關注行為藝術，提供藝術愛好者及參展商更多的選擇。今年將參展Art Central的台灣畫廊數量也從去年的11間增加到13間，分別為大象藝術空間、德鴻畫廊、朝代畫廊、雅逸畫廊、大河美術、宛儒畫廊、形而上畫廊、科元藝術中心、養心空間、首都畫廊、水色藝術工坊、僑福芳草地畫廊及絕版影像館。並期望在此年度盛會，讓各國藏家認識更多台灣藝術家。

多元的媒材與更重實驗性的年輕舞台有別於Art Basel HK的經費昂貴，Art Central相較之下，讓更多畫廊有條件展出年輕的藝術家，或是媒材較不利於藝術市場的藝術作品，也在Art Basel HK帶來的效應之下，這幾年台灣畫廊參展Art Central都有不錯的成績，讓更多台灣畫廊願意嘗試展出實驗性強的藝術作品。如今年大象藝術空間館將有別於以往聯展的形式在 Art Central展出，將推出擅長探討未來科技以及人類社會倫理的藝術家黃贊倫個展「他方Elsewhere」，展出其全新裝置藝術作品《競技場Arena》及《肉Flesh》，探討、呈現科技時代下，人類與機械的自我意識，及所面對的未來及未知的不安感。在媒材的運用上，包含燈光、主機板、焊錫針腳、電容器等IC零件組合而成的裝置，以及電腦零件及銅箔組合成複合媒材的牆面作品，在展位上的呈現挑戰性極高，而黃贊倫本身也是目前台灣40歲以下最受矚目的動力裝置藝術家，符合Art Central所有的特性。而第三次參展Art Central的德鴻畫廊將以林書楷、田島大介、鈴木貴彥三位藝術家的作品，以不同的媒材來探討城市的空間景象、人在城市之間快速流動後的浮動感，及面對全球都市化迅速發展的隱憂。其中1983出生的林書楷，其作品媒材也非常特殊，透過木版模具之廢棄物，來雕塑一個看不見的城市，除了全新的平面創作之外，也將以立體裝置作為平面繪畫的草圖，使用深具人文情感與代表夕陽工業的木造模具，為展覽場地量身製作裝置藝術，顛覆了傳統上先平面後立體的創作過程。朝代畫廊將展出林餘慶&魏杏諭、曾偉豪跟水谷篤司三位藝術家作品。其中曾偉豪擅長互動聲音裝置，作品嘗試將觀者意念、圖像與聲音三種不同的狀態合而為一，透過導電油墨和鉛筆，觀眾得以主動觸摸、塗鴉等方式，讓身體成為傳導音樂或雜訊的電線，創造出專屬個人化的聲音體驗，呈現出不可見的作用力、反動、無所謂和陌生的感官感受。宛儒畫廊，今年將展出李美慧及楊象．楊柏林兩位台灣藝術家的創作，李美慧的繪畫與楊象．楊柏林的雕塑，皆取之自然，並在內在探索的過程當中，融入時間性，建構出更為宏觀、包容性的作品。

UP GALLERY 絕版影像館

ARTISTS ／ LIN YU-CHING & WEI HSING-YU, MIZUTANI ATSUSHI, TSENG WEI-HAO 參展藝術家／林餘慶＆魏杏諭、水谷篤司、曾偉豪 Dynasty Gallery will exhibit the works by LIN Yu-Ching & WEI HsingYu, MIZUTANI Atsushi, TSENG Wei-Hao in Art Central 2018. LIN Yu-Ching & WEI Hsing-Yu’s works are always full of many symbols and totems by themselves. They use detail skill and elegant color to combine different objects together, and turn them into a wonder and complete fantasy world. They dispense the lines and colors patiently to create balance in a busy, tight picture rhythm. MIZUTANI Atsushi grew up in inland Japan and the nature scenery of his hometown affected MIZUTANI and his creation ideas very deeply. His wood sculpture of landscape series not just only presents the reciprocal relationship between nature and city, but also leads us to think “how people coexist with nature”. TSENG 林餘慶＆魏杏諭，《末日奇蹟》， Wei-Hao’s sound interactive devices 110x80cm，紙上複合媒材，2017 try to unite the consciousness of the audience, image, and sounds together.

of exploration, the artists have incorporated the element of time into their art, producing works that are more comprehensive and all-embracing.

ARTISTS ／ DANILA TKACHENKO, YICHIA LIAO 參展藝術家／丹尼拉 ‧ 特卡辰科、廖益嘉 The artist uses electricity conducting inks and pencils as mediums to create sounds from the resistance noises generated by feedback loop of amplifier. The unique sounds made by the mediums are their ways to communicate and transfer. Through the works, TSENG attempts to find out what people really feel in a regulated environment. 朝代畫廊將於Art Central 2018展出林餘慶＆魏杏諭、水谷篤司與曾偉豪等三組藝術家的最新作品。林餘慶＆魏杏諭的作品充斥著大量自行想像的造型元素，運用細緻的紙上筆法和淡雅的漸層色彩，將各種不同的物件與角色擴充融合為一組完整且綺麗的幻想空間，藝術家耐心分配線條色塊，在繁忙緊湊的畫面節奏中創造出平衡。水谷篤司自幼生長在日本內陸，故鄉的自然山色深深的影響了他，這羈絆一直持續牽引著他的創作思路，他的風景木雕系列，呈現了自然與城市之間的此消彼長，也帶領我們思考「人如何與自然共存」這個重要課題。曾偉豪的聲音互動裝置，嘗試將觀者意念、圖像與聲音合而為一，作品中利用導電效果，將介質電阻雜訊由擴大機的迴圈形成聲響，表達「傳遞」的介質本身所擁有的獨特聲音，企圖在規格化控制的環境中找尋人的真實感受。

Up gallery will be presenting a duo exhibition of Yichia Liao and Danila Tkachenko, the former a Taiwanese artist whose works have been collected by the National Taiwan Museum of Fine Arts and National Chiao Tung University Arts Center, the latter a Russian artist who has won World Press Photo, Magnum and Foam Talent just to name a few. Liao will be exhibiting two series: A kind of Spirit and Summon Images. Summon Images has earned international praise and last year his photobook was published creating great discussion among the art field. Yichia Liao, Reorganize, 82.43 x 110 cm

絕版影像館是台灣首座專門以攝影與影像作品展出的藝廊。創辦人廖益嘉認為台灣需要一個獨特的場地讓攝影與影像藝術擁有展出平台，在預見影像藝術的獨特性同時也堅信影像藝術的價值與地位遲早在台灣會被認可，因此決定在家鄉新竹設立實體藝廊空間。畫廊名稱象徵初衷：提升台灣的攝影與影像藝術價值並確立版次的觀念。畫廊致力於發掘亞洲新銳藝術家並引領他們進入國際攝影藝術界。同時也熱衷於跨文化展覽並與世界各地藝術家合作。主要專業領域在當代藝術攝影。

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March / April 2018

PRESENTING PAINTINGS OF YOUNG ARTISTS

繪畫的年輕取樣共地呈現除展出特殊媒材的畫廊外，其他畫廊在Art Central展出以年輕輩畫家為主題的藝術創作，包含科元藝術中心將展出台灣70、80、 90年代出生的藝術家王董碩、廖震平、陳云作品，在不同的創作時空下，王董碩的沈穩幾何、廖震平的寧靜窗景、陳云的人偶、文字與物件，各自以不同形式及美學，述說自身生命觀察，精煉地將感情轉化至作品當中。第一次參展的大河美術，將推出獨家經紀之台灣新銳藝術家陳硯平個展，1986年出生的陳硯平，以複合媒材作為內在探索，畫面中豐富的幾何線條、律動及斑駁的色彩肌理，已受到國內外關注，此次參展陳硯平將帶來近兩年的創作。雅逸畫廊將展出台灣新生代寫實繪畫藝術家林正哲和陳逸鋒的新作，不同的題材及風格，凝視物件並捕捉時間感受；林正哲以不同的視角去觀察有時間性的物件，陳逸鋒以古典繪畫中經常用於襯托人物或靜物的白布作為題材，皆能讓觀者佇足，細細觀看，回想曾經存在又消逝的美好感受。

Apart from those that will be exhibiting rare media, galleries at Art Central will be presenting works produced by artists of the younger generation. KeYuan Gallery, for example, will be showing the works of Wang Tung Shuo, Liao Zen-Ping and Chen Yun, all being Taiwanese artists born in the70s, 80s and 90s. Wang’s sedate artworks of geometry, Liao’s portrayal of tranquil window views and Chen’s dolls, text and objects were all created in a different time and space. Yet, each taking its own form and put into personal aesthetic perspectives, the works all finely display the artists’ sentiments and reveal their observations of life. As the exclusive agent for the budding Taiwanese artist Yenping Chen, River Art will be making a debut at Art Central with his solo exhibition, displaying the artist’s creations from the past two years. Born in 1986, Chen has received much attention at home and abroad. In the exploration of composite media, his works display rich geometric lines and rhythm, as well as colorful and textural spots. Julia Gallery will be presenting recent works of Lin Cheng-Che and Chen I-Feng, Taiwan’s new generation of realistic painters. With varying themes and styles, they gaze objects and capture feelings of time. Lin observes time-sensitive objects from various perspectives, while Chen sets white cloths, which are often used as an accompaniment in classical paintings, as the theme of his works. The works of the two allow viewers to pause and admire the art, and recall beautiful moments that have come and gone.

水谷篤司, Drawing 2.2018 2018, 30x32x29cm, 木、水性日本畫顏料、壓克力顏料

YUAN RU GALLERY 宛儒畫廊 ARTISTS ／ LEE MEI-HUI, YANG PO-LIN 參展藝術家／李美慧、楊柏林 Taiwanese-American Julie Hsieh founded the gallery in 2014, upon her return to Taiwan after almost 30 years in the States. The gallery aims to introduce more Taiwanese artists to the international scene as well as represent international artists in Taiwan. Yuan Ru Gallery has already exhibited across Taiwan as well as in Hong Kong, Tokyo and Santa Fe.

LIANG GALLERY 尊彩藝術中心 ARTISTS ／ LI YUAN-CHIA , CHU KO , LEE CHUNG-CHUNG, CHAO CHUNG-HSIANG 參展藝術家／李元佳、楚戈、李重重、趙春翔 The 25-year-old Liang Gallery was founded in 1993 by Directors Yu Yen-Liang and Claudia Chen. Liang Gallery located in Taipei and based in a three-story building. The gallery promotes Taiwanese artists of the early 20th century, the most representative modern artists, post-war abstract ink-wash artists, and contemporary artists, thus focusing on the significance of the era of art and the social aspects of visual art. Liang Gallery is committed to developing international collaboration and exchange of art. For many years, it has been selected for inclusion in international art fairs and biennales to promote Taiwanese art. A significant number of artworks by the gallery’s represented artists have been included in the collection of the main art museums and private collectors.

For its return to Hong Kong Art Central in 2018, Yuan Ru Gallery proudly presents established Taiwanese artists Lee Mei-Hui and Yang PoLin. We are pleased to advise public, private and corporate clients about buying art, and developing and maintaining collections. 台裔美籍的謝宛儒執行長於2014年成立「宛儒畫廊」,回來台灣之前,她在美國生活餘30年。宛儒畫廊旨在從國際視野推廣台灣藝術家以及代理旅居台灣的外國藝術家,參展範圍從台灣到香港、東京以及美國。楊柏林，《目送青睞》， 145.5x89.5cm，壓克力顏料、畫布，2017

今年2018香港藝術中心,宛儒畫廊非常榮幸將展出兩位十分優秀的台灣藝術家-李美慧以及楊柏林。我們誠摯邀請各方藝術同好、私人收藏或是各企業有意購買藝術品之客戶,以及欲開發和維護館藏的同業朋友,一同來香港藝術中心,展位E21的宛儒畫廊蒞臨指教!

李重重，心中的歌，水墨設色、紙本，93x94cm，2016

尊彩藝術中心創立於1993年，由負責人余彥良先生和陳菁螢女士共同成立，至今25年歷史。

尊彩藝術中心位於台北市，為獨棟建築展覽館。畫廊主力推廣台灣20世紀初期，現代藝術史上代表性藝術家、戰後抽象藝術家、當代藝術家；著重藝術史的開創意義與視覺藝術的社會性觀點。長年致力台灣藝術國際交流，歷年參與國際性藝術博覽會與雙年展，推廣台灣藝術於國際藝術盛會，促使代理藝術家，作品廣為美術館、私人企業所典藏。

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March / April 2018

ADVANTAGES AND DISADVANTAGES OF A LARGE VISITORS FLOW Staged at the same time as Art Basel Hong Kong and piggybacking on the successful event, Art Central has shown remarkable development – from receiving a number of hesitant gallerists at its launch to having screening procedures for applications this year. Its growth has injected much youthful energy into the city during Art Basel Hong Kong. It has also given room for emerging galleries from various Asian countries to prove themselves, to put their artists to the test and identify their compatibility with the Western art market. The primary reason for Art Central to surpass the hotel art fair, Asia Contemporary Art Show Hong Kong, is the completeness of its venue, which has allowed artists to assimilate its artworks into a spatial installation rather than simply adorning the pieces on the spot. This is also why Art Central has been successful at quickly attracting young and exploratory galleries and its innovative artworks, and boosting the number of visitors at a soaring rate. The presence of Art Central has created opportunities for interested parties who cannot afford entrance to Art Basel Hong Kong to admire diversified and innovative contemporary art. This, however, has caused interference with collectors’ experience at the fair and as a result, certain galleries that participated in

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從藝博進入國際的生存戰略 SURVIVAL OF GALLERY: GOING GLOBAL THROUGH ART FAIR PLATFORM

田島大介, Far Eastern Territory 遠東世界市

2018, 1.9x2.2m

2017 have decided to withdraw from the 2018 event. The situation does not only serve as a warning to Art Central, but more importantly, it raises the question of where contemporary art lies in the spectrum – whether it leans more towards fine art or pop art. While Art Basel Hong Kong, being a top-tier art event for the elite, is unable to fuel the development of the local art scene, including the most important aspect – art education, Art Central is able to make up for this very weakness. As such, although the growth of Art Central may be hindered by the issue of visitors flow, the situation reflects the significant role of local art fairs – a role that even international art fairs cannot fulfill.

林餘慶＆魏杏諭, 人造星球3號 2015, 80-110cm, 紙上複合媒材

人潮是優勢也是劣勢因與Art Basel HK同期展出，Art Central透過衛星效應有著極大的成長，從第一年眾多畫廊業者觀望，到今年申請已經有篩選機制，讓香港在Art Basel HK期間有著更大的年輕能量，亞洲各國優秀的年輕畫廊也能有另一個發揮的空間，實驗自己代理的藝術家，與西方市場是否有著一定的契合度。然而做為衛星效應超越Asia Contemporary Art Show Hong Kong 飯店型藝博，最大的原因在於空間的完整性，讓藝術作品不是放在床上被裝飾，而是進入一個空間裝置的條件之下，也因此Art Central快速的吸引年輕實驗性更高的畫廊加入其中，新奇的藝術作品，使觀展人數暴漲，一方面讓買不起Art Basel HK入場卷的大眾，可以觀看多元又新穎的當代藝術，但一方面又因此讓藏家的觀展被干擾，所以已有部份2017參展Art Central的畫廊在 2018決定不再展出，這是Art Central的警訊，也是當代藝術在精緻藝術與大眾藝術之間的兩難，在精英殿堂的Art Basel HK是無法有效驅動香港再地的藝術生態，包含最重要的藝術教育，而Art Central正好可以補上其角色，因此若Art Central不能改善人潮與觀展之間的限制，可能會影響其成長，但此現象也反應就算有國際藝博，在地藝博所扮演的重要性。

林書楷, 2017 台北藝術博覽會, 德鴻畫廊展位

DER-HORNG ART GALLERY 索卡藝術 ARTISTS ／ HONG LING, MAO XUHUI, ZHANG YINGNAN, WANG TING-YU, HSI SHIH-PIN 參展藝術家／洪凌、毛旭輝、張英楠、王挺宇、席時斌 Soka Art was founded in 1992 in Tainan, Taiwan. It manages comprehensively from Chinese art to Asian contemporary art. In 2001, Soka Art Beijing was established. Director Hsiao Fuyuan became the very first Mainland gallery owner from Taiwan which accounts for the initiation of Taiwan gallery enterprise in China. In the following nineteen years, Hsiao led Soka to integrate tremendous research, analysis and many collection of work by the first generation Mainland Chinese artists such as Li Tiefu, Lin Fengmian, Yan Wenliang, Xu Beihong. He also engaged in discovering and promoting young artists with great talents.

索卡藝術長期以視覺藝術為主導，專注經營並研究亞洲當代優秀藝術家作品，是台灣最早導入策展概念，運用系統性方式經營亞洲當代藝術的畫廊。索卡藝術不間斷地輸入新的策展與觀看方式，突顯了亞洲不同區域相異的歷史脈絡、文化傳承以及社會現實所孕育出的視覺獨特性。亦為亞洲藝術尋找出重新面對當代文化現實的自我闡述能力，進一步地在非西方的國際化（ N o n - We s t e r n I n t e r n a t i o n a l i z a t i o n ）脈絡系統，重啟亞洲之外的國際經驗，成為引介台灣和國際當代藝術之間的重要樞紐。索卡藝術同時透過積極參與頂尖的藝術盛宴，欲將亞洲藝術推廣至國際舞台。

In 2003, Soka pioneered in contemporary art field to promote the emerging generation of outstanding Chinese artists. Soka Contemporary Space Beijing succeeded in its debut in 2005 internationally through its close coordination with curators world wide and outstanding Chinese contemporary artists. In 2007, Soka Art Taipei was established. It is dedicated to promote Asian contemporary art. In 2010,Soka Art Beijing moved to the 798 Art District, the space has thousand square meters of Bauhaus classic building. Through out the nineteen years of development, Soka Art has been recognized as the one of the beacon art galleries in Asia for Chinese modern and contemporary art.

張英楠，浮生若夢，200x150cm，油彩、畫布， 2017

洪凌，初夏之二，73x91cm，油彩、畫布，1993

March / April 2018

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March / April 2018

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從藝博進入國際的生存戰略 SURVIVAL OF GALLERY: GOING GLOBAL THROUGH ART FAIR PLATFORM

NO SALES TALK IN ART FAIR – TAIWAN ARTISTS AFTER ART FAIRS

文 / 羅禾淋

text / He-Lin Luo translation / Allen Cheung

在藝博會不談銷售一論台灣藝術家在藝博之後 Postmodernism sees the collapse of the medium of art and a change in the function of galleries. In an age when art fair is a mainstream source of sales, it becomes unimportant whether a gallery has an actual space or not. Those without a space regularly participate in art fair to sell works, while those with a space turn to emphasise art display and try to build up academic networks to aid the propagation of their collections. This turn is comparable to a private art museum. Since Art Basel Hong Kong has become a centre in the past few years, it has become a necessity for art practitioners beyond collectors to do the pilgrimage. Therefore, it is unimportant whether sales happen in Art Basel or not, what artists expect is whether they are exposed to important art practitioners worldwide. This situation can be seen in the three areas especially open by Art Basel Hong Kong, they are Encounter’, Film and Kabinett. These three themed areas are only opened to applications from selected exhibiting galleries. Encounters are exhibition spaces situated on corridors and fragments of space outside gallery booths, Film consists of screening at the Hong Kong Arts Centre cinema adjacent to the art fair, while Kabinett is a curated space coming out of the gallery booths area. All three areas emphasise on academic and artistic qualities of the work, therefore the work and their medium are not necessarily easy to sell. This allows Art Basel to gain recognition not only from the art industry but also from the art academic field. This is a rare situation, since to many contemporary art practitioners these two ends — academia and industry — are difficult to converge. It therefore allows medium that is not valued by the market to come into Art Basel Hong Kong, here I will take ‘video art’ and ‘conceptual art’ as examples.

