Archives pour la catégorie Actualités de l’art contemporain à Shanghai et en Chine

Le monde devient Chinois! Visite de la Fondation Vuitton

Et oui, cette évidence qui vous saisit à la Fondation Vuitton: un ensemble sculptural , hyper-dimensionné qui n’est que peu l’écrin de l’art! des visiteurs naïfs qui se font prendre en photo devant des oeuvres , faciles supports de projection de soi! Même si son « soi » est bafoué, torturé et mis en pièces par les différents artistes!

Les oeuvres d’Olafur Eliasson comme une métaphore de ce « new world »: elles s’appellent par humour Contact et nous font inter-agir les uns avec les autres, les uns avec leurs ombres, les autres avec leurs sens, dans la frayeur de l’obscurité ou l’abîme de leur dédoublement à l’infini

Tout communique avec tout , tout participe de tout, le monde se partage, les sens se partagent mais quel sens, quel monde?

Au théâtre de la cruauté où chacun est acteur et spectateur

Et la Marque Louis Vuitton … en majesté

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Souvenirs, souvenirs!

China is sending artists to the countryside to ‘form a correct view of art’

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In a move channeling the Mao Zedong era, the State General Administration of Press, Publication, Radio, Film and TV [SARFT] announced that artists, filmmakers and TV personalities will be sent to the countryside to learn from the masses.

Some of the chosen ones will live in rural villages for at least a month to experience local life, while others will be shipped off to areas considered significant to China’s revolutionary past. One TV crew has already been drafted to visit a famous battle site to seek inspiration for an animated series, according to the BBC.

The announcement came after President Xi Jinping (a man of the masses) lectured a group of artists about promoting socialist values within their work rather than using « vulgar » means for commercial gain, AFP reports.

China’s media watchdog « will organise film and TV series production staff on a quarterly basis to go to grassroots communities, villages and mining sites to do field study and experience life », the official Xinhua news agency reported, citing a statement by the State General Administration of Press, Publication, Radio, Film and Television.

Scriptwriters, directors, broadcasters and anchors will also be sent to work and live for at least 30 days « in ethnic minority and border areas, and areas that made major contributions to the country’s victory in the revolutionary war », Xinhua added.

The move « will be a boost in helping artists form a correct view of art and create more masterpieces, » Xinhua said, citing the media administration.

Joseph Cheng, professor of political science at the City University of Hong Kong, described it as « rectification campaign » echoing Mao’s Cultural Revolution, only more targeted. »This campaign is a bit different in the sense that as long as you don’t challenge the authorities – as long as you keep quiet – you are safe to keep making money, » he was quoted as saying in the AFP report.

In Xi’s October speech, likened to a famous one made by Mao in the 40s, the president told artists not to become « slaves to the market ».

« Fine art works should be like sunshine from blue sky and breeze in spring that will inspire minds, warm hearts, cultivate taste and clean up undesirable work styles, » he said.

Dissident artists like Ai Weiwei have long struggled with censorship more so than the understanding of everyday people in China. Ai has been banned from leaving the country since his passport was confiscated by authorities three years ago.

Contact the author of this article or email tips@shanghaiist.com with further questions, comments or tips.

China Follows Wordplay Ban With Program to Help “Form a Correct View of Art

 By Filipa Ioannou

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President Xi Jinping of China.

Pool New/Reuters

Chinese state media has announced government plans to dispatch artists, filmmakers, and TV crews to rural areas to help artists and townspeople form « correct » views on art, according to the Guardian. The plan follows on the heels of a fresh ban on wordplay and puns, and has drawn comparisons to Mao Zedong’s tactics during China’s Cultural Revolution, when intellectuals and artists were sent to labor alongside peasants on public works projects.

In an October address to an assembly of prominent Chinese artists, authors, actors, dancers, and screenwriters in Beijing, President Xi Jinping warned artists against becoming slaves to the marketplace and stressed the importance of patriotism in their work. He said it was important for art to encourage a « correct » view of history and promote national pride.

