{"id":16686,"date":"2017-04-21T03:14:00","date_gmt":"2017-04-21T03:14:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=16686"},"modified":"2023-12-07T03:44:41","modified_gmt":"2023-12-07T03:44:41","slug":"abhk-2017-unreport","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hans\/abhk-2017-unreport\/","title":{"rendered":"ABHK 2017 UNREPORT"},"content":{"rendered":"\n

It was great, but did they sell?<\/strong><\/p>\n\n\n\n

Yes. Over the entire period of Art Basel Hong Kong, Ran Dian spoke with many gallerists, collectors, curators and museum directors from all over China, East Asia, South East Asia, Europe, North America, India and Australia. The overall reaction was very positive. Many gallerists were delighted with the results.<\/p>\n\n\n\n

There were a few (small) negatives. Galleries from India generally got off to a slower start with sales but said that things improved later. On the final day, a couple of mid-sized European galleries were less enthusiastic, mentioning to me that their sales were just \u201cok\u201d or only covered outlays. The Encounters section, Hong Kong\u2019s equivalent of Art Basel Unlimited, still needs work\u2014right now it is big rather than nuanced, which has always been its problem (Unlimited in Basel, please note, regularly includes very small works but gives them space). At the end of the fair, though, even China\u2019s tightened currency exchange restrictions were not enough to spoil the party. (We still have to see how many sales have difficulty settling).<\/p>\n\n\n\n

Chinese galleries that did particularly well included ShanghART, Magician Space, Platform China, Hanart TZ and BANK, to name but a few. From Europe, Korea and the U.S., sales directors at Victoria Miro, Lisson, Gladstone, Chantal Crousel, Marian Goodman, Kukje, Almine Rech, L\u00e9vy Gorvy Michael Werner and David Zwirner were all beaming. So at the exhibitor after party there were (almost) no tears.<\/p>\n\n\n\n

Next year is already in planning. Art Basel Hong Kong will once again coincide with Easter. We will have to see whether that again affects the presence of Western visitors and regional expats, and whether (by then) that will even matter. [scroll down for more]<\/p>\n\n\n\n

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(L to R) Dr Uli Sigg, Charlotte Appleyard and Budi Tek, following Mr Tek\u2019s talk at Swire Properties Lounge at Art Basel Hong Kong (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n
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Chang Chao-Tang at Chi-Wen Gallery (detail) (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n
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Thomas Ruff at Galerie R\u00fcdiger Schottle (Munich) (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n
\"\"
Birdhead at ShanghART (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n

Tax and Currency<\/strong><\/h1>\n\n\n\n

From January 1 the Chinese government halved the import duty on artworks to 3%. In 2012 it was 12%. The change is probably not because the government suddenly loves foreign art but because it is taking a range of measures to encourage capital inflows of foreign currency in order to counteract official and unofficial currency outflows. Maybe you have noticed that residential sales around the world in\u2014Hong Kong, Singapore, London, Sydney, Vancouver, Seattle, New York\u2014are to greater or lesser extents being driven by Chinese investment. There are different reasons for this, but a major one is to hedge against economic instability in China and to park income received outside of China. In recent years this has created a quandary for the Chinese government, which has responded by drastically tightening foreign exchange controls. It is a blunt tool that affects everyone, from mum and dad investors to dedicated contemporary art collectors. Leading up to Art Basel Hong Kong, everyone knew it was going to have an impact on sales. And it did\u2014but despite the difficulty reported, sales were still very strong. [scroll down for more]<\/p>\n\n\n\n

Artists<\/h1>\n\n\n\n
\"\"
Takashi Murakami with Dasha Kotova of Garage MCA (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n
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Artist Guo Hongwei at Chambers Fine Art (Beijing & New York) (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n
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Lin Ke at BANK winner best booth (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n

Showtime<\/strong><\/h1>\n\n\n\n

It is hard to pin down precisely why Art Basel is such a smooth machine for the sale and promotion of art. Brand cachet and marketing is only part of the reason, and VIP relations another. Just as important, though, is display. Each year since buying the Art HK fair in 2011, Art Basel has played with and refined the Hong Kong recipe, including everything from exhibitors, dates, programming, catering and, very importantly, layout. Yes, it looks very sleek, but the real magic is in engineering crowd flow through the exhibition thoroughfares and individual booths while maintaining enough elegant wall space to keep galleries separate, but not claustrophobic. In previous years, the upper floor (particularly the rear section) suffered relative to the ground floor. Everyone wanting to visit the third floor has first to get through security and crowds, negotiate two long escalators and more crowds and more security. Often visitors had run out of energy by the time they got to the back of the third floor. That has changed. Greater crowds and growing familiarity with the exhibition and Hong Kong Convention Centre no doubt helped, but a lot comes down to the show layout, including more strategic placement of cafes and a more efficient organization of sections\u2014particularly the central Encounters space. I believe it would still help enormously to open the top floor an hour earlier than the ground floor and to move the security check (but access points mean this is easier said than done). [scroll down for more]<\/p>\n\n\n\n