在後現代的當下，藝術媒材已被打破，畫廊本身的功能有了轉變，在藝博銷售為主流的時代，畫廊有無實體空間已不重要，沒空間的畫廊定期參與藝博銷售作品，有空間的畫廊轉為重視作品的展示，並試圖建立學術脈絡，讓其收藏群轉動與擴散，如此轉變已經好比一家私人美術館。然而這幾年因為Art Basel HK的中心化，藏家以外的藝術工作者也必須去朝聖，因此銷售與否在巴塞爾藝博已經不重要，被各國重要藝術工作者看見才是諸位藝術家所期望的，這情況可以在Art basel HK特別開設的三個區域有很明顯的結果，分別是「藝聚空間」（Encounters）、「光映現場」（Film）、「策展角落」（Kabinett）。這三個主題區都需要確定入選於Art Basel HK參展的畫廊，才能另外提出申請，藝聚空間是在畫廊攤位以外的通道或零碎空間中展出，光映現場則是在藝博會場旁的香港藝術中心電影院放映，策展角落是畫廊攤位裡面自行分出一區域進入此策展題目，三區都非常強調學術性與作品的藝術性，也因此作品與媒材不一定能順利的銷售，這也讓 Artbasel HK除了可以讓藝術產業認可外，也能很特殊的讓藝術學界認可，當然這種情況在一般是非常少見的，因為對多數的當代藝術工作者來說，這如同天坪的兩端，學術與產業很難有交集，但也因此使市場不重視的媒材有著進入Art Basel HK展出的可能，在這邊我就以「錄像藝術」與「觀念藝術」為例。

ART BASEL GALLERY HIGHLIGHT

參展亮點畫廊

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LISSON GALLERY

‘Potent motif of ambition (Dramaturgical framework for structure and stability)’ by British artist Ryan Gander will be an installation through which the artist explores the body through new anthropomorphic forms with technology and mechanics. While a few technology related issues and items, such as artificial intelligence and virtual reality, are going viral in recent years, Gander’s work seems to come just in time to make a remark for them by attempting to push technology to the critical edge. In fact, the artist will create his critical ground by how he blurs the line between technology and the concept of the body or even ridicules the two.

EDOUARD MALINGUE GALLERY

Taiwanese artist Chou Yu-Cheng is good at challenging existing conditions of the world and daily life with readymade objects. At the current Encounter sector of Art Basel Hong Kong, Edouard Malingue Gallery presents the new work of Chou, ‘Refresh, Sacrifice, New Hygiene, Infection, Clean, Robot, Air, Housekeeping, www.agentbong.com, Cigarette, Dyson, Modern People’. Combining sculpture, performance and recital, clear boundaries between the public and the private are abolished to study the concept of hygiene, technology and the distribution of labour. 台灣藝術家周育正擅長在作品中運用現成物，挑戰世界和日常生活的既有狀態。今次巴塞爾藝術展藝聚空間中，馬凌畫廊展示周育正的新作《Refresh, Sacrifice, New Hygiene, Infection, Clean, Robot, Air, Housekeeping, www.agentbong. com, Cigarette, Dyson, Modern People》，揉合雕塑、表演和朗誦，去除公共與私人之間的清晰分野，探索衛生的概念、科技和勞動力分配。

Ryan Gander, Potent motif of ambition (Dramaturgical framework for structure and stability), 2018. Courtesy of the artist and the gallery

英國藝術家Ryan Gander將會透過裝置作品《Potent motif of ambition (Dramaturgical framework for structure and stability)》，探討科技和機械中身體的概念。近年流行討論人工智能和虛擬實竟等議題，相信Gander的作品能在主流討論之外，加上批判的角度，甚至針對科技與身體之間模糊的界線引發觀眾的思考。

Chou Yu-Cheng, Refresh, Sacrifice, New Hygiene, Infection, Clean, Robot, Air, Housekeeping, www.ayibang.com, Cigarette, Dyson, Modern People, 2017 Reference image. Courtesy of the artist and the gallery. Photo: Zhang Hong.

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March / April 2018

1 2 何采柔 Joyce Ho, Saturday 2017, 大型表演裝置 Large-scale performance installation, 空間因場地而異 Dimensions variable 3

何采柔 Joyce Ho, If 2017, 影像裝置, Video installation, 雜誌 34 x 26 cm, 雜誌底板 34 x 27 x 0.8 cm, 展架 25 x 25 x h 126 cm

陳依純, 孩子 2017, 有聲彩色錄像, 10 min 06 sec 何采柔 Joyce Ho, The Master And The Master

MAKING VIDEO ART VISIBLE Video and moving image have become necessary vehicles of information in our everyday life. Yet the mass reproduction and technical requirements of electronic devices are obstacles to the collecting of video art. Film, yearly curated by Li Zhenhua, allows art galleries to exhibit work beyond gallery booths, which provide opportunities for the works of Taiwan artists to be discovered and collected. Claudia Chen, director of Laing Gallery, said that the artist Hsu Chia-wei was selected for Film and was widely known in Hong Kong. He made a successful application to exhibit at Insight in 2016. The artist Chen I-Chun said that being selected for the Film Library at Art Basel Miami did not significantly increase her exhibitions in mainland China. But being selected for the 2016 Film in Art Basel, she was invited to exhibit in mainland China. Therefore, Art Basel exerts a certain ripple effect geographically in Asia. Huan Chiwen, director of Chi-Wen Gallery, a Taiwan gallery that specialises in video art, said that every year senior Taiwan video artists’ work are exhibited at Film which has accumulated exposure for Taiwan video art. ChiWen Gallery recorded sales beyond expectation in the 2016 Galleries exhibition area, and she thanked Li Zhuenhua for inviting a lot of collectors to visit Film, which exposed artists represented by Chi-Wen Gallery to specific collectors every year. Huang ChiWen emphasised that, collectors who favour video art like to follow work by the same artists for a period of time and collect them only after understanding their creative practice. Therefore it is important that these video work be supported consistently every year. It needs to be curated every year and to take into consideration what collectors will be looking this year and the next. Only in such a way can collectors understand the work of video artists. And it is because of the dedication to video work by Chi-Wen Gallery, that the video artistYu Cheung-Ta, long supported by the gallery, is selected as one of the thirty artists to exhibit in Kabinett. UNDO THE FRAME - ENCOUNTERS Although Encounter does not require rental fee, there is still an application fee. All expenditure on large installation are responsible by the applied galleries, and this has affected the willingness of Taiwan galleries to apply.TKG+ showed Joyce Ho’s work ‘On

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the second day, Saturday, your three minutes...’ at Art Basel Hong Kong in 2006, which posted a challenge to the exhibition framework of Encounters. Joyce Ho said that, at the time Shelly Wu, the director of TKG+, thought that it was not easy for the medium of her work to be accepted in the exhibition space of Art Basel Hong Kong. Wu therefore asked her to apply for Encounters. The application was complicated as the proposal went back and forth over half a year before the exhibition was fixed. Ho said that it was a coincidence that the curator wanted to experiment with the potential of the space and chose her work eventually. This piece by Ho is a combination of performance and theatre art. Even though it is a performance work, the exhibition space included a lot of installation which allow the theatre components to be shown in the art fair. It therefore has the restriction of a theatre and the viewers needed to queue up for the experience. All these are not normal to Encounters. This meant that, in the art fair that privileged its VIPs, they needed to queue with the ordinary visitors for entry, and this removed the hierarchy between the two in an art fair that values class difference. Ho mentioned that there were many times when important curators and collectors said they were interested in the works but she could only ask them to queue up for the experience. This of course caused many to leave and distanced the work from sales. Yet TKG+ did not have the intention to sell the work. To Ho and TKG+, exhibiting at Encounters was equivalent to exhibit at art museums or biennials. Eventually Ho gained international exposure through this exhibition opportunity, this included the upcoming Asia-Pacific Triennial in 2018, whose curator revealed the first encounter of Ho’s work in Art Basel Hong Kong. INDUSTRY AND ACADEMIA – COMBINING THE TWO ENDS OF THE SCALE In the process of these interviews, many gallerists mentioned that the strategy of Art Basel is a lesson for the future of Taiwan art. They coincidentally pointed to the fact that Art Basel did not limit its invitation to important international collectors but it also purposefully invited art practitioners such as international curators, art media and art museum researchers. Therefore, it is not an accident that academic centralisation happens in Hong Kong. It is but a strategic operation of Art Basel. Academic centralisation allows the aesthetic and conceptual

2017, Acrylic paint on book cover, aluminum frame 繪畫於布面書本．鋁框裱褙, 64.3 x 34.5 x 5 cm

許哲瑜, 重新破裂 2017, 單頻道錄像, 15 min 19 sec

ideas of art work to be explored in an art fair, so that the fair is not only about expensive decoration. It also meant that art fairs should not only be treated as an affair between galleries and collectors, but that it is also taken as a platform through which different art practitioners connect with the world. For example, Taiwan media ARTCO, having participated in Hong Kong Art Basel over many years, it was selected for the first time in 2016 for the Art Basel in Switzerland. It meant that art media and even art logistic and other related industries can connect with the world through this platform. In comparison, there is still very little connections between present academic institutions of Taiwan with Art Basel Hong Kong, the majority are still galleries and media and none from art museums. This can potentially be the future direction for Taiwan art academic to connect with the world. On the other hand, the importance of academic involvement in art fair can be seen in the art fairs of Taiwan happened after Art Basel. Whether it was Taipei Art Fair, Art Kaohsiung or Art Formosa, the past few years saw emphasis on video art space and public exhibition space, and there has been cooperation between independent curators, art universities and art equipment providers. Even though it was only the early beginning of the inclusion of academic components in art fairs, this is still a positive development towards the future. 光映現場推動錄像被看見錄像在影像主宰的當下，已經是我們生活中不可或缺的載體，但是藝術收藏卻因為錄像藝術的大量複製與電子設備的限制，讓人怯步萬分，而在Artbasel HK每一年由李振華策展的光映現場，活絡了畫廊展商除了攤位展區外經營錄像藝術的意願，也使台灣錄像藝術家順利被挖掘甚至被收藏。尊彩藝術中心總經理陳菁螢表示，藝術家許家維在 2015入選光映現場，被香港當地廣為人知，2016順利申請到亞洲視野。而藝術家陳依純表示，入選2015 Art Basel Miami的Film Library，當時沒有明顯增加中國大陸的展出邀約，但是入選2016 Art basel HK的光映現場後，有中國大陸的展出邀約，因此在地緣關係上，2016 Art basel HK 讓亞洲的後續效應有一定的影響。而在台灣專門推動錄像藝術的Chi-Wen Gallery，總監黃其玟表示，每一年都在光映現場展出台灣前輩錄像藝術家的作品，多年下來累積台灣錄像的能見度，2016年Chi-Wen Gallery在藝廊薈萃的攤位區，有著超乎預期的銷售數量，並感謝李振華每年都邀請大量的藏家去觀看光映現場，使Chi-Wen Gallery推出的藝術家之作品，每一年都被固定的藏家看見。而黃其玟強調，喜歡錄像的藏家，都很喜歡關注同一位藝術家作品一段時間，並且瞭解創作脈絡，才會出手收藏，因此錄像每一年持續不斷的推動是非常重要的，每一次都要用策展的心情去面對，思考今年要讓藏家看那一部作品，明年要讓

藏家看那一部，才會讓藏家瞭解這位錄像藝術家，也因為其玟畫廊對於錄像的用心，長年主打的錄像藝術家余政達今年入選「策展角落」（Kabinett），大會主打的三十位藝術家之一。

藝聚空間的去框架藝聚空間雖然不用場租，但是要申請費，大型裝置的全部花費都是申請畫廊自行承擔，這幾點就影響願意申請的台灣畫廊之意願，2017年的2016 Art basel HK，TKG+推出藝術家何采柔作品《On the second day, Saturday, your three minutes…》，打破藝聚空間多項框架的一次挑戰。何采柔表示，當時是TKG+總監吳悅宇覺得以她的媒材，不易進去Art baselHK的攤位展區，因此要她試試看申請藝聚空間，申請的過程很煩瑣，經過了半年提案的往返才確定展出，何采柔表示剛好策展人想嘗試空間的可能性，因此最後有選擇她的這件特殊之作，何采柔的這件作品是一件行為藝術與劇場藝術的結合，雖然是表演類的作品，但是現場有著大量的裝置，使得劇場的要素可在藝博會重現，也因此有劇場的限制，所以體驗的觀眾要「排隊」，這些都是藝聚空間原本不會有的狀態，在VIP至上的藝博會現場，VIP要與一般民眾一起排隊才能入內，在重視層級的博覽會反而去階級化，何采柔也表示有多次重要的策展人、收藏家表示對作品有興趣，但何采柔只能尷尬的請對方排隊體驗，當然此舉也讓少數不滿的人士離開，當然這件作品就與銷售沾不上邊，TKG+畫廊本身也沒有要銷售這件作品的意思，對何采柔與TKG+來說，在藝聚空間展出，等同於在美術館或雙年展展出，最後何采柔也因為這此的展出機會被世界看見，包含即將來到的2018亞太三年展，策展人也表明是在Art baselHK看到何采柔的作品。

產業與學術：天坪兩端結合的重要在進行此專題訪談過程時，多位受訪畫廊業者都表示巴塞爾的嚴密策略，是未來台灣必須學習的課題，並不約而同的指出巴塞爾邀請招待的並非只限於世界重要的收藏家，而有目的的邀請包含國際策展人、藝術媒體、美術館研究員等藝術工作者，因此學術能在香港中心化並非偶然形成，而是巴塞爾有策略的進行操作。學術中心化，使藝術作品在藝博會保持探討美學觀念上的問題意識，而不是單純變成高價裝飾品的銷售會，如此特殊的操作也帶出藝術博覽會不該只是畫廊與藏家之間的事情，更要有不同層面的藝術工作者透過此平台與國際有所連結，如台灣藝術媒體今藝術在參與多年香港巴塞爾之後，於2016年首次入選瑞士巴塞爾，以指也點出藝術媒體、甚至藝術物流等藝文相關產業，都要有可能透過此平台與國際接軌，然而相比之下，目前台灣學術機構與香港巴塞爾的連結較少，多數是畫廊業者與媒體，美術館並無交集，這也可能是未來台灣藝術學術連結國際思維需要努力的方向，另一方面，學術進入藝博會的重要性，也在巴塞爾之後於台灣的藝博會開始有所發酵，不論是台北藝博、高雄藝博、福爾摩沙藝博，這幾年都開始重視錄像區的設立與公共展區的規劃，並與獨立策展人、藝術大學、藝術設備商合作，試著把藝術學術的部份進到藝博會之中，雖然目前只是開始，但是卻是對未來有正面發展的起步。

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STPI, YAVUZ GALLERY

Australia-based Filipino artist couple Alfrdo & Iszbel Aquillizan like to investigate issues related to family and community, including their relationship with other artists. On the one hand, they have brought to the Kabinett sector an exhibition of print, installation, paper sculpture and found objects that looks into migration and dislocation. While on the other hand in the Encounter sector, an air-activated work looks into mass migration and contemporary agrarian societies in Asia.

PAUL KASMIN GALLERY

Primarily being recognised for the use of fluorescent light, New York-based Chilean artist Ivan Navarro presents ‘Compression’, a cubic globe that challenges the notion of globalisation as a platform of equality. Although the message of the work appears to be literal and perhaps obvious, contextual irony and humour is very strong that international mega-art fairs like Art Basel is a clear form of globalisation in art.

在澳洲生活的菲律賓藝術家夫婦組合Alfrdo & Iszbel Aquillizan喜歡探討與家庭和群體相關的議題，包括他們跟其他藝術家的個人關係。是次巴塞爾藝術展一方面在策展角落展出的作品結合印刷品、裝置、紙雕塑和現成物的展覽，探討移民與錯位；另一方面在藝聚空間展出以空氣推動的作品，探討大型遷徙及亞洲當代農業社會。

雖然在紐約生活的智利藝術家Ivan Navarro以光管作品最為人熟悉，他展出了將地球變成方體的作品《Compression》，質疑全球化帶來平等的講法。作品的訊息或許非常直接和明顯，然而在國際大型藝博會展出，作品語境帶有強烈的諷刺味道和幽默感。

Isabel and Alfredo Aquilizan, Left Wing Project (Belok Kiri Jalan Terus), 2017-2018 Courtesy of the artists and the gallery.

Iván Navarro, Compression, 2018 Courtesy of the artist and the gallery

FEATURE

March / April 2018

New small- and middle-scale art fairs are forming all over Shanghai, Chengdu, Wuzhen and Taiwan in recent years. But neither scale-wise nor qualitywise can these fairs challenge Art Basel’s position in the global fair scene. During its fair period, satellite events, museums, galleries, auctions and other side effects flourish. With the help of advantageous local tariff and transportation hub, thousands of collectors, curators and institutions fly to Hong Kong for Art Basel. Combining the rise of Hong Kong artists and their increased international exposure, Hong Kong has become in Asia a hotspot of contemporary art in a matter of a few years. According to the above mentioned, it is worth considering and learning from Hong Kong’s situation for Taiwan. As the base of Art Basel in Asia, Hong Kong has put more focus on representing Asian

文 / 羅禾淋、詹雅婷、洪萱育、周佩穎

text / He-Lin Luo,Ya-Ting Chan, Michelle Hong, Patrice Chou translation / Bernard Yeung

galleries and artists to address regional characteristics. Last year, Kabinett sector which features thematic curated exhibitions was added to extend the fair’s practice from Basel, Switzerland and Miami, USA. This gives the recent vigorous growth of private museums in Asia a push forward by meeting its demand and has attracted many art institutions and private museums to move to or base in Hong Kong. The local art industry benefits. Of course, it would be impossible for Taiwan to duplicate Hong Kong’s experience geographically and politically. But a ‘discrete alliance’ approach will let Taiwanese contemporary art enter the world market through Hong Kong. As an essential part of Asian art, Taiwan maintains a stable number of around 9 participating galleries in recent years. Adeline Ooi, Director Asia pays special

visits to Taiwan to announce the list of participating galleries as a gesture of valuing the Taiwanese art market. Chi-Wen Gallery, Eslite Gallery, Soka Art Center and Tina Keng Gallery have been in the list since the edition. TKG+, Project Fulfill Art Space, Liang Gallery moved from the Insights sector to Galleries. Mind Set Art Center and Asia Art Center were also inducted to Insights and more works by Taiwanese artists had been presented. After a few years of effort,Taiwan started to host a Taiwan evening in Art Basel HK since 2017. It was the first time members of the Taiwanese gallery business worked together on a foreign international occasion. Finally, discrete entries (separate applications) combined to form a potent force. Gallery directors are interviewed in this article. The stable system and planning of Art Basel could be seen through their sharing.