Xi said artists should avoid creating work tainted by the « stench of money, » according to state news agency Xinhua. « Fine art works should be like sunshine from blue sky and breeze in spring that will inspire minds, warm hearts, cultivate taste and clean up undesirable work styles, » he said.

Back in October, Chinese media outlets compared Xi’s comments on the role of the arts to iconic 1942 remarks by Mao Zedong at the Ya’nan Forum. In that speech, Mao told his audience that a military army would not be enough to ensure the success of Communism and the liberation of the Chinese people; a cultural army would also be necessary.

In today’s China, Xi’s ramped-up pushback against state corruption has been coupled with increased regulation and scrutiny directed at the arts. Xi’s crackdown has involved banning scenes of one-night stands and adultery on TV, forbidding the broadcast of movies starring actors who have used drugs, and seizing 82 pounds of gold and the deeds for 168 houses from the home of one senior Party official.

Just last week, the country’s media regulators denounced puns and called for tighter censorship of them, citing that puns lead to « cultural and linguistic chaos. » Strict regulation of language is nothing new in China. Earlier this year the People’s Daily, the main newspaper of the Communist Party, condemned the influx of foreign words like « WiFi » and « VIP » into the popular Chinese vernacular. The idea that language is linked to deeper cultural values can be traced back to tight linguistic control under what some have termed Mao’s program of « linguistic engineering. »

China has nearly a quarter of the share of the international art market, according to the BBC, but it remains to be seen how Xi’s arts and media policy changes will affect the global art market at large. In the meantime, as the Wall Street Journal notes in a cruelly ironic headline, there’s « Nowhere to Pun. »

Filipa Ioannou is a Slatest intern.

Le face à face de ces deux articles est intéressant

But in the wake of the 2009 auction of the Zodiac heads, Beijing officials said they were acting against Christie’s in China. The government ordered officials to tighten up the inspection of art that the auction house brings in and out of China, making it harder for the company to do business there. And the  State Administration of Cultural Heritage (SACH) issued a statement condemning Christie’s auction of the sculptures, saying it would have « serious effects » on Christie’s development in China.

Christie’s CEO Was « Panicked » Over Chinese Buyer Default, Leading to Private Sale of Ancient Bronze

Eileen Kinsella, Friday, March 21, 2014

Christie's CEO Steven Murphy. Photo: Patrick McMullan

Christie’s CEO Steven Murphy. Photo: Patrick McMullan

Christie’s Asian Art Department staff are furious at CEO Steven Murphy over the 11th hour decision to sell a famous bronze vessel privately to a group of Chinese collectors for a price of more than $20 million, artnet News has learned.

The Asian art department staff had been working on the sale for over a year and believed the price of the vessel could climb as high as $50 million on the auction block. Now the deal won’t be reflected in the department’s auction coffers. The object, known as the “Min » Fanglei, a massive bronze ritual vessel from China that dates from the Late Shang/Early Western Zhou periods (12th–11th century BC) had an unpublished estimate of $15 million but was expected to sell for as much as three times that on the strength of intense interest from mainland Chinese buyers, including a delegation from the Hunan Provincial Museum in Changsha City, where a matching cover to the vessel is currently housed. The final sale prize is believed to be about $30 million artnet News has learned, but as is typical in these cases Christie’s refuses to confirm  or deny this.

According to an inside source, Christie’s CEO Murphy was « panicked » over the possibility of a repeat of the the fiasco that occurred during the Yves Saint Laurent and Pierre Bergé sale in Paris in 2009. That sale included two rare bronze Chinese zodiac sculptures, a rabbit and a rat, that had been looted from Beijing’s Old Summer Palace during the 1860s and passed through several hands before coming into the collection of the Parisian fashion designer. Prior to the sale, Chinese state media officials referred to the objects as “war plunder. »

