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bronze ritual vessel from China that dates from the Late Shang/Early Western Zhou periods (12th–11th century BC) had an unpublished estimate of $15 million but was expected to sell for as much as three times that on the strength of intense interest from mainland Chinese buyers, including a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.

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Avoir fini d’écrire La Marque Rouge . Vouloir que mon livre vive.

Vouloir transformer un geste éditorial en dialogue.

Et surtout voir, à chaque coin de rue de Shanghai vivre ces marques rouges…

Voir défiler les images

Voir une Porsche rouge où tintinambulent des canettes de coca,

Voir un petit vendeur des quatre saisons rire de ses bouquets de pommes en sucre rouge

Voir des oeuvres d’art qui racontent La Marque Rouge

Voir des Marques qui racontent la Marque Rouge

Vous faire profiter de ces ballades dans Shanghai tout en comprenant ici le quotidien de la mondialisation

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La montée des marques chinoises

Chinese Brands Rising in China and Abroad

Back in 2011, most of the cool kids in China were sporting foreign-branded Apple, Samsung and Nokia phones, with the three brands accounting for 57% of all smartphone sales. By June this year, eight of the top-10 selling brands were Chinese. Local darling Xiaomi, which released its first smartphone just three years ago, now outsells every other brand – foreign and local – in the Mainland.

Similarly, 2012 research from the World Luxury Foundation found that 86% of Chinese consumers wouldn’t go near luxury goods labelled ‘Made in China,’ due to the country’s reputation for cheap goods. Research just released by Added Value, discovered that only 9% of luxury consumers now say they’d exclusively buy Western brands.

The rapid swing represents both Chinese brands upping their game and a growing acceptance from Chinese consumers for local goods.

Even outside of the Mainland, Chinese culture and preferences are becoming more a part of consumers’ lives; from the bubble tea sold at Western shopping malls, to big screen smartphones, to Chinese Zodiac symbols on products, to Chinese actors and backdrops increasingly starring in Hollywood blockbusters. This is being driven by brands hoping to appeal in China’s booming domestic market, cashed up tourists and migrants, but also a growing curiosity from Western consumers.

Yet most of the China-fication seen in the West is being steered by Western companies. Research last year found that just 6% of American consumers could name one Chinese brand.  Things won’t stay that way for long.

Chinese brands are already making a big impact abroad. Xiaomi is rolling out its phones in Latin America, Russia, Turkey and much of South and Southeast Asia, as has just been named as the 35th most innovative brand in the world and the top up-and-comer by BCG. WeChat is popular in many Asian markets, and eCommerce companies in India, Africa and much of the developing world are looking to follow Alibaba’s business model – not eBay or Amazons’. Lenovo is the world’s largest PC vendor by units sold and Huawei is the biggest communications equipment maker in the world.  Some of the world’s leading fashion houses now have production in China. Chinese cars, although not yet popular at home, are being recognised internationally for design, with manufacturers such as Hawtai selling more than three quarters of their cars outside of China.

Increasing confidence and growing revenue in the Mainland will undoubtedly lead to more Chinese companies expanding overseas, both organically and through acquisition.  We will see also growing numbers moving from developing countries to take on Western brands in their own markets. So whether we’re targeting Chinese consumers or consumers anywhere, China should be on the radar.

One of the categories where imported brands will reign supreme for some time is premium food and beverage, due to a lack of trust in the local fare.  For our readers in Shanghai, China Skinny will be presenting about Feeding the Masses: Trends in Food and Beverage Consumption in China next Thursday, November 13 – it will be worth the early morning.  We hope you enjoy this week’s Skinny.

Consumers,: Chinese Consumers

China Moves to Expand, Upgrade Consumption: The Chinese Government has announced measures to boost and upgrade domestic consumption to drive China’s economy. In the first three quarters of 2014, consumption contributed 48.5% of GDP, up from 45.9% in 2013.

China Rich List: Jack Ma leads the Forbes rich list in China, more than doubling his wealth from last year to $19.5 billion. Second and third on the list are also tech billionaires, Robin Li from Baidu, and Ma Huateng from Tencent. Just eight women made the top-100.

Here’s What It’s Like To Go Supermarket Shopping in China: Observations from a trip to a Chinese supermarket by an American visiting China.

Online: Internet, eCommerce & Mobile

7 Key Differences Between Chinese and Western Consumers: 75% of online Chinese consumers post feedback on their purchases at least once a month, versus under 20% in the US.

Smartening Up Their Act: More than 100 million smartphones sold in China in the second quarter of this year – over a third of all phones in the world – and eight of the top-10 brands were Chinese. Now they are taking on the world.

For First Time Ever, Baidu Now Sees Most of Traffic Come From Mobile: Mobile contributed 36% of Baidu’s revenue in Q3, up from 30% three months ago.

China Considers Regulating Smartphone Apps: With ¥1 out of every ¥10 spent in China now being spent online, the Chinese Government is looking at ways to reign in privacy leaks and malware through apps.

Developed Asia Wearies of Tech: Koreans and Singaporeans are likely to believe that « too much technology can make you disconnect from people, » however most Chinese don’t agree according to a Y&R poll. Young Chinese are also much more likely to relate to « I love sharing my life via social media. »

Amazon Will Offer Global Shopping and Ultra-Fast Delivery in China Starting This Singles Day: Amazon is hoping to get its piece of next week’s Single’s Day by offering delivery within 3-days to Chinese consumers who purchase from Amazon’s US, German, Spanish, French, and Italian stores.