FROM HONG KONG TO TAIWAN – ON TAIWAN’S DISCRETE ALLIANCE 以香港向台灣投影一談台灣這五年的分進合擊

近年中國上海、成都、烏鎮等地區及台灣新興中小型博覽會四起，但在規模及品質上都難以撼動巴塞爾在全球藝術博覽會的地位。展會期間衛星藝術博覽會、博物館、畫廊、拍賣會等周邊效應加乘，搭配當地關稅及交通樞紐的優勢，也因為巴塞爾博覽會，每年吸引上萬名的藏家、策展人及機構特地飛至香港參觀與會，連帶香港藝術家的崛起及在國際上的能見度，讓香港短短幾年變身成亞洲地區當代藝術的中心聚集熱點。由上可知香港的情況值得台灣思考與借鏡，而香港作為巴塞爾藝術博覽會在亞洲據點，近年更著重在亞洲區藝術家及畫廊呈現，努力突顯區域特色。去年也新增「策展角落」（K abinett）項目，延續在瑞士巴塞爾及美國邁阿密的操作，呈現策展型的主題展覽模式。面對亞洲地區近年私人美術館如雨後春筍般地成立，無疑是推波助瀾，符合這些新興博物館的廣大需求，此也讓眾多藝術機構或私人美術館遷移與設立於香港，幫助在地的藝術產業，當然台灣在地源與政治條件都不可能複製香港經驗，但是可以運用「分進合擊」的方式，讓台灣當代藝術透過香港進入世界市場。而亞洲藝術拼圖中不可或缺的一塊—台灣，參展畫廊數量近年穩定保持在9間左右。這幾年大會公布參展畫廊名單，亞洲總監黃雅君（Adeline Ooi）也特地來台舉辦媒體記者會，顯示對台灣藝術市場的重視。其玟畫廊、誠品畫廊、索卡藝術中心及耿畫廊，從第一屆開始一直穩健地在參展名單中，而TKG+、就在藝術空間、尊彩藝術空間也皆由「藝術視野」（Insights）展區獲得肯定後晉身「畫廊薈萃」（Galleries）展區，另外新加入的生力軍—安卓藝術空間和亞洲藝術中心也相繼入選「藝術視野」項目，帶來更多台灣藝術家的作品。這幾年下來，台灣在2017年開始了Art Basel HK期間辦理了台灣之夜，是首次台灣畫廊業者在異地國際場合之中串聯的行動，終於達成了分進（分別衝撞申請），最後合在一起形成一股不小的力量，而此篇將專訪多位畫廊總監，透過其分享，瞭解巴塞爾藝術博覽會穩定的制度與規劃。

Chang Chao Tang, Penghu, Taiwan 1984, Chi-Wen Gallery

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GALERIE DU MONDE

The solo project by the Taiwanese conceptual artist Wu Chi-Tsung at Art Basel Hong Kong 2018 (Insights - Booth 3D22), whose works are based on the tradition of shan shui, the expressive brush and ink landscape painting technique which dates back to the 10th and 11th centuries. The experimental project is site-specific and includes a large-scale projection titled Wire V, a video and his signature Cyano-Collage works. 台灣概念藝術家吳季璁在2019年香港巴塞爾藝術博覽會 (3D22號展位) 的個人作品，其作品基於山水的傳統，表現性的水墨風景畫技法可追溯至十和十一世紀。該實驗項目是針對特定場地的，包括一個名為Wire V 的大型投影，一部視頻和他的簽名的Cyano-Collage作品。

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MIND SET ART CENTRE

Infused with Wuxia legends/comics, nostalgia and recreation of folk objects, patterns of temple decoration, as well as his fascination with Chinese tea culture and the delight of a literati’s moral cultivation in traditional garden landscaping, Lee Ming-tse’s art reveals a seemingly surreal world with details and elements borrowed from the reality. 李明則長期浸潤於台灣常民文化，累積了深厚底蘊，其創作雜揉了武俠漫畫、寺廟彩繪、民間藝術與水墨的元素，亦涉及藝術家生活中的品茶、園林、行旅與閱讀，而流露一股緬懷歷史的傷逝情懷。 Wire V, 2018, Metal, glass, motor, Dimensions variable

李明則《大尖山》 2017 壓克力顏料、畫布, 310 x 185 cm

FEATURE

March / April 2018

Chien Chi Chang, Escape from North Korea 2009, Chi-Wen Gallery

PROFESSION TEAM AND TOP COLLECTORS

INTERNATIONAL VISION THROUGH ART FAIR

Art Basel sits safely ahead amongst the fiercely competitive art fair scene with a strong executive team and accurate care of high-end collectors. Therefore, gallerists beat themselves to take part in the fair despite the high and increasing participating fee. Many Taiwanese participating galleries express that entry has become increasingly difficult. Artists are more tightly screened and better exhibition quality is demanded. Entering the fair makes you think humbly future entry. Application schedule is tight. One must plan for submitting the application for next year’s entry in May while prepare for this year’s fair in March. The objective is to enter the international market and other huge fairs through the confirmation by Art Basel.

Chi-Wen Gallery is the only Taiwanese gallery in Frieze New York and Frieze London at the moment. The gallery also takes part in Art Basel HK every year. Wang Chi-Wen, director of the gallery points out that the difficulty of applying for Frieze is not any lower that Art Basel. Previous participation in Art Basel HK provides Chi-Wen Gallery very good experience that allows the gallery to handle international art fairs with preparation and confidence. Soka Art Center thinks that the Art Basel HK team have very focused executive abilities that raises guidance on details swiftly during intense interaction with galleries. Therefore, galleries follow exhibition plans better on the back of five-year experience. Soka Art Center which serves mainly Chinese collectors take part in Art Fair Philippines, ART021 and fairs in Shenzhen and Guangzhou to gain its ground in the region as urban economy develops. Andre Lee, director of Mind Set Art Center thinks that the position of Art Basel HK is growingly important as Asia rises. Premium galleries from all over the world exhibit here to form a communication platform of international art community. Attendance is essential for important collectors, art institutions, curators and media from the whole world. It is also an excellent chance of exposure for galleries. Mind Set Art Center plans to take part in three international art fairs per year. Other than Art Basel HK, they are VOLTA, Basel, Switzerland and Art Fair Philippines.

Zhao Li, executive director of Eslite Gallery expresses that the professional team of Art Basel execute the fair systematically with planning and organisation. Thoughtful and international collectors are precisely managed with the help of a commission extremely influential to the global art scene. VIP hours increase year by year. Transactions are frequent with the ‘golden’ collectors. On the other hand, the organiser controls viewing quality by monitoring the number of viewers. Therefore, even though tickets as expensive as HKD 400 each are sold out, further sale is not considered at all. Zhao Li said that the organiser demonstrated the Western organised, efficient and impactful systematic working style. Gallerists are convinced even the Eastern society tend to focus on personal relationship. Claudia Chen, general manager of Liang Gallery mentioned her will of representing established and Taiwanese emerging artists together with a ‘hen with a chick’ approach. However, the idea was rejected by the organiser because of quality control. Therefore, the internationality of Art Basel indirectly classifies viewers and collectors despite the addition of many art fairs in China. Some collectors who cannot handle English would opt for more local fairs for a more familiar setting.Those who are used to the international market go to Art Basel HK straight away. Affiliation with commercial corporations, such as watch companies and banks, also brings in top-ofthe-pyramid customers.

2019 CRITICAL FOR TAIWANESE ART MARKET Having experience the shock education of international art fairs, many practitioners of the Taiwanese gallery business start to realise how different it is between running an art fair and running a gallery. They attempt to reflect on bringing changes to the problem-suffering Taiwanese art market with the international experience of participation in Art Basel HK. Upon the invitation by Art Basel participants, former Art Hong Kong director Magnus Renfrew will found a new international art fair in Taiwan in early 2019. The move will also grant an entirely new condition to Taiwan where members of the gallery business have put up art fairs themselves for years. Although the new international art fair is not expect to surpass the Western powered Art Basel, at least there is a chance to breakthrough the current framework and be reborn. This is perhaps the real ‘alliance’ attack by Taiwanese galleries as a result of participating in Art Basel HK.

專業團隊及頂及藏家讓畫廊主趨之若鶩面對現今全球博覽會四起的戰國時代，巴塞爾藝術博覽會仍能穩坐龍頭位置，背後強大的執行團隊及準確掌握高端的藏家，所以即使面對高額、不斷喊漲的參展費，畫廊主仍咬緊牙關、趨之若鶩。許多台灣參展畫廊紛紛表示，近年越來越難以申請進入，展出的藝術家也越來越嚴格把關，更加講求展覽品質。入選後更是需戰戰競競地思考如何保持參展，申請參展時程緊湊，在準備3月展出的同時，就須先規劃好明年的參展申請，在5月時遞交。目的也更希望藉著巴塞爾的肯定，打進國際市場及其他大型藝術博覽會。誠品畫廊執行總監趙琍表示，巴塞爾專業的團隊，有計劃及系統、組織性的執行博覽會，加上在全世界藝術界具有極大影響力的委員會，更精準掌握深度且具國際性的藏家。展期間每年貴賓觀展時段不斷增加，且吸引「含金量高」的藏家進場，出手率非常高。另外大會也講究觀展品質，掌控進場觀眾的數量，因此即使單次票價就高達400元港幣的高價，每日限量幾乎天天售罄，也堅持不加售。趙琍說，大會展現西方具組織、有效率、強調效果的系統性行事風格，即便在面對與東方習慣講究人情全然不同的社會，畫廊主也都信服買單。尊彩藝術中心總經理陳菁螢表示，原本想要以「母雞帶小雞」的方式，展出成名藝術家的同時推展台灣年輕新生代藝術家，但大會因為對展出品質的控管而拒絕。所以即使面對許多中國興起的藝術博覽會，巴塞爾的國際性，也間接區分了觀眾及藏家。有些藏家因為不會說英文，則選擇較當地性的展會，感覺較為親切，而本身就習慣國際市場的藏家，在亞洲就一站式的選擇參觀香港巴塞爾。集團與其他商業集團的連結，如手錶和銀行等，也帶入許多金字塔頂端的客群。申請國際藝博經驗有助放眼世界 Chi-Wen Gallery是目前台灣藝廊唯一參加Frieze New York Frieze London的畫廊，也是每一年皆有參加Art Basel HK 的畫廊，其總監黃其玟表示Frieze申請嚴謹程度不亞於巴塞爾，而過往多年都有參與Art Basel HK，對於Chi-Wen Gallery有很好的經驗，讓Chi-Wen Gallery面對國際型藝博會有十足的準備與把握。索卡藝術中心表示，香港巴塞爾團隊的執行力非常聚焦，在與畫廊密集互動的過程中，能夠快速且具體的提出細項指導，所以五年的參展經驗下來，畫廊一次比一次更能掌握下年度的展出規劃。以華人收藏家為主要客群的索卡藝術，除了參加香港巴塞爾，也將參展菲律賓藝術博覽會、上海021，以及深圳、廣州等藝博，藉以提早佈局，隨著城市的經濟發展站穩在該地區的畫廊地位。安卓藝術的李政勇總監表示，香港巴塞爾藝術展的地位隨著亞洲崛起而愈趨重要，來自全世界的一線畫廊皆在此展出，形成國際藝術群體交流聯繫的平台，是全球重要藏家、藝術機構、策展人與媒體必訪的盛會，也是畫廊提高能見度的絕佳機會。安卓藝術每年規劃參與三檔國際藝術博覽會，除了香港巴塞爾，也會參展瑞士巴塞爾 VOLTA和菲律賓藝術博覽會。 2019將是台灣藝術市場關鍵的一年台灣多家畫廊業者在經過國際型藝博的震撼教育後，這幾年開始知道藝博與經營藝廊是兩件事情，並且試圖用參展香港巴塞爾的國際經驗，思考怎麼些許改變台灣目前面臨即大問題的藝術市場，因此在眾多參展Basel畫廊的邀約下，前香港藝博總監Magnus Renfrew將在2019年初，於台灣成立新的國際藝博會，這也讓多年來台灣畫廊業者自辦藝博的狀態有了截然不同的形態，雖然可以預料新的國際藝博不可能超越擁有西方資源的巴塞爾，但是至少讓台灣目前的框架有了打破與重生的機會，而這個藝博，也許才是台灣眾多畫廊分進參展Art Basel HK之後，真正的分進「合擊」。

Yu Cheng Ta, Tell Me What You Want 2017, Chi-Wen Gallery

3D05

1E02

GALERIE CHANTAL CROUSEL

This work is the score of a bigger installation, All of a Tremble (Encounter I), that has been on view during Venice Biennale 2017. This Venice installation is a large-scale drawing that plays the encounter between two vintage wallpaper patterns. It is at once the visual manifestation of their merger and the subsequent soundtrack of their union. In order to translate the encounter between the two designs into a soundtrack and transform their patterns into music, two halves from the respective original cylinders (1) are joined together into one roller. Consequently, the roller is converted into a sort of music box, in combination with a purpose-built steel comb. The reeds of the comb have been individually tuned according to a combination of Western and Eastern musical scales (2). Through the continuous rotation of the roller around its own axis (3), its needles streak against the reeds to produce usical notes and phrases, thus bringing forward the sound of the backgrounds.

LEHMANN MAUPIN

ERWIN WURM One Minute Sculpture: Head TV, 2016-2017 instruction drawing, Danish cabinet, and realized by public 30.5 x 67 x 18.5 inches 77.5 x 170.2 x 47 cm LM24402 Courtesy the artist and Lehmann Maupin, New York and Hong Kong.

Anri Sala All of a Tremble (Encounter I), Score 2017 Graphite and ink drawing on paper mounted on dibond 144 x 102.4 cm / 56 6/8 x 40 3/8 inches | 153.8 x 112.3 cm / 60 1/2 x 44 2/8 inches (framed) AS17 2

Austrian artist Erwin Wurm’s One Minute Sculptures— comprised of everyday objects and furniture placed on a large, low pedestal—are inscribed with instructional drawings and texts indicating actions to be performed by the public. Wurm’s work is completely dependent on such participation and his instructions are meant as a proposal: the work is not ‘active’ until the instruction is carried out. The success of these ephemeral pieces is determined by the exactness with which the directions are executed. Though seemingly humorous, the works are about physical, psychological and philosophical engagement. 奧地利藝術家歐文．沃姆的《一分鐘雕塑》由日常生活用品和家具組成。沃姆繪畫的說明圖示可算是一種建議或命題，這需要完全依靠公眾的參與並完成他指定的動作，才能真真正正地「演活」作品。這些作品雖然看起來十分幽默有趣，但實際上是藝術家對生理、心理、哲學各方面的探索和與它們的交流。沃姆的《一分鐘雕塑》通過重新定義何謂雕塑，以及創新演繹觀者與創作媒介之間的互動，深刻地影響了整個世代的藝術家。

FEATURE

March / April 2018

As the flagship of Southeast Asia contemporary art market, the annual Art Stage Singapore offered a window for the Southeast Asia landscape. The diversity in exhibits and participants reflected a broadened mind of Southeast Asian art in the world as well as its current political economy. A marked decrease in galleries in the show were made up by an increase of private art collectors, indicating that the artworks might be more popular among private collectors, instead of in public system. Apart from Singapore, which had a highly organized cultural management, other Southeast Asian art bodies were probably more relied on the free market and private sector. This was most apparent in Indonesia and the Philippines, two pillars of Southeast Asia art, in which big collectors and private cooperates were core to the market. Such privatization force was also joined by international collectors, and in the process, brought Southeast Asian art into the scope of global wealth distribution, a phenomenon that was evident in the selling exhibition of Tiroche Deleon Collection (Israel). The art fund provided a new context to understand Southeast Asian art. Together with third-world country and developing economic

bodies, Southeast Asian art was included into a new regime of art, where artwork, wealth distribution, and investment were tightly bounded. Privatization and wealth distribution characterises the Southeast Asian economy. In the young economic body, the continuous influx of hot money brings about a new generation of millionaires. At the same time, the long history of civilization of Southeast Asia and its rich culture in art provide the essential source for content generation and IP, serving the need to upgrade one’s identity through cultural means. In such context, is art considered design, fashion, or a luxury in this part of the world? And is art equivalent to the market, investment, or a classy life style? Not to overlook is the location of Southeast Asia in the world map. Although it is still regarded as a niche market, it has never ceased to seek an international standing. In this year’s edition of Art Stage, the attempts on breaking down the limitation of localization was particularly apparent. By including other niche markets into its own, the Southeast Asia art scene has formed a unique force in the industry.

作為東南亞當代藝術市場的風向標，一年一度的新加坡Art Stage藝博會是窺探東南亞生態的萬花筒。豐富的展品和機構參與，折射的是東南亞藝術在世界領域的視野和本土的政治經濟環境。畫廊數量減少，取而代之的是收藏家作為新機制的參與，從另一層面反映了東南亞藝術更多存在于私人愛好與品位，缺少公共機制，除新加坡這樣規整的政府文化管理外，其他東南亞藝術體更依賴自由市場和私有領域，這就包括東南亞兩大重要支柱印尼和菲律賓，大收藏家和私有財團是支撐兩者的核心力量，而這種私有收藏力量，不限于本土，國際藏家也參與其中，把東南亞藝術帶入了國際資產配置領域，比如本次新加坡藝博會的收藏家特展，來自以色列的Tiroche Deleon Collection, 就為我們理解東南亞當代藝術提供了一個新思路，東南亞藝術與其他第三世界和發展中經濟體，被納入藝術新世界的範疇，與世界範圍內的資產配置和投資保值緊密結合。這種私有化和資產配置的特征，正是東南亞社會經濟的產物。作為新興的也是爆發階段的東南亞社會，熱錢湧入，新貴與財閥並立，而另一方面，東南亞古老的文明與豐富的藝術內涵，可以生產內容和IP，這就恰好滿足了財富需要依附文化內容進行再升值的需求。於是我們不禁疑惑，藝術在東南亞，究竟被視為設計、時尚還是奢侈品？藝術究竟是市場、投資，還是有閒階級的生活方式？與此同時，不要忽略東南亞在世界版圖中的位置，即使仍然被定義為小眾市場，但它不斷拓展國際視野的努力從未停止，在今年的Art Stage 藝博會上，我們仍能看到東南亞試圖突破本土化的局限，將更多地區，包括與自身同等定位的小眾市場包含進來，組成獨特的藝術力量。

art in southeast asia / 東南亞藝術 /

SOUTHEAST ASIAN ART: PROFITABLE INVESTMENT OR LIFE STYLE? 東南亞藝術：投資、市場還是生活方式？

The Artling Collectible Design Showcase represents the Southeast Asian design as part of Southeast Asian contemporary art. Boundary between Art and Design is ambiguous. Image courtesy of Lucas Schifres

GALLERY HIGHLIGHTS

ROOTING THE SYNAPSE

DOUG AITKEN

MARCH 27-MAY 19, 2018 WHITE CUBE

MARCH 27-MAY 19, 2018 MASSIMO DE CARLO

Two years after setting up a massive outdoor public art project in Hong Kong, Antony Gormley comes back with a solo exhibition of new sculptures at White Cube. Gormley has established a clear practice of exploring the relationship between the human body Root, Antony Gormley, 2016, and space. In this exhibition, he showcases Photograph by Stephen White, London. how plant-like branching systems are applied © the artist to map a human body in space in his recent development. Though abstract, the former Turner Prize winner’s iron works draw cultural and formal references to repeating patterns within the natural world.

WOLFGANG TILLMANS MARCH 27-MAY 12, 2018 DAVID ZWIRNER David Zwirner’s new gallery in Hong Kong presents Wolfgang Tillmans’s exhibition. The works show the artists recent developments in portraiture and still life where pictures of intimacy and friendship with views and angles of the world at large are juxtaposed. As the artist is interested in amplifying particular underlying perspective with his exhibition, the works operate in intricate systems of relationships between aesthetic elements, subject, and institutional setting while viewers are expected to become an active part of dialogues. For example, a gigantic image of the Sahara desert from an aerial perspective depicts infinite detail and an abstract view simultaneously.

The first solo exhibition of Doug Aitken in China is presented by Massimo De Carlo. Aitken holds a solid practice that continually investigates communication in the 21st century and urban, globalized contemporary life as well as the perception of images and narratives. Three works are shown in this exhibition where viewers and the artist will experience different roles as spectator, actor, viewer and voyeur. There are two enormous sculptures consisting various materials such as resin, aluminium, concrete and plywood. A four-minute video on a site-specific installation set in the Southern California desert is also shown.