One official, Zong Tianliang, a spokesman for the palace administration, told the Telegraph: “We respect the business rules of auction companies as well as the operating mechanism of arts markets. But it’s definitely unacceptable to put plunder under the hammer. » Liu Yang, a Beijing lawyer who was  helping to organize a lawsuit in France, stated to the New York Times: « That Christie’s and Pierre Bergé would put them up for auction and refuse to return them to China deeply hurts our nation’s feelings. »

Cai Mingchao, a Chinese collector and businessman who successfully bid about $40 million for the two works, later announced that he had no intention of paying for them and said they they should be voluntarily returned to China. The zodiac heads were given back to Bergé. Murphy, fearing a repeat of such an incident, pushed for a private sale of the “Min » Fanglei at a lower price in order to avoid the possibility of a public auction misfire, insiders say.

Last summer, Francois Pinault, along with his son Francois-Henri and his wife—actress Salma Hayek—returned the zodiac heads to China at a ceremony in Beijing attended by China’s Vice Premier Liu Yandong. According to reports, Pinault acquired the works from a private collector.

Defaults on pricey auction items sold in China or bid on by Asian collectors have become a major problem for auctioneers. For instance, Qi Baishi’s masterpiece Eagle Standing on a Pine Tree (1946) drew a stunning $65.4 million at China Guardian in May 2011, only to languish in a warehouse in Beijing in the years since the sale after the winning bidder refused to pay for the work, citing doubts about its authenticity. A report jointly produced by artnet and the China Association of Auctioneers (CAA) last fall indicated that only half of the works offered at auction in China were actually sold in 2012 and stated that the Chinese art market witnessed a decrease in demand. “As a result, the total sales value dropped by US$4 billion (CN¥26.5 billion), a significant decline of almost 50 percent, » according to the report. Another report compiled separately by CAA found that about half the sales of artworks worth more than $1.5 million between 2010 and 2013 were not completed because the buyer failed to pay what was owed.

It was well known that Chinese buyers were very interested in the « Min » Fanglei, probably the most important Chinese bronze ever to appear at auction. Indeed, Chinese buyers had approached Christie’s in the period leading up to the sale, scheduled for Thursday March 20 at 11am, to purchase the ancient Chinese bronze vessel privately. One interested buyer showed up with a cashier’s check for US$20 million.

« We had ample interest on the bronze leading up to the exhibition, » Catherine Manson, a Christie’s spokeswoman said in an email in response to questions sent to Murphy about whether fear of a buyer default played a role in the decision to sell privately. « The decision to sell privately was the result of the offer and the opportunity for the work to go to a museum, » Manson told artnet News.

But internal sources at Christie’s suggested otherwise, saying fear of buyer default drove the decision-making and overrode specialists. « I think people here are upset because they worked so hard on this consignment, marketing, catalogs, views, vetting, etc., » said one source. « It’s anti-climactic. »

“Of course the specialists have every right to be angry unless senior leadership has compensated for it in their goals » for that department, said a former senior executive at Christie’s who asked not to be named. “Historically I’ve seen there always be a disconnect between senior leadership and how they drive and motivate specialists. They tend to put all this pressure on the specialists, and then come in and make these types of decisions, which dilutes the holistic approach to the business. »

artnet News began hearing reports of a $20 million private offer on March 18, two days before the planned auction. Other sources familiar with the sale said pressure from the Chinese government may have played a role in the sale. Much is at stake for Christie’s, which held its first sale in mainland China in Shanghai last fall (September 26). While Hong Kong, a free port, has proved a lucrative sales hub for both Christie’s and its competitor Sotheby’s, both have been keen on expanding their sales to mainland China, where they have historically faced strict regulations as foreign fine art companies and have had to team up with local entities to transact business.

Did the Chinese government play a role in Murphy’s decision to sell the object privately to a group from Hunan province who have publicly expressed their intention to donate the vessel to the Hunan Provincial Museum? Christie’s says no.