Premium Food & Beverage

How Do You Say Sangiovese In Chinese? The Language Of Wine, Translated: It is much more effective describing wine in a way that is meaningful to Chinese consumers – geographically, linguistically, and culturally – such as using taste descriptors that Chinese can relate to.

Growing Seafood Appetite an Opportunity: Chinese average consumption of seafood is picked to reach 37.7kg this year, 57% more than in 2000. The global average is just under 20kg.

Banking, Finance

China Eases Monopoly on Handling of Credit-Card Payments: Domestic and foreign firms such as Visa and MasterCard can now apply to settle payments between banks and vendors in China, without requiring branding with UnionPay.

Retail and Fashion

Meet Yang Li, a Designer Putting China on Fashion’s Biggest Stage: China is shaking off negative connotations that “Made in China” is poor quality; even brands such as Prada, Michael Kors and Coach have set up production in the Mainland. We’re likely to see more world-class designs come out of China with initiatives such as the Council of Fashion Designers of America establishing an exchange program that has sent New York-based designers to China and brought Chinese designers to New York.

Cars and Auto

Design Passion Grows Alongside China’s Auto Industry: Although Chinese consumers are yet to warm to local auto brands, some of their designs are being internationally recognised, such as Chery TX’s Shanghai-designed concept SUV, named Concept Car of the Year for 2012 by the UK-based Car Design News.

Premium and Luxury

Chinese Brands to Storm Luxury Market: Just 9% of Chinese consumers only buy Western luxury brands. 51% bought Western brands first, but also considered Chinese brands. Authenticity is the most defining element of a luxury brand according to 61% of luxury consumers, customer service 58%, craftsmanship 56%, quality 53%, sophistication 53%, great design 52% and heritage 48%.

That’s the Skinny for the week!  On the to-dos this week, why not contact China Skinny to discuss how we could help with your marketing, online initiatives or research to take advantage of China’s opportunities.  Just email us at info@chinaskinny.com or call us at +86 21 3221 0273 so we can learn more about your objectives and let you know how we can help.

If you’ve missed earlier news or need to learn more, there’s a library of information about Chinese consumers in prior China Skinny Weekly’s right here. You can have this delivered to your inbox each week by subscribing for email updates, or if social media is more your thing, please follow us on Twitter, Facebook, Linked In or Google+, or subscribe to our RSS feed.  If you have any feedback or suggestions for future articles, please let us know.

La Chine , la mémoire, leurs années 50 à eux…Annonce d’un colloque à Paris

Conference « Popular Memory of the Mao Era and its Impact on History »
French Centre for Research on Contemporary China in the framework of the ANR‐RGC
collaborative project “New Approaches to the Mao Era” (CEFC‐HKU)
Dates: 15‐16 December 2014 日期:2014年12月15-16日
Venue: Maison Suger (Fondation Maison des Sciences de l’Homme, FMSH), and Centre d’études
et de recherches internationales (CERI, Sciences‐Po), Paris.
地点:巴黎人文之家基金会Suger楼; 法国国际研究中心
Languages: English and Mandarin with consecutive translation
Since the 1990s, a series of remarkable forms expressing the collective memory of the Mao era
has appeared in China, against a background of amnesia and explicit restrictions in the official
media, academia, and public commemoration. While some of its expressions may seem
anecdotal, it has also produced a crop of unofficial testimonies and investigative studies, on the
margins of official channels. Some are about the Educated Youth movement during the Cultural
Revolution, others pertain to the political movements of the 1950s, such as the Anti‐Rightist
movement and the Great Leap Forward (Yang Jisheng). In a similar way, literature has played a
key role in documenting alternative views of everyday life in the Maoist era. While writers of the
“scar literature” school of the 1980s were easily co‐opted into official narratives of the Cultural
Revolution, in recent years more radical works have appeared, documenting the 1950s and the
Cultural Revolution (Yan Lianke, Yang Xianhui). Unofficial journals like Lao Zhaopian (Old
Photographs, edited by Ding Dong), Jiyi (Memory, edited by Wu Di), Kan Lishi (Looking at
History, edited by Yang Xiaodong) or Hei wulei (The Five black categories, edited by Jiao
Guobiao) are disseminated via the internet. The last 15 years have seen an outpour of
independent documentary films, made by ordinary individuals thanks to cheap equipment,
documenting family histories and personal memories of various moments in the Mao era, from
collectivization to the Cultural Revolution (Hu Jie, Ai Xiaoming). These literary or filmic works,
made by ordinary citizens, and published or disseminated through various channels including
the internet, also contribute to challenging the existing historiography.
This challenge to history has deep‐reaching consequences for a regime whose legitimacy is
grounded in the “correct” understanding of history. Since 1981, when the Party put an end to
historical debates previously encouraged by Deng, by adopting a resolution “On several points in
the history of our Party,” the Party’s monopoly on historiography has remained massive. In this
perspective, the struggle for the interpretation of history has potentially major implications for
the relations between society and the Chinese Party‐state.
By offering an opportunity to present findings from recent fieldwork on various forms of
unofficial or popular memory of the Mao Era (social organizations, unofficial journals, literary
reportage and documentary film, oral history), this conference proposes to discuss how these
various forms of memory can transform our understanding of Chinese history and perhaps
Chinese historiography itself.
Address 地址
Maison Suger
16 ‐ 18 rue Suger, 75006 Paris
56, rue Jacob, 75006 Paris

« 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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