CHRISTOPHER WOOL: HIGHLIGHTS FROM THE HILL ART COLLECTION MARCH 27-APRIL 8, 2018 HILL ART FOUNDATION Out of the Hill Art Collection, one of the world’s most renowned private art collections, Hill Art Foundation has selected 13 major paintings and works on paper by Christopher Wool to inaugurate the space. The works on show span across four decades from early works on paper to the more gestural canvases from the late 1990s and early 2000s. The exhibition, accompanied by panel discussions, examines Wool’s role in the history of abstraction and his status in a global art world. It also sets up the momentum for a more comprehensive survey of the artist’s works in the Hill Collection in September 2018. Untitled, 1989, Enamel and acrylic on aluminum, 96 x 64 inches © Christopher Wool; Courtesy of the artist and Luhring Augustine, New York

FEATURE

March / April 2018

SOUTHEAST ASIAN ART: DESIGN, FASHION, OR A LUXURY? Wherever one arrives in Singapore, the indoor air conditioner is ever presence and makes it feel like the freezer, creating a contrast from the tropical heat outside. Cherian George once described Singapore as the “Air-conditioned nation”. In his work AirConditioned Nation, Essays about Singapore, the air-conditioning referred to the physical temperature modifying equipment, but also the highly ordered, spotless society that was strictly manipulated by the authority. It is a highly globalised Asian city with people from varied ethnic backgrounds living in harmony. Citizens have adapted the diversity that they were able to ignore the differences between them. The harmony, regulated to perfection by the air-conditioning systems and equipped by the city’s free harbour, low custom taxes, and excellent transportation facilities, creates an ideal platform for international art collectables. The Art Stage this year was a long way from the editions from the past three years and it would no longer be accurate to address it as Art Stage Singapore, after the launch of Art Stage Jakarta in 2016. Also worth noting this year was the international media coverage that consisted chiefly of overseas media. To name a few, there were Edge and Prestige (Malaysia), the Jakata Post (Indonesia), art map and online art media Ocula (Hong Kong), Blouin Art Info (New York), independent art photography media Emir Sergo, online art media artedossier (Italy). Several German media were also presence on invitation by the Swiss executive director Lorenzo Rudolf, including one of the oldest German daily papers, Neue Zürcher Zeitung, which was established in 18th century and had been renowned by its high quality critiques. Also present was the German PR firm Britta Fischer. I found it most intriguing that media from Southeast Asia mainly made up of lifestyle and luxury magazines, including Tatler of Singapore and Indonesia, the Singapore Prestige and its Chinese edition, L’officiel, T, and BAZAAR, also of Singapore. The positioning of Art Stage was aligned to the Southeast Asia art symposium, “Art Meets Designs: Cultural trend or Fashionable lifestyle”. Instead of a showcase of art, attention was placed to merge art with lifestyle and fashionable experience. The ornate expo was no longer confined to art transection but a cocktail party for celebrities in the art scene. After all, the niche market of Southeast Asian art was not targeted for the masses, and Art Stage was dedicated primarily for a smaller audience. The prominent exhibition position of the Artling Collectible Design Showcase and the Fashion Council Presents a Modern Play was evident to the blend of lifestyle into the art fair. Artling, an online gallery, showcased 19 pieces of designer’s lightings, mirrors, furniture, and carpets. The designs from Singapore, Thailand, the Philippines, and Indonesia, adopted a simplicity approach while also highlighted the gist of Southeast Asian culture. Next to it was a fashion show displayed by life models. Beautiful ladies with a middle-east face were dressed in black garment that resembled Muslim burkas – although their head was covered in a fashionable way. The models with delicate make-up were busily taking selfies, which was an attempt of the designer to break the religion and gender stereotypes. In fact, it was a scene not uncommonly seen in Southeast Asia as the region was often regarded as the “Liberals” of the Muslim world. There, girls in burka were different from the stereotypical conservative image of Muslim females. They were usually playful and cared a lot about their look. Apart from covering their limbs and the

top of the head, they showed no difference from the general female in the pursuit in fashion. Chinese contemporary jewel was featured in another area by designer Dickson Yewn, who founded the brand Yewn and had brought with him Chinese rings and butterfly brooches from Hong Kong. The arrangement once again made one ponder on the relationship between art and fashion design. Could art be regarded as luxurious goods and consumables, and had it become a tool to distinguish taste and class? The presence of architectural design in the art fair further blurred the line of fine art. The Southeast Asian Symposium on the second day focused on architecture, with Ole Scheeren presenting Constructs and Deconstructs of Modern Architecture Monologue. Compared to his expertise, the charming architect was more well-known in Chinese-speaking societies for his controversial China Central Television headquarters design, commonly referred as the “big pants crutch”, his being the ex-boyfriend of actress Maggie Cheung Man-yuk, and his handsome face. There was no surprise that the much-discussed architect celebrity would drive a high number of visitors to the art fair, but another talk on contemporary museum probably worth more attention. Being both an organization to collect art and a crucial component of built environment, are contemporary Museums Definitive Architectural Landmark or Artistic Meeting Points? For the communication between architecture and art, a museum would, without doubt, be the ideal connecting point to balance art and architecture. However, modern museum buildings seemed to have become an organization to display self-identity and ideology. How could a balance be achieved? The answered lied within the relationship between art and individualization. Rather than having an unreverent talk on architectural in the expo, perhaps what the event needed was more reflection on the role of the museum.

藝術品在東南亞：設計，時尚還是奢侈品？新加坡的室內總是空調開最大，凍得像在冰箱裡，與室外炎熱溫度冰火兩重天。作家Cherian George曾形容新加坡是「開空調的國族」，在著作《空調下的國度》（AirConditioned Nation, Essays about Singapore）中，他指代的不僅是這裡因為炎熱而喜歡開空調，而是這個國家方方面面整潔有序，就像開著空調一樣，被淨化和調節著，不容一絲瑕疵，一切看上去完美，背後有權力的嚴格控制。雖是一座東南亞城市，但新加坡的國際化程度非常高，各色人種和國族在此共同生活，人們習慣了差異性，練就出對差別視而不見的本領。這個差異可以自然共處，又被空調調節到完美的都市，擁有國際自由港、低關稅、發達的航運優勢，成為薈萃世界藝術品的絕佳寶地，也是東南亞藝術交易中心。今年的Art Stage，與三年前我來看的那場已有不同，如果繼續叫它「藝術登陸新加坡」已牽強，因為2016年起，它拓展到了印尼雅加達，新加坡藝博會和雅加達分支兩個姐妹藝博會都在Art Stage旗下。戰略媒體的選擇耐人尋味，除新加坡本土媒體外，國外媒體占了很大比例，來自馬來西亞的《Edge》、《Prestige》，印尼《雅加達郵報》，香港《藝術地圖》、線上藝術媒體《Ocula》，紐約《Blouin Art Info》，獨立藝術攝影Emir Sergo，義大利線上藝術傳媒《artedossier》。值得一提的是，作為瑞士人的總監洛倫佐·魯道夫（Lorenzo Rudolf）還邀請數個歐洲德語媒體加入，包括瑞士最悠久的德語日報之一、創立於18世紀以高水準評論著稱的《新蘇黎世報》(Neue Zürcher Zeitung)、德國公關公司Britta Fischer等。有趣的是，報導Art Stage 的東南亞本土媒體，多是奢侈品和生活方式類雜誌，比如新加坡和印尼版《Tatler》、新加坡英文《Prestige》和中文版《品》、《L' officiel》、新加坡版《T》雜誌，還有《芭莎藝術》新加坡版。誠如本次東南亞藝術論壇主題

CHIHULY HONG KONG MARCH 2-APRIL 15, 2018 WHITESTONE GALLERY HONG KONG The solo gallery exhibition, CHIHULY Hong Kong, by American artist Dale Chihuly, showcases series of artworks created over the artist’s 50-year career, marks the first exhibition at Whitestone’s new H Queen’s location. “It is my great honour to collaborate with Dale Chihuly to present his first solo exhibition in our new Hong Kong space at H Queen’s,” said Koei Shiraishi, CEO at Whitestone Gallery. “To me, glass is one of the most intriguing materials and Chihuly’s work seems to transport glass to symbols of life and joy.” The body of work curated for CHIHULY Hong Kong demonstrates the artist’s desire to stretch the limits of his chosen media and his ongoing experiments in light, space and form. Highlights of the exhibition include Drawings, which reveal the artist’s exuberant hand; Baskets, a series which recently celebrated40 years; delicate and fluid Seaforms; the richly-colored and contrasting hues of Macchia; Venetians, which were inspired by Art Deco Venetian vases; Ikebana, inspired by the Japanese art Dale Chihuly, Peridot Green Chandelier of flower arrangement; Persians, a celebration of wild asymmetry and colour; and Chandeliers, which are comprised of hundreds of blown glass forms. Whitestone Gallery H Queen’s exhibition space is designed by Japanese architect Kengo Kuma, who creates a minimalistic and dynamic atmosphere. Chihuly’s artworks will bring forward an extraordinary experience in the newly opened space, inviting audiences into a wondrous kaleidoscopic world, where all can enjoy a miraculous feast of color, light and form.

Indonesian artist Gatot Indrajati won the 2016 UOB Southeast Asia Painting of the Year Award

印尼藝術家 Heri Dono，也由來自印尼日惹 (Yogyakarta) 的 Art Merchandise 畫廊專賣。photo by Laura Shen

Donna Ong, In Xanadu did Kubla Khan, 2010. Round table, peranakan, lamp shade, animal figurines, 90 x 155 cm. Collected by Tiroche Deleon Collection

「當藝術遇見設計，文化潮流還是時尚生活方式？(Art Meets Designs: Cultural trend or Fashionable lifestyle)」，主創藝博會的定位，不再是走馬觀花的大型展銷會，而是將它與生活方式、時尚體驗結合，它精緻、注重細節，不僅是買賣和交易，也是雞尾酒會、圈內人士的派對、同行與名流聚會。它并不大眾化，本屬小眾市場的東南亞藝術，針對小眾目標群體。擺在博覽會現場顯眼位置的Artling東南亞當代設計展（The Artling Collectible Design Showcase）與時裝協會展出的時尚設計展（The Fashion Council Presents a Modern Play）是藝博會與生活方式結合的實例。作為網上畫廊的Artling 展出了19件來自新加坡、泰國、菲律賓和印尼設計師的設計品，包括燈飾、鏡子、傢俱、掛毯等等，造型簡約現代又富含東南亞文化內涵。另一旁的時裝展則採取現場模特展示的形式，面孔富有中東特色的美人身著黑色時裝，形似穆斯林的布卡，卻又與傳統穆斯林服飾不同，即使依照伊斯蘭傳統圍著頭巾，卻很有設計感，穆斯林模特與任何一個愛打扮的女性一樣，化著精緻妝容，自戀地自拍著，設計師試圖通過服裝打破對宗教信仰和性別的固有偏見。這種場景在東南亞非常熟悉，因為東南亞被稱為全球穆斯林中的「自由派」（Liberal），這裡裹著頭巾的馬來女孩，與一般穆斯林女性保守的刻板印象不同，她們活潑、愛美，除了必須遮蓋頭頂與四肢外，對時尚的追求與任何女性沒有不同。另一边，一場來自香港珠寶設計師翁狄森 (Dickson Yewn)的中國當代珠寶展吸引了許多人駐足，中式戒指、蝴蝶胸針等珠寶，均來自設計師位於香港的首飾店鋪「淵」（Yewn）。這又一次令人回味藝術與時尚設計的關係，是否藝術可以被當作奢侈品和消費品看待，藝術是否成為區別品味與階層的工具。

建築設計的加入讓藝術的邊界變得更為模糊。東南亞論壇第二天的全天講座圍繞建築展開。迷人的德國建築師奧雷· 舍人（Ole Scheeren）帶來了探討現代建築建構與解構的討論（Constructs and Deconstructs of Modern Architecture Monologue），但相比他作為建築師的專業水平，在華人世界里他更被人津津樂道的恐怕是由他主持設計的備受爭議的北京央視總部大樓，即著名的「大褲衩」，以及他作為張曼玉前男友的身份和一張英俊的臉。奧雷·舍人這樣重量級的、又具有話題性的建築明星，自然為藝博會帶來很大流量，但另一場探討當代博物館的講座，更值得關注。當今作為藝術品收藏機構的博物館，也是建築世界的重要組成，它究竟是定義建築的地標，還是藝術聚會的寶地（Contemporary Museums-Definitive Architectural Landmark or Artistic Meeting Points），如果建築與藝術可以互通，恐怕連接點非博物館莫屬，它保持了藝術與建築兩者的平衡，然而今天的博物館建築愈加變成彰顯個人身份和意識形態的機構，藝術與建築的平衡該如何維持。這場探討也為本次藝博會的主題提供了回答，即藝術與個人化的關係。比起啟用流量明星奧雷·舍人將建築與藝博會生拉硬拽，我們更需要思考博物館角色這樣的探討。

採訪 / 樊婉貞文 / 申雁冰

report / Anthea Fan text /Laura Shen translation / Phoebe Cheng

DAVID SCHNELL, LEIPZIG: ALBUM. PAINTING AND GRAPHIC MARCH 26-MARCH 31, 2018 GOETHE-GALLERY In an exhibition presented by the Goethe-Institut, selected new works by David Schnell, who is known as a member of the German New Leipzig School, with a focus on graphics is shown. The artist has a strong connection to Leipzig as he studied and continued to live and work there. Often in Schnell’s paintings, a strong one-point perspective is created and landscape can be vaguely recognised and found between colour fields. German painting is a respect of art under-represented in this part of the world and the artist talk will serve as an invaluable opportunity to explore further the exhibition.

RED DOT DESIGN EXHIBITION: HOMO EX DATA – THE NATURAL OF THE ARTIFICIAL NOVEMBER 25, 2017-MAY 27, 2018 HKDI GALLERY @ HONG KONG DESIGN INSTITUTE As robots, drones, and virtual reality enter our smart homes, technology has gradually built within us a second nature, an artificial one. But how natural can an artificial, technologised world be? To answer this philosophical question, the Red Dot Design Museum showcases over 150 pieces of Red Dot Award-winning technology products in an exhibition that demonstrates how well-designed technology has become a “new, second nature” to modern human beings, such that our daily life and global society can no longer survive without it. The solution to the problem is not less technology, but rather, better design to develop smarter technology.

FEATURE

March / April 2018

SOUTHEAST ASIAN ART INVESTMENT: A TIME WHEN ART IS JOINED BY CAPITAL There was a decrease in the total number of galleries in the 2018 edition of Art Stage Singapore, but the void was filled by a new form of participation, the collectors’ exhibition. Backed by private collections, the exhibitions were set up for on-site art dealing. It had perhaps a lot to do with the imbalanced scale between Southeast Asian art organizations and collectors, in particularly Indonesia, where artists were more willing to sell their work to the latter, due to the fact that incompatible galleries had little influence in the market driven by large collectors. The arrival of collectors was a collaboration between art and capital, which promoted art to become an investment tool not inferior to funds, bonds, and real estates. Is art different from other forms of investments? If so, how does it differ? The UOB Singapore exhibition in Art Stage was a typical example of the merge of art and capital. In fact, Deutsche Bank and other businesses were also present for art collection and investment. The UOB exhibition, titled The March of Technology, presented the works of emerging artists from Southeast Asia in several sections, including Remembering the Past, The Digital Divide, and The New World, as an attempt to trace the development of Southeast Asian contemporary art. The bank also featured the winners of the UOB Southeast Asia Painting of theYear Award, including Suwannee Sarakana (2011, Thailand), Anggar Prasetyo (2015, Thailand), Gatot Indrajati (2016, Indonesia), Chok Yue Zan (2017, Malaysia) and Sukit Choosri (2017, Thailand). Creating robots and characters with cartooned eyes, Indonesian painter Gatot Indrajati adopted the wild imagination and fantasy from Indonesian contemporary art, and built a fairy-tale kingdom in his water colour series. Israli collector Serge Tiroche made a significant contribution to the art fair through the Tiroche Deleon Collection exhibition. Notably, many of the Southeast Asian and contemporary Chinese art had been brought in the previous editions of Art Stage Singapore. The collection had the work of the region’s most notable names, including The Kiss (2011) by Suwage Agus (Indonesia), Trust by Nugroho Eko 1, large-scale painting and aluminium sculpture by Wiharso Entang, the Monkey Astronut2 by Dono Heri, Masriadi I Nyoman’s Great Daddy (2014), photography work of Pramuhendra J. Ariadhitya, porcelain installation In Xanadu did Kubla Khan by the emerging artist Donna Ong, Chua Genevieve, young artist Pang Ruben, who was born in the 90’s, Filipino artist Javier Geraldine, Malevolent Reality (2006) by painter De Chavez Leslie, also from the Philippines, the large-scale painting Baston ni Kabunian, Bilang Pero di Mabilang (Cane of Kabunian, Numbered But Cannot Be Counted) by Rodel Tapaya, the famous pink man installation by Thailand artist Sriwanichipoom Manit, as well as Chinese artists Liu Xoingdong, Fang Lijun, and Yu Ji. The Toriche family had long been known for art dealing and collection. Serge Toriche’s brother Micky Tirochen, also a collector, was a founder of an auction house. His son Omer Tiroche owned a gallery of his name in London and the ancient city Jaffa, and in this year’s edition of Art Stage the Omer Tiroche gallery in London brought Calder on Paper by American painter Alexander Calder, which was privately owned by Micky Tiroche.

A BORDERLESS SOUTHEAST ASIA Thailand is rapidly gaining more recognition in Southeast Asian art in recent years. In the art fair, Thai art was singled out in a special exhibition, featuring Nothing Special (2012-2016) by Kamin Lertchaiprasert, The Money Tree Project (2018) by Maitree Siriboon & MIRROR, A Talebearer’s Tale (2017) by Sakarin Krue-On, Restart (2017) by Thidarat Chantachua, and Pornprasert Yamazaki’s Fountain (2018). The work of the celebrated Thai artist Natee Utarit was presented in a spacious area. Described to show the traits of German expressionism in his work, the painter’s Untitled Poems of Theodore Rousseau (2017) series was featured by Richard Koh Fine Art. The series was a tribute to Theodore Rousseau, in which the landscape of oaks in Fontainebleau were presented in hyperrealistic style. Meanwhile, Kamin Lertchaiprasert had his works featured in a designated area, but he also kicked off the Southeast Asian symposium with Looking Within, Moving Beyond, a talk on positioning and acknowledging of self in the complicated social circumstances. Southeast Asian art had always been the focus of Art Stage, but the art fair did more than promoting Southeast Asia under international spotlight, it also brought its audience the niche and less-known art from other regions, such as Indian contemporary art, which had relatively little access in China. The geographical and cultural connection with India strengthened Southeast Asia with the inclusion of South Asia. It was with this knowledge in mind that Sanchit Art, the only gallery from South Asia, caught my attention. The gallery, based in New Delhi, was the only local Indian gallery that featured contemporary Indian art work. The noted decrease in Indian galleries made the presence of Sanchit Art more valuable. In the gallery, the works of Lalu Prasad Shaw, Neeraj Goswami, Paresh Maity, Seema Kohli, Thota Vaikuntam, Dipak Banerjee, and Jayasri Burman were presented. Apart from the gallery’s participation in the 2017 and 2018 edition of Art Stage, Sanchit Art had also organised the Kala Sutra Indian contemporary art fair in Hong Kong for several times. The outstanding Indian artists commissioned at the gallery inherited the art tradition of their country and showed significant level of cultural reference in their art. A mix with contemporary thinking and presentation, their works displayed traits from Indian aesthetics, include Hindu, temple wall art, Mandala, and delicate painting from Mughal Empire. Unique the Indian gallery might be, the audience’s attention was probably more attracted by galleries from Japan and Korea. With the support of the Korean government, the country was able to send out seven galleries and national media to the art fair. The artworks featured in the Korean galleries were effective in drawing attention, most notably by their visual delicacy, excellent colour combination, and strong designer’s touch. It would not be a surprise to see the ornate and decorative artwork placed in a middle-class space in town, although the paintings were biased towards illustration and design as they showed little traits of critical thinking or depth in artistic presentation. Galerie GAIA brought the works of Korean artists Lee Hae-Kyung,Yoo Sun-tai, Kwak Seung-Yong, and Kim Myoung Jin, among which the mixed-media portrait of Mona Lisa, dressed in Hanbok and painted in bright and cheerful colours, stood out from across the hall. Lee Hae-Kyung’s series Green Feeling was again a mixed-media paperboard work. The frequent application of apple green and skyblue paint brought a sense of gentleness

commonly seen in contemporary Korean fashion and soap-drama.The Mona Lisa portrait by Kwak SeungYong, titled Old Future, was an attempt to present the cultural clash between East and West. However, with the “Mona Lisa” theme being highly overused, the work was attractive on first look, but was reduced to a cliché on further examination. To collectors who were not strongly bonded to the Korean culture, the works might not offer high artistic value. It was similar when it came to Kim Ga Boem at New Museum Gallery. The work was not bad, but there was nothing beyond the initial look. It would be nice to place the fine-coloured work in a boutique hotel, but the work probably did not represent much artistic thinking. The space of Art Code was equally crowded and popular. Festival of the City, a landscape painting of a populous city by Heung-Woo Shin, was well balanced in both composition and colour. Showing nearby in a prominent position was the collage of Hwang Saejin in exuberant colour and fine details. The works featured ladies dressed in traditional Hanbok placed in the middle of a Western landscape painting or a great urban city. The models brought great visual impact, although it also showed a certain degree of sloppiness from fashion design. The artistic value in Kyu-Hak Lee’s replication of Vincent van Gogh’s works was further reduced. In fact, such replicas could be found in Dafen Oil Painting Village where a large group of committed painter work. It was undoubtable that Korean galleries made a strong impression at the fair, and the works did attract much attention, however, the “first-look” approach made the works appear weak on further examination. Chinese TV host Gao Xiaosong once talked about his observation to Korea in his show “Xiaosong Pedia”3, in which he regarded the obsession in look and appearance a result from the lack of internal reflections. Nine Japanese galleries were present at the fair and artwork were created live. Watanuki Ltd/ Toki-nowasuremono (“the moment of forgetting” in English) featured the art of well-known artists, including Yayoi Kusama, Le Corbusier, Tadao Ando, Takeshi Haguri, and Shoji Ueda. Among which, the woodcrafts of Takeshi Haguri were created based on the characters of the Water Margin and Noh from Ukiyo-e artist Utagawa Kuniyoshi’s paintings, displaying excellent craftsmanship as well as tension. The unique taste and cultural background of Khan Kha Laev (Moscow) made the independent gallery stood out in Art Stage. The Russian representative was dedicated to commission the works of Zorikto Dorzhiev, a Mongolian artist from Ulan-Ude, Republic of Buryatia. Zorikto Dorzhiev utilised a wide range of medium in his work, including oil, acrylic, and collage. The playful works described the nomadic life of local Buryats in detail, such as their layered garment, herding and hunting, and the forests and grassland where they dwell in. His works changed the stereotypical image of a solemn indigenous group into a lively and playful one. Indigenous culture was set as the background of the paintings, but the artist did not distance himself from the depicted life with an anthropologist’s or an Orientalist’s eye, instead, the works showed a sense of cultural competence. Residing and learning in Ural and Ulan-Ude, the rising star has works collected by Putin, former Brazil president Dilma Rousseff, and Hollywood star Uma Thurman. The gallery from North Asia reminded me of the Russia Platform in the 2015 edition of Art Stage. Curated by Olga Sviblova, Director of Multimedia Museum Moscow, the special exhibition facilitated the communication between North and Southeast Asia by breaking the geographical and cultural barriers.