But in the wake of the 2009 auction of the Zodiac heads, Beijing officials said they were acting against Christie’s in China. The government ordered officials to tighten up the inspection of art that the auction house brings in and out of China, making it harder for the company to do business there. And the  State Administration of Cultural Heritage (SACH) issued a statement condemning Christie’s auction of the sculptures, saying it would have « serious effects » on Christie’s development in China.

 

François-Henri Pinault Says Fashion Should Not Exploit Art for « So-Called Respectability »

Christie Chu, Tuesday, December 2, 2014

New York Times Fashion Director and Chief Critic, Vanessa Friedman talks with Francois-Henri Pinault at the INYT Conference.

New York Times Fashion Director and Chief Critic, Vanessa Friedman talks with Francois-Henri Pinault at the INYT Conference.

For the 14th annual International New York Times Luxury Conference—a two-day marathon of keynote speakers and panel talks in the fields of art, fashion, and technology—the Grey Lady decided it was time to debut the event in North America. And what better time and place than during Art Basel in Miami Beach, an event that has become, in a way, the apotheosis of the union of art with fashion, luxury brands, and pop culture. As Stephen Dunbar-Johnson, president of the New York Times Company, playfully put it, “[Miami] is where neon goes to die. But it’s also where the Americas meet. »

The opening talk was with François-Henri Pinault, CEO of the retail company Kering (founded by his father François Pinault), which owns Gucci, Balenciaga, and Alexander McQueen, among many other high-end luxury brands. Pinault’s other holding company, Groupe Artémis, owns mega auction house Christie’s (which today announced its CEO Steven Murphy is stepping down). To hear Pinault, a man with deep knowledge of the luxury goods market, speak as the art fairs and events simmered around the city was, to say the least, fitting. We took notes. If you missed the conference, here are a few choice takeaways from his talk.

1. We should embrace innovation [in fashion] any time it meets one of these four criteria:

a) It must strengthen the quality of the sustainability of the materials;

b) It must offer a new area of expression in design;

c) It must improve the quality of the production process; and

d) It must create new functionality.

2. “We need to view technology with a critical eye…. In luxury we cannot jump on any bus for a concept for the sake of looking modern. »

3. “The creations of the best fashion designers speak to their time, in the same way that creation by painters and novelists do. »

4. “The conversation between fine art and luxury is not new, but there is one thing that is blurring the lines more: it is the fact that art and fashion now occupy the same physical space in society. Both art and fashion are now in the streets, drawing influence from and influencing contemporary lifestyles. But today, art has moved out of museums, where it used to be confined, and fashion has moved in. »

5. “We should not be fooled by modern strategies that sublimate luxury with fine art. The dialogue between art and luxury is natural and fertile as long as fashion does not exploit art to gain so-called respectability. »

6. “Luxury cannot be an industry driven by volume. »

7. “Clearly there is a bond between luxury and art, but they are very different disciplines. »

Pinault’s other love is watches. During the talk, he argued that watchmaking is the only instance where technology is at the heart of a luxury product. Right now, what we have on one end of the spectrum is the Google watch, which is only digital. And on the other end we have the traditional mechanical watch. The CEO is working on a project that is “converging the two worlds. » Gucci, Kering’s star brand, has also had a long-standing relationship with the film industry and this year the fashion label has partnered with LACMA to honor Martin Scorsese.

Follow @chuchristie on Twitter.

Go to artnet News’s Art Basel in Miami page for the latest coverage from the fairs.

« Walk, breathe and Die »,

« Breathe, walk and die » nous offre bien plus qu’une ballade au cirque car cette mise en scène haute en couleurs se veut en plongée totale dans le cirque de la vie,avec les oeuvres-installations de Ugo…

Au sortir de cette bulle de savon colorée…

soudain les clowns sont dans la rue,dans le métro, en train de se photographier,devant les oeuvres…

Marionnettes étriquées dans leur 2 pièces griffé,sac LV et Samsung de rigueur, obèses de l’intérieur, gavées de vide

Théâtre de la cruauté, désormais le quotidien ob-scène que nous partageons avec ce pays…

Petit poème en prose de Jean Sicard

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