Heri Dono, another promising artist who based in Indonesia, was featured by Art Merchandise (Yogyakarta, Indonesia). His distinctive works depicted monsters with snakes coming out from the mouth, characters clearly influenced by the Javanese shadow puppets, and grand parties of chariots in varies form of wheels. Apart from the artworks, the gallery also sold merchandise collectables such as sew-on badges, notebooks, and clothing, that were printed with the artwork of the emerging star. Fernando Botero (Colombia) had been a frequent visitor of Art Stage. His attempts to enter the Asian market, most notably the Botero in China: Exhibition of Fernando Botero exhibition in National Museum of China, Beijing (2015), and China Art Museum, Shanghai (2016), both exhibited for more than six months, succeed in generating noise in the China art scene and brought fame to the artist’s signature "Boterismo" style. The shows in Mainland China was followed by an outdoor sculpture exhibition titled Botero in Hong Kong. With the success of the exhibition series, two organisations, namely Botero in China and Botero in Hong Kong, had been set up for the exhibitions, collection, and artwork management. As Honorary Invited Artist, his works were showcased in Art Stage by Botero in China. His son, Fernando Botero Jr, also gave a retrospective review on the artist’s creative development. Galería El Museo (Bogotá, Colombia), the only South American participant, was the sole agent of his works at the art fair.

作為投資之道的東南亞藝術：當藝術與資本結合本次藝博會畫廊的絕對數量與往屆相比有所下降，而另一種新的藝博會參與主體在本屆藝博會高調亮相，那就是收藏家特展，他們以個人或公司的收藏項目為題，前來藝博會設立場地，直接售賣。或許這與東南亞當地普遍的藝術機構弱勢，收藏家群體實力龐大有關，這在印尼尤甚，藝術家更願意將作品直接賣給收藏家，不完善的畫廊在藝術市場話語權較弱，大收藏家才是主導。收藏家的到來，是資本與藝術的結合，藝術作為一種投資管道受人關注，與基金、股票、房地產相比，藝術作為投資渠道，是否有區別，有什麼樣的不同？新加坡大華銀行（UOB）在Art Stage 的特展空間，就是一次資本與藝術結合的範本。不僅僅是大華銀行，德意志銀行等等也在進行藝術品收藏的理財投資。這次大華銀行帶來了許多東南亞藝術新星，藝術空間以「技術的前進」（The March of Technology）的主題，策劃了「銘記過去」（Remembering the Past），「數字化的分裂」（The Digital Divide），「新世界」（The New World）幾大專題，梳理東南亞當代藝術的發展脈絡。大華銀行每年還會選出年度東南亞藝術家（UOB Southeast Asia Painting of the Year Award），展覽帶來了 2011年得主泰國藝術家Suwannee Sarakana，2012年得主泰國藝術家Aimron Yunu，2015年的印尼畫家Anggar Prasetyo，2016年印尼畫家Gatot Indrajati，還有2017年馬來西亞藝術家 Chok Yue Zan 和泰國藝術家Sukit Choosri。印尼的Gatot Indrajati繼承了印尼當代藝術一貫的天馬行空的想像力和奇幻性，機器人和眼珠的卡通感人物勾成了藝術家的用水彩製作的獨立童話王國。 Tiroche Deleon Collection 收藏品特展是今年收藏家展示的重頭戲，以色列收藏家Serge Tiroche 帶來了東南亞和中國當代藝術收藏品，有趣的是其中許多作品正是這幾年在新加坡Art Stage藝博會上購買的。Tiroche Deleon Collection囊括了當代東南亞最重要的幾位藝術家作品，就包括印尼的Suwage Agus 的《接吻》（The Kiss, 2011）、 Nugroho Eko的《信任》、Wiharso Entang 的大型油畫和鋁藝雕刻、Dono Heri 的太空猴油畫、Masriadi I Nyoman 的《偉大的父親》（Great Daddy, 2014）、Pramuhendra J. Ariadhitya的攝影；新加坡冉冉上升的王美清（Donna Ong）的娘惹瓷器裝置品《In Xanadu did Kubla Khan》、 Chua Genevieve、年輕的90後新晉藝術家Pang Ruben；菲律賓的Javier Geraldine、De Chavez Leslie 的《惡毒的現實》（Malevolent Reality, 2006）油畫、Rodel Tapaya的巨幅畫作《Baston ni Kabunian, Bilang Pero di Mabilang (Cane of Kabunian, Numbered But Cannot Be Counted)》；泰國大師級藝術家Sriwanichipoom Manit著名的粉紅男人裝置

HELIOCENTRIC MARCH 26-MAY 12, 2018 GAGOSIAN Gagosian is pleased to announce “Heliocentric”, an exhibition of new paintings by Jennifer Guidi.This is Guidi’s first exhibition with Gagosian and her first solo exhibition in Asia.The fourteen paintings in this exhibition also include Guidi’s first triangularshaped canvases, in a spectrum of colors, placing the bodily, organic accumulations of paint and sand within a sharp geometry.

EVERYTHING ----------EXPERIMENT OCTOBER 27, 2017-MARCH 31, 2018 F11 FOTO MUSEUM The 130 images of Rodchenko selected for this exhibition are exceptional work of art, covering tsubjects ranging from the city of Moscow to portraits of artists and intellectuals. The photos reflect the brightness of Rodchenko’s creation in an era of enormous changes in the Russian society, following the Revolution and an increasingly dangerous political environment under Josef Stalin. Millions were persecuted and expressions not endorsed by the authority could lead to personal danger for the artist, his/her friends and family. The threats never deterred Rodchenko and his desire to create. We hope visitors could experience through the lens of his camera the response of Rodchenko to his times. A dialogue between the artist and the visitor which “could reach the very heart of human kind,” in the words of expert Professor Philippe Sers.

Guidi’s “sand paintings” mix oil paint with sand to create surfaces oscillating in color and texture. Evolving from her earlier figurative paintings, the sand paintings reside delicately and elusively in between figuration and abstraction, evoking the traditions of landscape and naturalist painting yet evading all literal references. She responds to nature and natural phenomena, often by rendering barely perceptible instances of movement and transitions from light to dark (and vice versa). With their luminous qualities and their textured relief, Guidi’s paintings register and generate minute shifts in perception, echoing natural effects while creating their own sensory horizons. Guidi’s sense of color, light, and the physical and tactile emanations into which they play are based on her observations of light in Los Angeles, where she lives and works; and where hazy skies caused by the atmospheric conditions of the West Coast, as well as the city’s man-made pollution, make for extrabrilliant sunsets.

JENNIFER GUIDI The Priestess (Green and Light Green MT, Green Sand SF #1T, Green Ground), 2018 Sand, acrylic and oil on linen 76 x 76 x 76 inches 193 x 193 x 193 cm Image courtesy of the artist.

FEATURE

March / April 2018

品；還有中國的劉小東、方力鈞、于吉。Toriche家族世代經營藝術品收藏，Serge Toriche的兄弟Micky Tiroche也是收藏家，曾創立拍賣公司，其子Omer Tiroche在倫敦和以色列雅法古城開設Omer Tiroche畫廊。本次藝博會，Omer Toriche 倫敦畫廊帶來了美國藝術家亞歷山大·卡爾德（Alexander Ca lder）的作品系列特展《紙上的卡爾德》（Ca lder on Paper），這些作品也是父親Micky Tiroche的個人藏品。

跨越地理間隔的東南亞泰國是東南亞藝術界近年不斷崛起的強勁力量，今年的博覽會上，泰國藝術被當做重頭戲單獨作為一個單元。這就包括 Kamin Lertchaiprasert 的《一點都不特殊》（Nothing Special，2012-2016），Maitree Siriboon & MIRROR 的《搖錢樹》(The Money Tree Project， 2018）,Sakarin Krue-On 的《講故事的人的故事》(A Talebearer’s Tale， 2017)，Thidarat Chantachua的《再出發》(Restart，2017) ，Pornprasert Yamazaki的《噴泉》(Fountain，2018）等。展會一側的寬大空間專門留給了泰國重量級藝術家 Natee Utarit，這個被稱具有德國表現主義氣質的畫家，在此次藝博會中帶來了組畫《泰奧多爾盧梭的無題詩歌》(Untitled Poems of Theodore Rousseau，2017），作品由Richard Koh Fine A r t畫廊提供，畫家向法國巴比松派風景畫家盧梭致敬，創作了描繪法國楓丹白露樹林橡樹的大型油畫，遠看像攝影作品，及其逼真。另一方面，藝術家 Kamin Lertchaiprasert 不僅在專屬空間展出作品，也為東南亞論壇帶來了首場演講《關注內心，執著前行》(Looking Within, Moving Beyond)，講述在複雜的社會環境下，如何定位自身及其存在，開啟了系列講座的序曲。

不禁令我想起高曉松在《曉松奇談》節目中對韓國的思考，因為缺乏內在沉澱，所以轉化為對外表打扮的過度在乎。日本參展畫廊也不少，今年有9家日本畫廊參與，還帶來了現場藝術創作表演。Watanuki Ltd / Toki-no-wasuremono 畫廊（日文原名：ときの忘れもの，中文意為「何時忘記」），帶來了傑出的藝術家作品，包括草間彌生（Yayoi Kusama）、柯布西耶（Le Corbusier）、安藤忠雄（Tadao Ando）、葉栗剛（Takeshi Haguri）、植田正治（Shoji Ueda）等。葉栗剛根據浮世繪畫家歌川國芳的水滸傳和能劇人物而創作的木雕作品，工藝考究，充滿張力。一家特立獨行的畫廊是本屆 Art Stage 的亮點，與眾不同的品味與文化背景，讓這家莫斯科的 Khan Kha Laev 畫廊別具一格。這家唯一的來自距離東南亞遙遠的北國俄羅斯的畫廊，專賣一位來自西伯利亞布裡亞特共和國首府烏蘭烏德（Ulan-Ude）的俄羅斯蒙古族藝術家照日格圖·道尓吉（Zorikto Dorzhiev）的畫作。藝術家的創作材料豐富，有油畫、有亞克力，也有拼貼，富有漫畫般的童趣與天真，描繪了當地蒙古族布裡亞特人的遊牧民族生活狀態，包括豐富的民

族服飾、牧馬、狩獵，以及當地的森林、草地等自然景觀。本來厚重深沉的寒冷高地草原民族，在藝術家的畫筆下變得生趣而童真，擁有不可多得的文化價值。以民族特色文化為背景，卻沒有人種學和東方主義獵奇色彩，充滿文化自信，這位在俄羅斯西伯利亞地區烏拉爾和烏蘭烏德生活學習的藝術家，作品被俄羅斯總統普京、巴西前總統Dilma Rousseff、好萊塢影星烏瑪·舒曼收藏，是一位備受矚目的藝術界明星。這家唯一來自遙遠北亞的畫廊，不禁提醒我三年前的博覽會上，Art Stage特別安排了俄羅斯藝術特展，由莫斯科多媒體博物館（Multimedia Museum Moscow）館長奧佳·絲維布洛娃（Olga Sviblova）策展，打破了文化與地理的藩籬，讓北亞與東南亞聯通。另一個被看好的印尼藝術家 Heri Dono，此次也由來自印尼日惹（Yogyakarta）的Art Merchandise畫廊專賣。Heri Dono 的藝術很有辨識度，吐著長蛇的怪物取材於爪哇皮影戲，乘坐各種帶輪子的戰車前往盛大的事件現場。畫廊還做起了藝術品的周邊創意產品生意，比如印有作品圖案的書籍、針織印章、筆記本、服裝等。Heri Dono 是東南亞藝術冉冉上升的藝術家。

南美遠道而來的費爾南多·博特羅（Fernando Botero）已經是 Art Stage 的常客。博特羅近年來致力於進軍亞洲，2015 年在北京國家博物館和2016年在上海中華藝術宮舉辦《博特羅在中國》，展覽長達半年以上，在中國藝術界引起廣泛關注，哥倫比亞胖子的形象廣為人知。接著2016年在香港舉辦了「博特羅在香港」主題戶外雕塑。現在已經在中國內地和香港建立了「博特羅在中國」和「博特羅在香港」兩家組織，專門做博特羅藝術品在中國的展覽、銷售、藝術品管理等事宜。今年的新加坡藝博會，「博特羅在中國」組織就為作為特邀藝術家的博特羅舉辦了特展，博特羅的兒子小博特羅（Fernando Botero Jr）還特地帶來一場關於父親藝術生涯的講座，唯一參展的南美畫廊哥倫比亞波哥大(Bogotá)的 Galería El Museo 畫廊專賣博特羅藝術品。

作為專注東南亞藝術的藝博會，東南亞自然是 Art Stage 的重點，但它的魅力之處在於，不僅僅把東南亞這個小眾地區推向世界藝術舞臺，也將一些更為稀少、缺乏關注的好藝術跨越地區的界限，帶入觀眾視野，就比如在中國不易接觸的印度當代藝術。印度和東南亞擁有天然的文化聯繫，把南亞包容進來是可以成為東南亞的優勢。Sanchit Art，這座藝博會唯一的印度、也是南亞地區的本土畫廊引起了我的注意。這家位於印度首都新德里的畫廊，是 Art Stage 今年唯一一家經營印度當代藝術的印度本土畫廊。前些年的 Art Stage 還有不少印度畫廊進駐，今年卻很少，因此這唯一一家Sanchit A r t 的存在十分珍貴。畫廊帶來了一系列印度當代藝術家作品，包括 Lalu Prasad Shaw、Neeraj Goswami、Paresh M a i t y、S e e m a K o h l i、T h o t a Va i k u n t a m、D i p a k Banerjee、Jayasri Burman 等。Sanchit Art 畫廊從2017年開始參加新加坡 Art Stage 藝博會，今年已是第二年，此外，也在香港舉辦過數次 Kala Sutra 印度當代藝術展。這家畫廊代理的印度藝術家作品都非常出色，傳承了印度本土傳統藝術的基因，有很強的印度藝術辨識度，從印度教、寺院繪畫、曼陀羅和臥莫爾帝國時期細密畫汲取靈感，又加入了現代性的呈現方式與思索。然而在今年 Art Stage 頗有存在感的卻是日韓的畫廊，特別是韓國畫廊得到了韓國政府贊助，不僅有7家畫廊參展，還有韓國媒體前來報導支援。韓國畫廊帶來的韓國藝術品很有衝擊力，引人注目，出展作品的共同特點是視覺感十分精緻，藝術作品很有設計感，色彩搭配出彩，帶有一種服裝設計的精緻感，有裝飾性，擺在都市的室內空間頗有中產品味。但過於偏設計和插畫式，視覺上很美，藝術上卻缺乏思考和表達深度。身著傳統韓服的蒙娜麗莎油畫、春日般色彩柔和明媚的混合材料作品，遠遠就吸引了觀眾的目光，首爾的 Galerie GAIA 畫廊帶來了韓國藝術家李海京 (Lee Hae-Kyung）、柳賢泰 (Yoo Sun-tai）、郭承勇 (Kwak Seung-Yong）和金明鎮（Kim Myoung Jin）四位藝術家作品。李海京的《綠色感覺》(Green Feeling) 系列是混合材料紙板作品，大面積的粉綠、粉藍色運用，畫面柔美，頗有韓劇和韓國美服美妝的漂亮感。郭承勇那件身穿韓服的蒙娜麗莎，取名《古老的未來》(Old Future），意在表達東西方文化碰撞，然而「蒙娜麗莎的微笑」這個老生常談的素材被過度濫用，作品屬於第一眼吸引力型，第二眼就感覺到陳詞濫調，除了吸引有深刻韓國文化情結的買家外，恐怕並無更高藝術水準。另一家 New Museum Gallery 帶來的 Kim Ga Boem 的油畫，也是屬於不出錯，但也索然無味的「第一眼藝術」，色彩搭配很漂亮，畫家的上色技術高超，擺在設計酒店作背景很好看，卻沒有多少藝術思考在其中。還有一家 Art Code 畫廊人頭攢動，人氣頗高，申相宇（Heung-Woo Shin）的《城市節日》（Festival of the City）描繪繁華都市茫茫人海的作品同樣佈局均衡，色彩搭配功夫出色，另一邊黃世鎮（Hwang Saejin）的拼貼作品被擺在顯眼位置，色彩濃艷，細節繁複，採用時裝面料製作出身著韓國傳統服飾的女性在西洋古典油畫或繁榮都市中的姿態，模特般的造型，視覺衝擊力強，但時裝設計式的浮躁油然而生。至於 Kyu-Hak Lee 對梵高作品的高仿複製，藝術價值則大打折扣，這種複製臨摹，在中國的深圳大芬藝術村可以找出一大批製圖師。韓國畫廊群在此次藝博會上儘管存在感很強，也著實吸引了一大波眼球，但「第一眼藝術」的特徵，還是讓這些畫廊帶來的藝術品經不起推敲。

Thai art is an increasing power in Southeast Asia. Thai artist Kamin Lertchaiprasert has made a special presentation in Art Stage 2018. photo courtesy of Lucas Schifres.

SWITCHBACK MARCH 27-MAY 31, 2018 PACE GALLERY Pace Gallery is pleased to present the first exhibition in Asia dedicated to the NewYork-based artist Loie Hollowell. On view March 27 through May 31, 2018 in Central Hong Kong’s Entertainment Building, Loie Hollowell: Switchback is the artist’s second exhibition with Pace Gallery worldwide, following her debut with the gallery in Palo Alto in fall 2017. The exhibition includes 9 new paintings and the 9 new works on paper that continue Hollowell’s investigation of bodily landscapes and sacred iconography through allusions to the human form, and women’s bodies in particular. An opening reception for the artist will be held from 4pm to 7pm on Wednesday, March 26.

HERE / NOT HERE

«HERE / NOT HERE» is a cross-cultural photography exhibition, featuring Hong Kong photographer Yan Kallen and French photographer Michel Eisenlohr who collaborated, over a period of 12 months, to develop new bodies of work, expressing their own particular vision of Hong Kong architectural landscape. The collaborative process and dialogue have resulted in series of photographs that complement and confront each other, questioning the relationship the photographer has with the city when it becomes his object of study, an object of questioning and meaning.

CERAMIC WORKS AND... MARCH 27-MAY 12, 2018 PACE GALLERY Pace Gallery is pleased to announce the opening of its second gallery in Hong Kong. The gallery will open during Art Basel Hong Kong on March 26, 2018 in the H Queen’s building with an inaugural exhibition dedicated to Japanese artist Yoshitomo Nara, bring together selected ceramics, paintings and drawings by the artist.

Michel Eisenlohr and Yan Kallen, May 2017

MARCH 27-APRIL 14, 2018 f22 foto space

©Yoshitomo Nara 2018, courtesy Pace Gallery

The exhibition will consist of around 40 photographs exhibited over the two floors of the gallery.

FEATURE

March / April 2018

BUSINESS MANAGEMENT IN THE SOUTHEAST ASIA ART FAIR With the cease of funding from the Singapore government, Art Stage had become an independent expo business. How then had the change affected Art Stage? Preisdent Lorenzo Rudolf was optimistic to the transformation. “An art fair can only operate in maturity by obtaining total independence and becoming an independent, private, and self-funded body. Art Stage Singapore was established in 2011 as a response to the cultural circumstances at that time. Apart from the public museum system, an art fair would offer a platform for private collections. Since then, we have continuously participated in cultural projects steered by the government, such as featuring in the Singapore Art Week. But only when the art fair is operating independently, can we be free to decide on the future development.” Lorenzo acknowledged that Southeast Asia was a relatively niche market in the world, but the mission of Art Stage was to bring quality and emerging art to international spotlight. Although the fair was based in Southeast Asia, its position was not limited to a regional show, but it was determined to be an international art fair since Art Stage belonged to the world and contributed to the global art scene. Building on the success of Art Stage Singapore, Lorenzo founded Jakarta in Indonesia in 2016, and the two fairs had since been operating annually in January and August respectively in the two cities. Had Art Stage thus turned into a brand in Southeast Asia art fair? Would the concept further elaborate into Art Stage Vietnam, Art Stage Philippines, and launch in more countries? The answer was negative. “Art Stage is not created to make replicas in different countries. Its launch in Indonesia was a catered for the market because the country was the biggest and most important art market in Southeast Asia. In fact, half of the galleries in Art Stage Indonesia are local and the other half are from overseas.”

Eight years have passed since Lorenzo Rudolf directed Art Stage Singapore. The founder, who has influence of a godfather to the international art expo business, contributed to the globalization of art dealing and show industry. Breaking the regional and local barriers, he has allowed art to be an international language. Born in Bern, Switzerland, the polyglot speaks English, French, German, Italian, and Spanish. Just like his home country, he excels in art and craft and is able to communicate wherever he goes. His neutral political stand also allows him high accessibly to all the continents. In 1992 Lorenzo was appointed director of Art Basel, where he initiated a global expansion of the fair, and developed it into a global cultural and social event. In 2002, he launched Art Basel’s North American base in Miami, paving the path for the fame of Art Basel Miami Beach along with Art Basel and Art Basel Hong Kong. Experienced in the Old World, North America, China, and Southeast Asia, he is also known for Frankfurt Book Fair in Germany and ShContemporary in Shanghai. A steer in art, Lorenzo has never been a lone warrior, as the Rudolf family has a prominent influence in art business. His wife Maria Elena Rudolf further widened the scope of horizon and experience of the already internationalised family. Rudolf Global Initiatives (RGI), an art consultancy established by the family, is founded and directed by Maria Elena Rudolf, and managed by her son Pablo Espinel Rudolf. The organisation is established for international art conferences and consultancy service, and has hosted many social activities, including the global collectors party for VIPs visiting Art Basel in 2017. In 2015 RGI also presented an art salon talk series Art + City = Art City? in Lugano, Switzerland, as an attempt to investigate the relationship between art and city. A dual citizen of Ecuador and Switzerland, Maria Elena Rudolf has marketing and public relations experience in Germany and the US, and has been praised by the media to be a “tastemaker” and one of the “21

Art World Fashion Icons”. If what Lorenzo brings to the art fairs is an increased level of professionalism, what his wife brings to the business is social influence and extensive connections. As vice-president of the Art Stage, the “social queen” of the art world is actively engaged in art salons and gatherings in Basel, Frankfurt, Wiesbaden, Paris, Miami, Jakarta, and Singapore, where she also hosts art charity galas. Her children Pablo Espinel Rudolf, Carolina Rudolf, and Coco Rudolf, are also involved in art business.

洛倫佐·魯道夫2010年開始坐鎮「藝術登錄新加坡」，迄今已經8年。這個在國際藝術博覽會界有著教父級別影響力的創始人，把藝術品交易和展銷會帶入全球化，打破了藝術領域的地區性和本地性藩籬，變成世界性的溝通。這個生於瑞士首都伯爾尼的瑞士人，會講英、法、德、義大利和西班牙語，像他出生的城市和國度一樣，通曉藝術與工藝，多文化多語言交流通暢無阻，中立的身份在世界大洲間自由穿梭跨越。1992年洛倫佐接手了瑞士巴塞爾藝博會，將之發展成為世界藝術界最具影響力的博覽會，成為全球性的文化與社交盛事，2002年他將巴塞爾藝博會拓展到美國邁阿密，建立了巴塞爾在北美的分支。迄今為止，巴塞爾藝博會的瑞士、邁阿密、香港三大藝博會成為全球藝術界最受矚目的博覽會。之後，洛倫佐還在德國運作過「法蘭克福書展」和上海的「上海當代藝博會（ShContemporar y）」，在老歐洲、北美、中國和東南亞都擁有豐富經驗。

「藝術登錄」：東南亞藝博會的經營之道

值得注意的是，洛倫佐雖是藝術引領者，卻並非獨自戰鬥，他的背後是整個魯道夫家族的藝術事業。妻子瑪麗亞·愛蓮娜·魯道夫（Maria Elena Rudolf）給這個本已十分國際化的家庭帶來了更加多元的經歷與視野。魯道夫家族建立了自己的藝術咨詢機構Rudolf Global Initiatives （RGI），由妻子瑪麗亞·愛蓮娜·魯道夫創辦並作主席，其子 Pablo Espinel Rudolf作為經理人。機構提供國際藝術講壇和咨詢，並組織社交活動，2017年在瑞士巴塞爾舉辦了全球超級 VIP藝術收藏家派對，2015年在瑞士洛迦諾（Lugano）舉辦探討藝術與城市關係的藝術沙龍講座 Art + City = Art City?。瑪麗亞·愛蓮娜擁有南美厄瓜多爾（Ecuador）和瑞士雙國籍，曾在德國和美國的市場與公關界工作。瑪麗亞· 愛蓮娜被媒體稱為「品味製造者」（Tastemaker）、「全球藝術界21位時尚偶像之一」(21 Art World Fashion Icons) ，如果洛倫佐把脈藝博會的藝術和文化方向的專業性，那麼妻子瑪麗亞·愛蓮娜則將藝博會推廣入社交界，建立全球範圍的人脈關係圈。瑪麗亞·愛蓮娜在全世界組織藝術沙龍與聚會，在包括巴塞爾、法蘭克福、維斯巴登（Wiesbaden）、巴黎、邁阿密、雅加達和新加坡等城市，還舉辦藝術慈善舞會，并兼理Art Stage副總裁，可謂不折不扣的藝術界「社交女王」。三位子女 Pablo Espinel Rudolf、Carolina Rudolf 和 Coco Rudolf 也都涉足藝術界。

近年的藝博會從新加坡政府獲得的政策支持越來越少，這對A r t St a g e產生了怎樣的影響？總監洛倫佐·魯道夫對此態度樂觀：「我認為任何藝術展會都應該做到完全獨立運營，成為獨立的、私營的機構，才能完全成熟地去運作。2011年創立『藝術登陸新加坡藝博會』是考慮當時新加坡的文化境況，達成的一項共識，在公共美術館之外，為私人收藏提供一個買賣展銷的平臺，Art Stage自此誕生。我們也一直參與政府主導的一些文化項目，比如作為新加坡藝術周的重頭戲。但只有完全獨立運營，才能擁有決定自己發展方向的自由。洛倫佐認為，東南亞雖然是一個世界藝術範圍內的小眾市場，但Art Stage的任務是將好的、新興的藝術推向世界，立足於東南亞，但不局限於此，它的定位並不是一個地區型的地方主義展銷會，而是國際化的，Art Stage屬於整個世界，是全球藝術界的一部分。2016年，在「藝術登陸新加坡藝博會」的基礎上，洛倫佐又在印尼創立了「藝術登陸雅加達」姐妹篇，已經在東南亞的兩個國家的兩個城市分別運營，每年一月和八月分別在兩個城市各辦一場。那麼，A rt Stage 是否已經成為東南亞地區博覽會的一個品牌呢？是否可以將這個概念在整個地區輸出推廣，未來還可以在更多國家誇張，例如建立「藝術登錄越南」、「藝術登錄菲律賓」，以及很多很多？對此，洛倫佐給予了否定的回答：「Art Stage 的目的並非不斷擴張創立分支，『藝術登陸雅加達』的成立，是針對印尼市場的個性化設計，因為印尼是東南亞最重要也最大的一個藝術市場。雅加達藝博會的畫廊一半是印尼本土，一半是外國。」

Local private collector has become a strong player in Southeast Asian art market, besides public institutes. Teng Collection, founded by Teng Jee Hum and June Ong, is a Singaporean collector. by Lucas Schifre

印度和東南亞擁有天然的文化聯繫，把南亞包容進來是可以成為東南亞的優勢。Sanchit Art 是專營印度當代藝術的印度本土畫廊，位于新德里。

AI WEIWEI - REFUTATION MARCH 26-APRIL 30, 2018 TANG CONTEMPORARY ART “In 2015, just after Ai had received his passport back, he saw refugees on the Greek island of Lesbos for the first time. He began shooting video with his phone when the refugees, including the very young and the very old, climbed out of that simple inflatable boat. This event sparked his later actions, which are a direct response to the largest refugee crisis in human history. Since then, his team has shot nearly 1,000 hours of footage in 40 refugee camps in 23 countries.

NG LUNG WAI / ONE PERSON - TWO SYSTEMS MARCH 24-APRIL 29, 2018 A2Z ART GALLERY In the solo exhibition “One person – Two systems”, a reflection of Ng’s cultural identity, the artist once again invokes indicative and iconic portraits, working with a new range of materials, which juxtapose cultural references recalling the Hong Kong artist’s observations of the developing landscapes. It is with these creations, portraits in culturally symbolic hues of red and blue, that we see eastern and western tools of artistic creation or the familiar objects representative of war strategy games such as Western and Asian Chess Pieces, Chinese ink brushes and Oil paintbrushes becoming the points or pixels, which form the timeless iconic faces of the late Chairman Mao Zedong and Her Majesty Queen Elizabeth II, the two leaders of the East and West in the 1970s. In 1971, the year Ng was born, during the reign of these ruling figureheads, Wai confidently venerates two of the most influential and important individuals in recent history.

Queen Elizabeth II, Acrylic on chess pieces mounted on wooden panel, 110 x 90 cm, 2018

Can the control of those in power stop the human desire for freedom? In a recent article in The Guardian, Ai Weiwei refuted this point, “In nature there are two approaches to dealing with flooding. One is to build a dam to stop the flow. The other is to find the right path to allow the flow to continue. Building a dam does not address the source of the flow – it would need to be built higher and higher, eventually holding back a massive volume. If a powerful flood were to occur, it could wipe out everything in its path. The nature of water is to flow. Human nature too seeks freedom and that human desire is stronger than any natural force.” On April 3, 2011, Ai Weiwei went missing for 81 days as he was boarding a flight to Hong Kong. Seven years later, Ai wrote in The Guardian, “The refugee crisis isn’t about refugees. It’s about us.”

FEATURE

March / April 2018

EPILOGUE During the past eight years, Art Stage has transformed from a government-funded flagship exhibition to a strategy for national art education and international cultural influence. At the same time, it has also turned to the private sector and become more capable of operating independently and making timely market reaction, as seen in the change in number of galleries and private collections. Driven by free market and capital, the Art Stage has rapidly merged with capital, luxury products, fashion, lifestyle, and people of fame. Is the phenomenon a trend of the global contemporary art, or is it merely a product of Southeast Asian economy and social development?

New Yorker and Dutch collectors Mr. and Mrs. Richard Nijkerk's Nijkerk’s Private Collection. Signature collectors for Southeast Asian art, including antique, modern and contemporary. photo by Lucas Schifres.

When I joined the long queue at the taxi station outside the glamorous Sands Expo & Convention Centre, I was surprised to find myself queuing behind a lady in extravagant evening dress with heavy makeup, and who happened to be a “grande dame” being photographed at Art Stage. A group of professional “grandes dames” seemed to be present in all sorts of parties and social events in the city. They were mostly middle aged or elderly women who were often seen in the most elaborate attire with their face heavily painted. Age never seems to be a barrier for them to display their beauty, therefore in Tatler Singapore, the same group of people can be seen in the magazine in almost every issue. I could not help but wonder at the woman in front of me. Shouldn’t she be with her chauffeur in a limousine? How come a lady like her was waiting for the taxi with all the plain-dressed visitors? It reminded me of the high time of the Spring Festival travel season in Lunar NewYear, during which prestigious office ladies from the first-tier cities were stripped off the magic of their classy life and became

once again the ordinary commons who had to fight their ways in the crowd.The combination of Art Stage and lifestyle attracted lots of professional “grandes dames”. A few questions remain as to whether art is an essential “taste” for class and identity, and how reliable is the involvement of art in investment. Only time will tell.

尾聲作為東南亞藝博旗艦的Art Stage從最開始被新加坡政府支持贊助，作為一個國民藝術教育和國際文化影響力的戰略，經過8年發展，逐步走入了私人和市場領域，越來越向更為成熟的獨立運營和應對自由藝術市場環境轉化。近年來畫廊數量的減少，和增量的收藏家參與，正是這種轉變的表現。而被自由市場和資本操縱的藝博會，正在不斷與資本、奢侈品、時尚、生活方式與名流結合，這究竟與全球當代藝術的文化走向相結合還是背離，抑或是東南亞本地區的經濟社會環境產物？我從華麗的金沙酒店展覽館出來，加入了等候出租車的排隊大軍，突然看到排在我前面身穿華麗晚禮服化濃妝的女士，正是Art Stage 上被攝影師拍攝的某位奢華「名媛」。新加坡似乎有一群職業「名流」，這個城市大大小小的派對社交，總有這樣一群人的身影，她們多是中老年婦女，穿遍各路高級定制奢華禮服，畫著濃艷的妝容，花枝招展，老來俏地不肯放棄將自己的美麗被天下知，在新加坡的《Tatler》雜誌上可以頻頻見到這些人的照片，幾乎每一期、每一年，都是這同樣的一群人沒有變過。不禁好奇，她難道不應該被私家豪華轉車接送嗎，身穿名貴晚禮服與滾滾人流一起排隊等候出租車接駕，頗為驚訝也有趣，畫面感如同中國一線城市寫字樓的一個個 Jessica、Christina、Yolanda 們，摘下面具打回原形，變成春花、翠花，擠入「春運」回鄉的滾滾人潮。Art Stage與生活方式的結合，引來了許許多多這樣的職業「名流」捧場，在東南亞當前社會經濟環境下，藝術是否也是新貴們樹立身份所必須的「品味」，階層更替的工具，而與藝術結合的這一輪投資，究竟又有多少風險和水分在其中，時間會告訴我們答案。

Remarkable collection in house from Samson’s Private Collection by Michelangelo and Lourdes Samson.

INK LONG MARCH PROJECT: INK AS AN EXERCISE IN CONTEMPORARY ART II MARCH 1-31, 2018 a.m. space

Image that can never be erased (partial), TAO Hoi Chuen, 2017, Chinese and color on silk, 105 cm x 58 cm

Ink Long March Project proactively seeks to identify the evolutionary trend in ink, explores the horizon of the definition of, and the possibility in ink art. a.m.space invited acrylic paint artist TSANG Chui Mei and Chinese ink artist TAO Hoi Chuen, conducting an open dialogue to discuss the sense of contemporary in traditional ink, addressing the development and breakthrough in traditional boundaries of ink art.

DÉJÀ VU

DEAD SERIOUS: EXPERIMENTAL COMICS FROM BELGIUM AND FRANCE

MARCH 27-MAY 12, 2018 LEHMANN MAUPIN

APRIL 3-14, 2018 a.m. space This exhibition is a collaborative project between the Fine Arts Department, CUHK, the Brussels based art school ESA Saint Luc and the Academy of Visual Arts, Baptist University. It will show a selection of short comics stories, named ‘Missed appointment(s) in Town’, and produced during a workshop at the Academy of Visual Arts during the last week of March 2018 with Hong Kong, French and Belgian students. The main body of works of this show however, consists in books published by the publishing house FRMK, part of an art platform based in Brussels called Frémok. Its members create events in art schools, universities, libraries and public spaces where they constantly promote and defend the freedom of creation, thought, self-expression and circulation of books and ideas. Signed posters of some of the authors of these experimental comics will also be available at the exhibition.

Landscape after the Battle, by Eric Lambé (art) and Philippe de Pierpont (script), 2017

Lehmann Maupin is pleased to announce “Déjà Vu”, the Brazilian artist duo OSGEMEOS’ first solo exhibition in Hong Kong. Twin brothers Gustavo and Otavio Pandolfo together have developed an internationally recognized style born of influences across pop culture, music, folk art, and their vivid inner worlds. “Déjà Vu” presents new paintings and a sound installation from the highly influential artists who are sought out for numerous high profile collaborations and commissions, transforming buildings and public spaces across Europe, South America, and the United States.

OSGEMEOS The long way home, 2017 spray paint, acrylic, and sequins on canvas 79 x 63 inches (canvas) 200.7x160cm 80.2 x 64.05 x 2.13 inches (framed) 203.7 x 162.7 x 5.4 cm Courtesy the artists and Lehmann Maupin, New York and Hong Kong

COLLECTION

March / April 2018

art and collections / 藝術與收藏 /

蒂洛什：以色列收藏家族的世界版圖

TIROCHE: ART COLLECTION MAP IN ISRAEL AND THE WORLD 文 / 翁浩原

text / Eric Hao-Yuan Weng translation / Phoebe Cheng

credits from Tiroche Deleon Collection

The Israeli Tiroche family has made a big statement in Art Stage Singapore 2018. Presented by Omer Tiroche Gallery, London, the late American artist Alexander Calder features a unique exhibition of gouaches on paper. These works comes from Micky Tiroche’s private collection. Omer Tiroche, the owner of the gallery, is the son of Micky Tiroche, who found the largest Israel auction institute Tiroche Auction House, his brother Serge Tiroche brought a remarkable collection of East and Southeast Asian contemporary art to Art Stage Singapore, from his Tiroche Deleon Collection found in 2011. Tiroche brothers’ art mission paid tribute to their father Jean Tiroche, a recognized gallery owner and art dealer in New York, Tel Aviv and Paris. The Israel-based Tiroche family expands their art map around the world, Serge Tiroche, in particular, is dedicated to incubating new artists from third and developing world, as well as promoting art collection to the promising field of investment, facilitating fund management and bridging art passion with investment.

Courtesy of ART STAGE, Lit Mediahouse

Serge Tiroche founded Tiroche Deleon Collection in 2011 with Russ DeLeon. the Collection undertakes an extensive investigation of new markets for contemporary art across the developing world, with a significant collection of masterpieces by primarily established, but also emerging contemporary artists, via a unique Residency program which helps artists to gain visibility and recognition. It also shares the collection with wider public through a prominent lending program, lending works to galleries, museums, biennales and art fairs. While the highlight of Tiroche Deleon Collection is how it facilitates investment in art, it is the first art fund modeled on a private collection. In March 2012, Tiroche and Deleon contributed the 230 works acquired thus far to Art Vantage PCC Limited, a Gibraltar experienced invest fund, hence allowing external investors to join the project. The Gibraltar fund structure ensures high standards of corporate governance, regulator oversight, and investor protection. Via VD Ventures Limited, it advises the collection under a non-compete agreement on all pertinent matters including research, investment strategy, disposals, marketing, operations and finance. Global accounting firms Grant Thornton and KPMG serve as fund administrators and auditors, respectively, and one of Gibraltar’s leading law firms, Isolas, provides legal services. These consulting services are all based in Gibraltar, a British Overseas Territory, the sovereign of which is a contention in AngloSpanish relation. It is an international financial centre harboring numerous British and international banks, due to its VAT-free tax system. Serge Tiroche was born in 1966 in Israel. Influenced by his father’s art route, Serge’s hands-on involvement in the art world began while working as an intern at Parisian auction house Loudmer in 1986. In 1992, he co-founded Tiroche Auction

WARPED MATTER, CURVED TIME MARCH 27-MAY 8, 2018 PEARL LAM GALLERIES H QUEEN'S Pearl Lam Galleries is pleased to present Warped Matter, Curved Time, the first solo exhibition in Asia by Italian artist Arcangelo Sassolino. For over two decades, the artist has applied the properties of physics—speed, gravity, pressure, and vibration—to the natural world, examining the friction between industrial progress and environmental concerns. His sculpture is both ethological and mechanized, poetic and menacing, pushing materials past their physical limitations and illustrating the humanist process of becoming and unbecoming. Extending both the legacies of kinetic art and Arte Povera, Arcangelo Sassolino's work calls into question the often destructive qualities societies must possess to evolve, raising doubt about the nature of empathy in our contemporary consciousness.

MIWA KOMATSU FEBRUARY 23-APRIL 1, 2018 WHITESTONE GALLERY HOLLYWOOD ROAD Whitestone Gallery Hollywood Road is pleased to present the lively Japanese emerging artist, Miwa Komatsu’s, first solo exhibition in Hong Kong. The exhibition will introduce Komatsu’s latest works and significant creations, including her iconic Guardian series; to share her view with the audience and invite them into her vividly deep dynamism of spirituality.

Arcangelo Sassolino, Massimo, 2017, Pirelli tires, I-beams, 108 x 103 x 77 cm; 42 1/2 x 40 1/2 x 30 3/8 in.

The style of Komatsu can be traced back to her childhood: experiences of being present at the final Miwa Komatsu, Informing Each Other, 116.7φ, moment of animals led the artist to form her unique 2018, Acrylic on Board view of life and death. Through depicting various spiritual animals, the artist manages to construct her distinct mystical Universe. In 2014 she dedicated her work to Izumo Taisha Shrine, and also collaborated with Sennen Kobo workshop of Hakata textiles. In 2015 her painted Arita porcelain guardian dogs, Heaven and Earth Guardian Lion Dogs, were added to the collection of the British Museum. In 2016 she presented a commemorative work as an ambassador for the G7 Summit held in Karuizawa. While being based in her hometown in Nagano Prefecture, Komatsu promotes Japanese traditional culture to the world. She is one of the young, remarkable talents of the 21-century.

COLLECTION

March / April 2018

GUAN XIAO, THE DOCUMENTARY GEOCENTRIC PUNCTURE , 2012

OS GEMEOS, SEM TITULO, 2008-2010

House in Israel and has since been closely involved with the family’s international art trading activity. Born in a family with good art tradition though, Serge started to work in banking instead of art at the beginning. He completed with distinction a Bachelor degree in Business Administration and Modern Arts from the American University of Paris in 1992, and an MBA from INSEAD in 1997. After graduating, he joined Citigroup’s Private Bank where he had a multi-faceted 10 year career as a private banker, managing investments for some of Israel’s and Turkey’s wealthiest families. As business head, he was a board member of Citigroup Israel and was a member of Citigroup’s European Wealth Management Leadership Committee. Prior to the financial crisis in 2008, he left his Managing Director position at Citi, in order to dedicate himself to his long-time passion for art. He immediately founded START, Israel’s innovative artist incubator project, and Serge Tiroche Consultants, a financial advisory services firm with particular focus on art investments. He invested and advised the boards of numerous companies supporting that objective, including: Mutual Art Holdings, Artist Pension Trust, Mutual Art Services and Split-Art. He currently serves on the Board of Governors of the Tel-Aviv Museum. Serge’s rich experience in private banking and venture capital has benefited his later art career. He found out that art is a suitable investment for individuals, family offices, private banks, hedge funds, private equity firms, pension funds, insurance companies, banks and family foundations. Art is an independent asset class. Historically, art has demonstrated very low correlation to other asset classes such as stocks, bonds, cash, hedge funds, real estate and private equity.He aims to provide such investors with an opportunity to improve their

ASIA PACIFIC ART FAIR 2018 亞太區藝術博覽會 2018

4月

overall investment portfolios via exposure to art. Our special correspondent Laura Shen has talked with Serge Tiroche to hear his unique views.

AI WEIWEI, GRAPES (CHAIR INSTALLATION), 2008

在2018年新加坡 Art Stage 博覽會上，來自以色列蒂洛什家族的東南亞和東亞當代藝術品，奪人眼球。奧馬爾·蒂洛什主持的倫敦 Omer Tiroche 畫廊帶來了其父親米奇·蒂洛什收藏的美國藝術家作品，而米奇·蒂洛什是以色列最大的拍賣行「蒂洛什拍賣行」的創始人，其兄弟賽爾日·蒂洛什是收藏機構「蒂洛什·德龍收藏品」的創始人，蒂洛什兄弟的父親讓·蒂洛什（Jean Tiroche）是活躍在紐約、特拉維夫和巴黎的畫廊主和畫商。這個以色列的藝術家族，藝術生意遍佈全世界，對新生藝術家扶持孵化，特別是對來自第三世界和發展中國家的當代藝術家，同時不斷將藝術品收藏推入投資和盈利領域，為投資人提供資產配置和管理。「蒂洛什·德龍收藏品」是2011年由賽爾日·蒂洛什和盧斯· 德龍兩位合夥人創辦的收藏機構，致力於在全世界發展中國家探索當代藝術的新市場，並收藏新生代、上升期藝術

APRIL

7月

JULY

家的經典代表作，為國際重要的博物館、畫廊、雙年展和藝博會提供有償藝術品租賃服務，也為新生藝術家提供在以色列特拉維夫的駐地創作項目。然而，機構最重要的使命是藝術品投資管理。兩位合夥人在2012年貢獻230件藝術品，註冊了「藝術優勢PCC有限公司」，公司位於地中海直布羅陀半島，是英國的十四個海外領地之一。該投資基金允許外部投資者加入基金，是第一個建立在私人收藏基礎上的藝術基金，確保高規格公司管理、嚴格監管和對投資者的保護。兩位合夥人還通過TD 風險投資公司提供藝術品投資的諮詢服務，包括投資策略、研究、市場推廣、金融等。國際會計師事務所「致同」作為資金管理機構，「畢馬威」作為審計保障，直布羅陀的法律事務所Isolas提供法律服務，這些負責藝術品投資的機構均位於直布羅陀。這個徘徊於英國和西班牙之間、歸屬問題至今沒有解決的海外領地，因不設利得稅等稅收，成為繁榮的國際金融中心，擁有不少國際銀行和博彩商駐扎。賽爾日·蒂洛什1966年生於以色列，受父親的影響，賽爾日1986年開始在巴黎Loudmer拍賣行實習，1992年還輔助開設了家族拍賣會「蒂洛什拍賣行」。雖然出生藝術世家，但賽爾日一開始並沒有全職投入藝術界，而是先在銀行業和投資圈站穩腳跟。1992年，賽爾日畢業於巴黎美國大學的工商管理和當代藝術系，1997年又從歐洲工商管理學院獲得工商管理碩士，之後進入了花旗銀行的10年私人銀行家生涯，為以色列和土耳其的超級高淨值收入富豪提供投資管理，還曾擔任以色列花旗銀行董事和花旗歐洲財富管理領導者委員會委員。2008年金融危機前夕，他離開花旗銀行管理層自主創業，創立了以色列創意藝術界孵化專案「開始」，還創辦了致力於藝術品投資的金融顧問公司「賽爾日·蒂洛什諮詢公司」。他投資和擔當顧問的公司包括 Mutual Art Holdings, Artist Pension Trust, Mutural Art Service, Split Art等，同時擔任特拉維夫博物館董事。銀行家和投資管理的經驗，對賽爾日的藝術事業起了推動作用，他發現藝術作為一種可以保值以及增值的資產，可以帶來盈利且價值穩定，上升空間廣闊，他將投資理念和理財思維帶入藝術，讓藝術不僅僅是文化，也是全球資產配置的一部分。本期，特約撰稿人申雁冰借新加坡藝博會之機，對賽爾日·蒂洛什進行了獨家專訪。

9月 SEPTEMBER

Art Busan 釜山國際藝術博覽會 April 19-22

ART FORMOSA 福爾摩沙國際藝術博覽會 July 13-15

Art Stage Jakarta 藝術登陸雅加達 September 7-9

Art Beijing 藝術北京 2018 April 29-May 2

Art Taichung 台中藝術博覽會 July 20-22

Sydney Contemporary 悉尼當代藝術展 September 7-9

Design Beijing 設計北京 2018 April 30-May 2

月

MAY

AUGUST

Art Jakarta 雅加達藝術博覽會 August 2-5

Affordable Art Fair Hong Kong 香港買得起藝博會 May 18-20

Melbourne Art Fair 墨爾本藝術博覽會 August 2-5

Art Revolution Taipei 台北新藝術博覽會 May 18-21

Asia Hotel Art Fair 亞洲酒店藝術博覽會 August 23-26

Tokyo International Art Fair May 25-26

Photofairs Shanghai 影像上海藝術博覽會 September 21-23 Asia Contemporary Art Show (Fall) 亞洲當代藝術展（秋季展） September 28-October 1

10月

OCTOBER

Korea International Art Fair (KIAF) 韓國國際藝術博覽會 October 4-7 Art Taipei 台北國際藝術博覽會 October 26-29

Art World Forum, Singapore, 2016

SHENZHEN INTERNATIONAL ART FAIR 深圳國際藝術博覽會

The 7th Shenzhen International Art Fair (SIAF) will be held on 24th-27th Nov in Shenzhen CEC. As the first and largest local art fair, in 2018, SIAF will bring together the emerging galleries and the hard cores from mainland China, Hong Kong, Macao, Taiwan and overseas. To meet the needs of the evolving art market, SIAF connects Art with Home, and keeps developing its members into Asia Collection Club. This year, the committee will invite more than 60,000 collectors and art fans to join the fair. The application is now open to public. 第七屆深圳國際藝術博覽會將於11月24-27日在深圳會展中心舉辦。作為深圳首個藝術博覽會，深藝博已成為本土規模最大，人氣及買氣最佳的代表。2018年，組委會將繼續圍繞「藝術· 家」概念，面向中國大陸、港澳臺及海外地區新銳及中堅畫廊、藝術機構進行招展，為深圳藝術市場注入更多新鮮血液。另外，深藝博將以亞洲收藏俱樂部為據點，擬邀請60,000+藏家及藝術愛好者前來展會，實現藝商互利繁榮。招展工作已全面展開，歡迎意向者諮詢。

11月

NOVEMBER

Affordable Art Fair Singapore 新加坡買得起藝博會 November 11-19 Art Canton 藝術廣東藝術博覽會 November 16-19 West Bund Art & Design 西岸博覽會 November 8-11 ART021 上海廿一當代藝術博覽會 November 9-11 Abu Dhabi Art 阿布扎比藝博會 November 14-17 Shenzhen International Art Fair 深圳國際藝術博覽會 November 24-27 ART KAOHSIUNG 高雄藝術博覽會 TBC

COLLECTION

March / April 2018

Laura Shen (LS): Your family has the tradition for art collection, auction and art deal, besides yourself, your father, brother and the offspring of your generation are also involved in art deeply. Could you tell us the story behind your family and art. Serge Tiroche (ST): Yes, most of my family are involved in art until this day. The love of art started with my father Jean Tiroche who grew up in the flea market in Paris dealing and later collecting everything from antique furniture, silverware, carpets, ivory, cigarette boxes, jewelry and of course fine art. He moved to Israel in 1949 and was one of the first to establish galleries there, one for fine art and one for antiques and collectibles. In the early 70s he moved to NY and opened a gallery specializing in Impressionism and post-Impressionism and then a second gallery in Palm Beach. He later moved to Paris in the 80s to focus on wholesale dealing of Impressionist and Modern masters and was for years a fixture in auctions. My older brother Micky joined my father in Paris and also got involved in fine art dealing, which he still does very successfully to this day. His son Omer operates a gallery in London for the last few years, Omer Tiroche Gallery. We also have a sister Orna, who together with her husband Dov run Israel’s largest auction house « Tiroche » since 1992. Some of their children are also involved in that business.

FANG LIJUN, 2005.1.10, 2005

Paulo Nazareth & Vik Muniz, installation view of Everything You Are I Am Not”, curated by Catherine Pet

I, on the other hand, studied business but was fortunate to do so in Paris and tag along with my father and brother as a young student learning the ins and outs of art dealing in Paris in the late 80s. After my studies I returned to Israel and helped establish Tiroche Auction House. A few years later I was again in Paris to complete an MBA at INSEAD and then moved to Switzerland to work for Citibank Private Bank, where I had a 10-year career managing the wealth of some of the largest families in Israel and Turkey. During this whole period I got deeply involved in the Contemporary art market and started collecting seriously. In 2007 I decided to leave the banking world in order to focus on combining my two passions for art collecting and investments, and made it my mission to open the doors to art collecting and investment to a broader community of wealthy families. My first project was an art incubator project I founded in Israel - START, which is still active and currently holds the most significant collection of Contemporarv Israeli art from the last decade. I also invested and served as Chairman of the Artist Pension Trust in 2009-10. In 2011 I co-founded 《 Art Vantage 》 the first art fund to be modeled on the best of private collecting practices, which owns the Tiroche DeLeon Collection, highlights of which we exhibited at Art Stage Singapore. LS: Your collections are very widespread, covering nearly every continent of the world, including the niche art market regions of South Asia, Far East, Middle East, Latin America, Africa and Eastern Europe. What motivates you to cover the niche art market for the whole world? 申雁冰：Tiroche家族富有藝術傳統，涉及藝術品收藏、拍賣和交易等，除你本人外，你父親、兄弟還有晚輩都在經營藝術。我覺得你的家族故事一定很有趣。賽爾日·蒂洛什：是的，現在我家大部分人都在經營藝術，這種傳統由我父親讓·蒂洛什開端，他在巴黎的跳蚤市場長大，早先做古董交易，然後跨入收藏，涉及古董傢俱、銀器、地毯、象牙、香煙盒、珠寶，當然也包括美術作品。1949年遷居以色列後，成為最早在以色列開畫廊的經營者之一，包括一家做美術作品的畫廊和另外一家做古董和收藏品的畫廊。二十世紀70年代早期，他又遷居紐約，開設了一家專門經營印象派和後印象派作品的畫廊，後來又在佛羅里達州棕櫚灘開了第二家。80年代，我父親轉戰巴黎，負責印象派和現代藝術大師作品的批發經銷，還在巴黎拍賣界做了幾年。我的哥哥米奇曾在巴黎幫我父親做事，也經手過藝術品交易，現在也一直做的很成功。他兒子奧馬爾過去幾年一直在倫敦經營一家名叫Omer Tiroche Gallery的畫廊。我們還有個姐妹叫澳娜，她和她丈夫多夫從1992年起就運營著以色列最大拍賣行「蒂洛什拍賣行」，他們的孩子們也涉及了部分生意。我上世紀80年代末在巴黎學商科，有幸邊讀書邊幫我父親和哥哥打理藝術品生意。畢業後我回到以色列，聯合創辦了「蒂洛什拍賣行」。幾年後又再次到巴黎在歐洲工商管理學院攻讀工商管理碩士，然後前往瑞士，加入花旗私人銀行，在這裏一做就是10年，為以色列和土耳其的一些最大的家族做財富管理。這段職業生涯讓我可以深度接觸當代藝術市場，並開始認真投身於收藏行業。2007年我決心離開銀行業，

Xu Zhen (Madein Company), in mass exercise, the greater the conflict between theory and reality, the stronger its eagerness to impose beliefs on others, 2010

ST: When Russ DeLeon and I established the Tiroche DeLeon Collection we had a starting budget of $10 million USD. It was 2011, a few years after we experienced the first boom in contemporary art coming from China and India. The boom had slowed down by then, but my curiosity for art from developing markets was aroused. I found it refreshing and rich in cultural and political content that came on the heels of a decade of rapid growth and social change driven by globalization. So I felt that we had a unique opportunity and limited time to explore these cultures in depth, and that by focusing on art from the new economies we would be able to differentiate our collection and make a significant contribution as a platform that bridges East and West and serves as a time capsule and cultural conservator.

LS: Please share with us your view about art scene in Israel. Since collections of your own and your family are based in Israel, how has Israel influenced the world art market?

LS: The location for your institution is very interesting, Gibraltar, which holds the Tiroche Deleon’s registered office, administrator, legal counsel and auditor. What’s special for Gibraltar in your art map?

ST: There is a lot of talent in Southeast Asia and in several countries there is a combination of serious art collecting, patronage, nationalistic pride and infrastructure investment in education and public institutions. Combined with an art trade - galleries, auction houses and art fairs - we have the building blocks that enable the sustainable growth of an art ecosystem. I am particularly impressed by the robust markets in Indonesia and the Philippines and also believe India’s contemporary art market will recover strongly in the next few years.

ST: Gibraltar is not specifically relevant to the art market. It is however a very practical and efficient jurisdiction to run an art fund. It is English speaking, in a convenient time zone, is regulated to protect investor interests and has a favorable tax regime. It is also forward thinking as is evident by their recent decision to create Europe’s first regulated blockchain / crypto exchange.

讓自己可以專注在我喜歡的兩件事情上，即收藏與投資，我希望將這兩個興趣結合起來變成我的新事業，把藝術品收藏和投資結合起來，推入更廣闊的包括富裕家庭在內的客戶群中，這是我的使命。我的第一個項目是我在以色列創辦的藝術孵化器「開始」，現在依然活躍在藝術界，收藏了過去十年內以色列當代藝術最重要的作品。2009-2010 年，我是「藝術養老金信託」的投資人和主席。2011年我聯合發起了「藝術優勢」，是一家專為最棒的私人收藏而設的首個藝術基金，「藝術優勢」擁有「蒂洛什·德龍藏品」，我把其中部分精華作品放在今年的新加坡藝博會上展出。申雁冰：T你的收藏範圍非常廣泛，涉獵幾乎所有大洲，特別是小眾藝術市場，包括南亞、遠東、中東、拉美、非洲和東歐。你為什麼對這些小眾藝術市場感興趣呢？賽爾日·蒂洛什：2011年我與盧斯·德龍創立「蒂洛什·德龍收藏品」的時候，我們的啟動基金有一千萬美金，在此之前的幾年，我們經歷過中國和印度當代藝術的爆發期，到 2011年的時候這種爆發已經放緩，但我對處於發展中階段的藝術市場一直熱情不減。在全球化的推動下，這些地區經歷了10年的高速發展和社會變革，文化與政治內容變得豐富而新穎，因此我認為我們遇到了難得的機遇，必須抓緊時間去深度探索這些文化。此外，專注在這些新經濟體的藝術上，我們可以打造自己收藏品的特色，也能為東西方溝通牽線搭橋，我們不僅是橋樑，是平臺，還是保存時間的膠囊，文化的保護者。

credits from Tiroche Deleon Collection2

BIENNIALE 雙年展

Biennale of Sydney 悉尼雙年展 March 16-June 11 Shenzhen Biennale 深圳雙年展 May 11-July 30 16th Venice Architecture Biennale 第十六屆威尼斯建築雙年展 May 26-November 25 10th Berlin Biennale 第 10 屆柏林雙年展 June 9-September 9 2nd Yinchuan Biennale 第二屆銀川雙年展 June 9-September 19 Gwangju Biennale 光州雙年展 September 7-November 11

ST: Unfortunately the Israeli art market has remained small and mostly local. Unlike Israel’s global influence in agriculture, technology, medical and research fields, it’s art market is insignificant on a global scale. Israel produces some very good artists but the only successful ones are those who leave the country to develop their careers internationally, mostly from NY, London or Berlin. LS: How do you view the prospect of Southeast Asian art in the future?

申雁冰：T你的機構所在地也很有趣，註冊公司、管理、法務、審計都在直布羅陀。直布羅陀在你的藝術版圖中有什麼特別嗎？賽爾日·蒂洛什：直布羅陀與藝術市場並不直接掛鉤，卻是一個非常務實高效的運營藝術基金的法人機構。直布羅陀是英語地區，所在時區很有優勢，政府有效管理，保護投資者利益，稅制也很誘人，而且非常有遠見，比如最近它宣佈設立歐洲第一個數據區塊鏈和加密電子貨幣兌換中心。申雁冰：T你怎樣看待以色列的藝術環境？以色列是你本人，也是家族藝術生意的根據地，以色列對世界藝術市場有怎樣的影響？賽爾日·蒂洛什：很不幸，以色列藝術市場規模很小，局限在本地。以色列雖然在農業、技術、醫療和研究領域世界一流，但藝術在全球範圍內沒什麼影響力。以色列有些很優秀的藝術家，但成功的卻是那些離開這個國家去外國發展的人，多數在紐約、倫敦和柏林。申雁冰：T你怎樣看待東南亞藝術的前景？賽爾日·蒂洛什：東南亞有很多藝術人才，某些國家同時擁有對藝術品的嚴肅收藏、贊助、民族主義自豪感，還有對藝術教育與公共機構等基礎建設的投資。除了畫廊、拍賣行和藝博會等藝術貿易的參與，還有許多藝術建築來支撐藝術生態系統的可持續發展。令我尤其印象深刻的是印尼和菲律賓的藝術，而且我相信印度當代藝術在未來幾年會重新恢復，迸發活力。

SHENZHEN BIENNALE

GWANGJU BIENNALE

The first Shenzhen Biennale will be held this year. 36 artists from all over the world are going to exhibit works across the two venues in Shenzhen Bay Park and Luohu Art Museum. Computer software term ‘Open Source’ was chosen as the theme of the biennial. It refers to software codes as shared resources where the public may contribute together to develop software. Adjacent to Hong Kong, Shenzhen is an important technology hub and one of the most economically developed cities in China. An enormous amount of foreigners live and work in the city. This biennial curated by Gary Xu, Tang Zehui and Janet Fong metaphorically describes the collective and individual identity of Shenzhen with the computer term.

The 12th Gwangju Biennale will be held in Gwangju Biennale Exhibition Hall and Asia Culture Center. 11 experts from Korea, Hong Kong, Thailand and the USA will curate the exhibition. ‘Imagined Borders’ serves as a guiding concept. It references both ‘Beyond the Borders’, the theme of the biennial’s inaugural 1995 edition and ‘Imagined Communities’, Benedict Anderson’s notion of citizenship and national identity. While the world has undergone massive changes from the early days of the biennial, borders and the conception of borders changes with globalisation and other ideologies as well. The biennial will explore not only geopolitical borders, but also political, economic, emotional, generational borders and borders in more fluid forms from multiple angles.

深圳雙年展

第一屆深圳雙年展將於今年中舉行，36位來自世界各地的藝術家在深圳灣公園和羅湖美術館兩個區域展出作品。雙年展的主題為電腦軟件術語「開放源」，意指讓軟件代碼成為共享資源，從而公眾集思廣益，共同參與開發軟件。鄰近香港的深圳作為中國重要的電腦科技中心和經濟發展最蓬勃的城市之一，吸引大量外來人口到來工作和生活，由徐鋼、唐澤慧和方敏兒策劃的展覽籍該電腦軟件術語比喻深圳的集體和個人身份認同。

光州雙年展

第十二屆光州雙年展將於光州雙年展展廳和亞洲文化中心中舉行，由11位來自韓國、香港、泰國和美國的專家攜手策展。「想像中的邊界」是今屆展覽的引導概念，同時指涉 1995年第一屆展覽的主題「超越邊界」和本尼迪克特．安德森「想像中的社群」的公民身份和國家身份概念。雙年展早期至今世界經歷多項重大改變，各種邊界和邊界好概念也隨全球化及其他意識形態改變。今屆的雙年展不但會探討地緣政治邊界，還會從多角度研究政治、經濟、感情、世代等邊界及邊界的不確定性。

March / April 2018

COLLECTION

EXHIBITION

March / April 2018

The incessant movement of time is many things to different thinkers. It is points and lines to Aristotle, a spiral to Nietzsche, a treasure box to Heidegger, fold to Deleuze, and a maze to Borges... To Song Dong — as seen from his work Waste Not to the exhibition ‘I Don’t Know the Mandate of Heaven’ at Rockbund Art Museum — time is a large installation that carries ‘the past’ towards the multiple paths of ‘future’. In ‘The Borderless Wall’ currently on show at Fei Art Museum, Guangdong, Song Dong chose to represent the internal movement of time with ‘wall’, wherein there are three layers of meaning to ‘borderless’. The first layer relates to the ‘borderlessness’ of space: the U-shaped external wall of Fei Art Museum is similar to the long corridors in traditional Chinese architecture, which establishes an openness for the museum as a public space.The work has no windows and doors and the viewers can only ‘break in’ through the wall. This also means that there is no presumed entrance or exit. Therefore, the inside and outside of the ‘border’ are connected. While windows are all over the wall, none of them can gain one entry. This sense of obstruction created the first ‘wall’ in our process of looking at the work. For the second layer of meaning of ‘border’ – if we treat ‘wall’ as a rhetoric, we might relate it to Plato’s criticism of rhetoric, which he compared to letting thieves in through a broken wall. ‘Wall’ as the rhetoric of ‘border’ is the second layer of meaning to be discussed here. What Plato meant is that we have to be aware of the

THE BORDERLESS WALL -

SONG DONG’S

“ 無界 ”之牆 — 宋冬的巨型時間裝置 Xu Zhen (Madein Company), in mass exercise, the greater the conflict between theory and reality, the stronger its eagerness to impose beliefs on others, 2010 無界的墻 Borderless Wall 2016-2017 裝置事件窗戶、玻璃鏡面、燈 405×10600cm (現場) ，圖片提供：扉美術館

LARGE TIME-BASED INSTALLATION 文 / 周婉京

text / Stefanie Chow translation / Allen Cheung

art and collections / 藝術與收藏 /

deceptiveness of rhetoric when we use language.When representation sneaks into our consciousness through the disguise of rhetoric, sentimental ‘invasions’ can operate like skilful burglars. 不停流動的時間，是亞里斯多德眼中的點與線，是尼采眼中的螺旋，是海德格爾眼中的小寶盒，是德勒茲眼中的褶子，也是博爾赫斯眼中的迷宮......而對宋冬而言，從作品《物盡其用》到外灘美術館的展覽「不知天命」，時間作為他心中的巨型裝置，承載著「過往」駛向小徑分叉的「未來」。目前正在廣東扉美術館展出的「無界」，宋冬選擇以「牆」來呈現時間的內部流動，蘊含了三層「無界」的含義。第一層「無界」指的是空間的「無界」扉美術館外牆呈「U」型，這讓美術館在造型上與中國傳統建築的長廊相似，成就了其作為公共空間的開放性。這件作品沒有窗和門，觀眾只能「破牆而入」。沒有門和窗，也就沒有了規定的入口和出口。「界」的內外相互連通，牆上盡是窗戶，卻沒有一個是可以「破」的，無可憑藉之感構成我們觀看作品的第一堵「牆」。其二，若將「牆」視作一種修辭，我們可能會聯想到柏拉圖對修辭學的批評，他口中的「破牆入盜」說法。「牆」作為「界」的修辭，成了我們要討論的第二層意義。柏拉圖的意思是，當我們使用文時，需要提防修辭的欺騙性。當表像通過詞藻的包裝潛入到我們的意識，感性「入侵」可以像高明的「小偷」那樣悄無聲息地行動。

BIENNIALE 雙年展

33rd São Paulo Biennial 第 33 屆聖保羅雙年展 September 7-December 9 1st Bangkok Art Biennale 首屆曼谷藝術雙年展 October 19, 2018-February 3,2019 1at Thailand Biennale 第一屆泰國雙年展 Novermber 2, 2018- February 28, 2019 12th Shanghai Biennale 第 12 屆上海雙年展 Novermber 10, 2018- March 10, 2019 Taipei Biennale 台北雙年展 November 17, 2018-March 10, 2019 Kochi-Muziris Biennale 印度．穆吉里斯雙年展 December 12, 2018-March 29, 2019

12TH SHANGHAI BIENNALE

11TH TAIPEI BIENNALE

The 12th Shanghai Biennale that will take place at Power Station of Art will bear the theme ‘Proregress — Art in an Age of Historical Ambivalence’. The term ‘proregress’ coined by American poet E. E. Cummings is a combination of progress and regress. Its Chinese counterpart ‘Yubu’ is appropriated from ancient Daoist ritual that refers to a style of walking forward with a backward gesture. Curator of the biennial Cuauhtémoc Medina pointed out that we often understand history in too literally or in a simplistic way and overlook the ambivalence and fragmentation of reality. Contemporary art, however, is formed by fragments of different powers in the society and witnesses the ambivalence of the present. He hope to address the importance of the quest for a new mind-set.

The 11th Taipei Biennial curated by Mali Wu and Francesco Manacorda is expected to focus on the interconnectivity of ecosystemic structures formed between humans and nature. Human civilisation has always intertwined with nature while unhealthy development would damage ecosystem and concern survival. The biennial would push the investigation of ecosystem beyond nature by studying also the ecosystems of humanities, economy and society. This biennial targets to serve as a platform of social experimentation to develop new interdisciplinary possibilities for long-lasting, community- driven, bottom-up synergies.

第12屆上海雙年展

在上海當代藝術博物館舉行的第12屆上海雙年展主題為「禹步—面向歷史矛盾性的藝術」。禹步是古時道教儀式中的種步法，看似向後走其實在向前；而英文標題「Proregress」源自美國詩人卡明斯，亦結合前進和倒退的意思。雙年展的策展人誇特莫克．梅迪納指出我們對歷史的理解往往過份單向或不全面，容易忽略現實的矛盾和破碎，當代藝術是由社會不同力量碎片組成，是當下矛盾的見證，而他希望透過展覽提倡探尋一種全新思維方式的重要。

第11屆台北雙年展

由吳瑪悧與范切斯科．馬納克達共同策展的第十一屆台北雙年展聚焦人與自然兩者間生態結構的雙向連結。兩位策展人共同提出「生態體系相依性」作為雙年展的命題。人類文明一直與自然環境唇齒相依，發展不良則破壞生態，問題關切生存的迫切需要，而雙年展更將對生態的探討擴展至自然環境以外的形式，及至人文生態、經濟生態與社會生態。此屆台北雙年展旨在成為社會實驗的平台，發展跨領域可能，產生由下而上的長遠協同作用。

EXHIBITION

March / April 2018

Two similar objects presented through different kinds of rhetoric can display different appearances, and no one representation can declare itself as being true. What is interesting is that, ‘border’ as a rhetoric describes the difference between A and B under certain conventional rules and within certain structures and systems. This rhetoric presumes that border exists between A and B – otherwise, would not A and B be the same thing? But in a semiotic system, there is no border between A and B since they are both alphabet Therefore, the discussion of ‘whether border exists between two objects’ is closely related to the structure of our individual worldview. ‘Border’ is meaningful and regulates you only when you are conscious of it. If you are not conscious about the difference between A and B, the border between them is meaningless to you. There is no shortcut to attain ‘borderless’. It hints at ‘de-standardisation’ and ‘de-regulation’. It demands from the observers the practice of individual insight. It takes an unbiased worldview from the individual, and that one does not distinguish between border and non-border, but to realise that there is no border at all. As the wall is part of the work, ‘border’ is indexical of the ontology of art. This is the third layer of the meaning of ‘wall’. The function of wall is dissolved in Song Dong’s work, but what has been dissolved is not only the wall but also the thing-in-itself in artistic creation.The existence of the wall connected Fei Art Museum with the market, kindergarten and commander office (Xiao Bai Lou – ‘the little white tower’) beside it, bringing out these local beings. It can be said that, ‘the wall’ allows the unnoticeable to be noticed, and make visible the invisible. Here, the invisible is not just the history of the Zhusigang area of Guangdong, it also points towards Song Dong’s ‘past’. The wall is a massive light installation. During the day, we see objects of the installation through two layers of glasses (the front layer contains mirrors while the back contains glasses). With that we measure the relationship between ourselves and these objects. At

night, lights inside the installation are turned on, the reflection between the two layers of glasses transform a single light into a train of multiple. As mirrors and lights reflect and illuminate each other, we, the viewers, seem to be cast into waves and waves of echoes from ‘the past’. As the wall carries ‘the past’, ‘the past’ is ‘now’. What happened exists in the echoes of the mind, and as the echoes become ever louder, it is difficult for one to ignore it. The past lingers around and yesterday resonates today. The phenomenologist Maurice Merleau-Ponty once said, ‘The world no longer stands before him through representation; rather, it is the painter to whom the things of the world give birth by a sort of concentration or coming-to-itself of the visible.’ In other words, the artist brings about the object and helps the objects to create within itself. From Song Dong’s recent exhibition ‘The Borderless Wall’ to the exhibition ‘Waste Not’ at Pace Gallery in Seoul, Korea, we can see ‘the past’ — when he revisited the time when his father taught him Dao De Jing (The Classic of the Ways and Virtue) and Zen Buddhism; when he recalled the video work Frying Water he created on his wedding day was criticised by his father. At the same time, we can see our own ‘past’ — the everyday objects displayed between the two glasses bring up our memory of 80s and 90s. Song Dong’s method of treating ‘everyday objects’ is that of ‘combing like terms’. He thinks such categorisation is what produces ‘border’ in itself. He usually employs two kinds of categorisations: one is by the function of objects themselves; the other is by the traces of history generated in the relationship between objects and spaces. To the latter, he matches objects with spaces: kitchen utensils are placed on the wall facing the market; everyday objects are placed on the wall before the old houses from the republic era; toys are placed before the kindergarten; stationery is placed before the commander office in the past... Objects and space complement each other but do not completely combine. He immersed the three walls into the larger environment of Zhusigang district.

Things inside and beyond the wall thus all converge on the critical threshold of ‘wall’/‘border’, space then becomes an extension of Song Dong’s work. It is interesting that between the existence of people and the display of the objects, there is no essential difference the two, as both exist in a kind of ‘present’ that holds on the ‘past’, both face towards the ‘future’. And it is not difficult to understand why Song Dong’s work retains a consistent visual representation in the midst of the change of day and night – before the ‘Borderless Wall’ the viewer tries to conclude their own ‘presence’ through a line of time and eventually come to realise that one always lives in the instant of the moment. The ‘future’ in the next second is the ‘present’ that you construct, once you utter its name, it turns into the ‘past’.

兩個類似的事物通過不同的修辭方式，呈現出不同的表像，沒有一個表像可以言說自己是全然真實的。有趣的是，「界」是一種修辭，形容的是在某個系統、制度下，依據某種約定俗成的規範，區分了AB二者。這種修辭假設了AB本來就有界，否則，AB不就成了相同之物?然而在符號系統中，AB又是無界的，因為它們都是母。於是，「兩個事物是否有界」的討論和我們個人的視野格局緊密相關。當你意識到有界，「界」對你才有效、才能規訓你; 如果你意識不到AB的區別，它們之間的界對你而言就是無意義的。達至無界沒有捷徑，無界的過程暗含「去標準化」、「去規範化」的意味，但它更側重觀者的「吾觀世道」的修煉。「吾」之眼要撇開偏見，看到的不是界或非界，而是無界。

牆是一個巨大的光影裝置。白天，我們透過兩層玻璃(前面一層為鏡面玻璃，後面一層為玻璃)看到裝置中的物體，度量著自己和這些物體的關係。夜間，待裝置中的燈被點亮，兩層玻璃的相互折射讓一盞燈看起來像一排燈，鏡子與鏡子相互照映，燈與燈相互對視，作為觀眾的我們好像被扔進了「過去」一浪浪的回聲之中。牆裝載了「過去」，「過去」就是「現在」。發生了的事情還在人的腦海中迴響，迴響聲越來越大，人就越難對它置之不理。過去還徘徊在身邊，昨日也回蕩在今天周圍。現象學家莫里斯．梅洛-龐蒂 (Maurice Merleau-Ponty) 曾說:「世界不再通過再現出現在畫家面前，畫家彷佛通向可見物本身的集中而誕生在事物當中。言外之意，藝術家催生了事物，輔助了事物的自身在的創生。從宋冬近期展覽「無界「到韓國首爾佩斯畫廊個展「無用之用」，我們皆看到了「過去」——他從現在回到其父教導他讀《道德經》、禪宗故事的時刻，他憶起了結婚當天創作的視頻作品《炒水》被其父批評；同時，我們也看到了自己的「過去」——陳列在兩扇玻璃之間的日常物勾起我們對80、90年代生活的記憶。宋冬在處理「日常物」時的方法是「合併同類項」，他認為這種分類本身就構成「界」。他通常用的分類方法有兩種:一個是物本身的使用方式;另一個物與空間相互而成的歷史線索。就後者而言，他將物品與空間一一對應:菜市場前面的牆擺著廚具、民國舊居前面擺著日用品;幼稚園前面擺著玩具，過去的司令部錢擺著文教用品......物與空間的關係互文，卻又不完全重合。他將這三面牆納入到竹絲崗社區的大環境中，將牆裡牆外之物都彙集在「牆」/「界」這個臨界點上，這時，空間也就成了宋冬作品的延伸。頗可玩味的是，再看人的在和物的陳列，我們和物並沒有什麼本質差異，皆是生在一種裹挾著「過去」並朝向「未來」的「現在」之下。如此就不難理解，為何宋冬作品在鬥轉星移的日夜變化間，保持了一種連貫的視覺呈現—— 觀眾面對「無界」之牆，試圖通過一個時間線來總結自我的「在場」，最終卻發現，自己總是生活在剎那的瞬間。下一秒的「未來」是你建構的「現在」，你一念它的名，它就變成「過去」。

既然牆是作品的一部分，那麼「無界」也就有了藝術本體的指向性，帶出我們對「牆」的第三種探討。牆的功能在宋冬的作品中被消解了，不過消解的不單單是牆，還有藝術創作中的本體。牆的出現，將扉美術館一牆之隔的菜市場、幼稚園、民國司令部(小白樓)連通起來，並讓這些在地的事物凸顯出來了。可以說，「牆」讓不容易察覺的東西被察覺，讓不可視的東西視覺化。這裡，不可視的東西除了廣東竹絲崗地區的歷史，也指向了宋冬的「過去」。

無界的墻 Borderless Wall 2016-2017 裝置事件窗戶、玻璃鏡面、燈 405×10600cm (現場) ，圖片提供：扉美術館

1ST BANGKOK ART BIENNALE 首屆曼谷藝術雙年展

The first Bangkok Art Biennale 2018 will be held from November 2018 to February 2019. The exhibition was sponsored by Thai Bev, Thailand’s largest winemaker, Central Group and Siam Piwat, hoping to promote Thai cultural characteristics, contemporary art and revitalize tourism through this four-month festival. The Bangkok Metropolitan Authority (BMA) and the Thai Tourism Board (TAT) will also contribute to the development of the country’s art activities. Former Thai Ministry of Culture Secretary-General Apinan Poshyananda serves the exhibition as the artistic director. He said that 70 artists from Thailand and other countries will showcase the theme of this exhibition “Beyond Bliss” through their works. 首屆曼谷雙年展將於2018年11月至2019年2月舉行。是次展覽由泰國最大釀酒商Thai Bev、百貨零售集團Central Group及Siam Piwat聯合贊助，希望透過這為期四個月的藝術節活動推廣泰國文化特色、當代藝術及振興旅遊業。曼谷都市管理局（BMA）及泰國旅遊局（TAT）亦將會為今次藝術節出一分力，藉此推動該國藝術活動發展。前泰國文化部秘書長Apinan Poshyananda為是次展覽活動擔任藝術總監。他介紹道，70位來自泰國及其他國家的藝術家將會透過其作品表現出今次展覽「超越極樂」這主題。

TRIENNIAL 三年展

2018 New Museum Triennial 新美術館三年展 February 13-May 27 Baltic Triennial of International Art 第 13 屆波羅的海三年展 May 2018 Lithuania 立陶宛 June 2018 Estonia 愛沙尼亞 September 2018 Latvia 拉脫維亞 FRONT International: Cleveland Exhibition for Contemporary Art 前沿國際：克利夫蘭當代藝術三年展 July 7-September 20 Echigo-Tsumari Art Field 越後妻有大地藝術祭 July 29-September 17 Echigo-Tsumari Art Field 越後妻有大地藝術祭 July 29-September 17

ECHIGO-TSUMARI ART FIELD 越後妻有大地藝術祭

On the back of six previous editions, Echigo-Tsumari Art Field has quietly become an established alternative form of triennial that communicates and revitalises a region. The 7th edition will develop in a few directions. An exhibition and musical performances are going to question homogenous space singularised by globalisation through examining the role of architecture and the power of art. 50 site-specific artworks are set up in the region as a realisation of art born in the place where humans inhabit. Migration expedited by art refers to satellite bases in Echigo-Tsumari set up by national and international institutions and demonstrates the network the festival has built through art. In addition to the above, the festival features a special exhibition concerning the origins of human as humans and nature have co-existed in Echigo-Tsumari for 5000 years. 擁有六屆經驗的越後妻有大地藝術祭逐漸建立了一種成熟的另類三年展模式，第七屆的展覽將循幾個面向發展。全球化使世界趨向單一，透過檢視建築和藝術力量，展覽及音樂表演質疑均質空間的意義。50件針對特定空間的作品會散落在區內不同位置，體現藝術誕生於人類居住的地方的理念。藝術促進徒動指國內外機構在藝術祭中的衛星基地，展示出藝術祭透過藝術建立的網絡。另外藝術祭特設探索人類起源的展覽，回應人類與大自然已經共存5000年的越後妻有。

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A2Z Art Gallery present

Ng Lung Wai «One Person - Two Systems» March 24 - April 29

Opening on Saturday March 24, 6-8pm In the presence of the artist 20 Gage Street, Central, Hong Kong

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伍龍威 «一人－兩制» 3.24 －4.29 開幕式：3.24（週六）晚上6時－8時藝術家出席開幕酒會中環結志街20號預約: hongkong@a2z-art.com +852 2395 5198 28/02/2018 17:48

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