Painting<\/h1>\n\n\n\n
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Magnus Plessen at Mai 36 Galerie (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n
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George Condo at Skarstedt (London & New York) (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n
\"\"
Cui Jie at mother\u2019s tankstation (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n
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Wang Jianwei at Long March Space (Ran Dian)<\/figcaption><\/figure>\n\n\n\n
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Liang Wei at Magician Space (detail) (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n
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Robert Motherwell at Galerie Hans Mayer (image Ran Dian magazine)<\/figcaption><\/figure>\n\n\n\n
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Brook Andrew at Roslyn Oxley 9 (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n
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Barbara Kruger at Spr\u00fcth Magers (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n
\"\"
Stella Hamberg and Neo Rauch at Eigen+art (Ran Dian)<\/figcaption><\/figure>\n\n\n\n
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Platform China booth (Ran Dian)<\/figcaption><\/figure>\n\n\n\n

Art Reports and Different Numbers<\/strong><\/h1>\n\n\n\n

Reports on the art market are suddenly very hip. The art market is still such a tiny little thing compared with other markets, like pork bellies or copper, but a sufficient number of clients of investment banks are involved in it to make the financial analysis worthwhile. Apparently. The trouble is that most reports are rubbish, with a few exceptions.<\/p>\n\n\n\n

Art Basel Hong Kong saw the launch of the Art Basel UBS Global Art Market Report 2017, compiled by Clare McAndrew, founder of Arts Economics. TEFAF, the other major international art fair, founded in 1988 and owned by the European Fine Art Foundation (an association of dealers), produced its own Art Market Report. The person who used<\/em> to write this report is Clare McAndrew. A third report is produced by Artprice, a French-owned online art database, in cooperation with Art Market Monitor, owned by China\u2019s Artron (probably the world\u2019s biggest art book printer and owner of the world\u2019s biggest unnavigable art website). And by the way, Chinese auction data for the Art Basel UBS report came from Art Market Monitor of Artron, supported by the Shanghai Culture and Research Institute. [scroll down for more]<\/p>\n\n\n\n

Up or down? And how big you say?<\/strong><\/h1>\n\n\n\n

The Art Basel & UBS Art Market Report says that since 2015, the world art market is down by 11% to USD 56.6 billion.<\/p>\n\n\n\n

TEFAF\u2019s says the world art market, comprising auction and private sales, is up 1.7% to USD 45 billion.<\/p>\n\n\n\n

Artprice says that fine art sales (Rembrandts, Song Dynasty porcelain, Louis XI clocks) are down 23% to USD 16.9 billion, compared with Art Basel UBS\u2019s figure of USD 22.1 billion.<\/p>\n\n\n\n

Maybe maths is not the art world\u2019s strong point, but putting dollar signs in front of the word \u201cbillion\u201d tends to concentrate the mind.<\/p>\n\n\n\n

The main difference between the TEFAF and Art Basel UBS reports is that the latter includes more data on auction sales (including Chinese ceramics, a very important sector). But auction sales only get you so far. How does one estimate the size of the private sales market? Both the Art Basel UBS and TEFAF reports used an anonymous, voluntary online survey of art dealers (TEFAF\u20146,500 with a 17% response rate, Art Basel UBS\u20147,000 with a 5% response rate). Statistical methodology is helpful, but the whole thing is still very opaque (subtext: dealers have been known to \u201cgild the lily\u201d. Sometimes the gilding is so good, it leads to gelding), and anecdotal evidence suggests that all auction records are routinely surpassed in private sales. Well goodness gracious.<\/p>\n\n\n\n

And then there is the problem of comparing apples and oranges, even for the same artist and for works from the same period that are of commensurable size and quality. And different clients get (and ask for) different prices.<\/p>\n\n\n\n

If only we could take a quick <\/s>look at the manifest of works in storage at free ports in Geneva, Luxembourg, Singapore and Shanghai (TEFAF estimates that 1.2 million artworks are held in free port storage in Geneva), and then cross-check this<\/em> with art insurers and confirmed private sales. Hmm. Ok, it\u2019s unlikely for sure, but greater transparency would make for a more robust and therefore more lucrative market. [scroll down for more]<\/p>\n\n\n\n

Sculpture \u2013 what to do with it?<\/h1>\n\n\n\n
\"\"
Rebecca Horn at Sean Kelly (Ran Dian)<\/figcaption><\/figure>\n\n\n\n
\"\"
Stephan Balkenhol at Mai 36 Galerie (Ran Dian)<\/figcaption><\/figure>\n\n\n\n
\"\"
Hu Weiyi at A+ Contemporary installation, Encounters section (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n
\"\"
Pae White at neugerriemschneider (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n
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Nam Jun Paik at Gagosian (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n
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Mariko Mori and Tatsuo Miyajima at SCAI The Bathhouse (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n

Facts and Figures<\/strong><\/h1>\n\n\n\n

\u2013 U.S.A.!<\/strong> The U.S. is still No.1. It generates 40% of global sales, followed by the U.K. (well, London) and China<\/p>\n\n\n\n

\u2013 33,000.<\/strong> Is the number of high-net-worth Americans who spent USD 1 million or more on art in the past 2 years (expect to see China catch up fast).<\/p>\n\n\n\n

\u2013 Galleries go big, or suffer<\/strong>. The proportion of dealer sales accounted for 57% (up 3%) and Auctions for 43% (down 26%). However, only galleries with annual turnover above USD 1 million increased revenue.<\/p>\n\n\n\n

\u2013 China rules Auctions.<\/strong> China is the biggest region for auction sales, but non-payment is a significant and underreported issue.<\/p>\n\n\n\n

\u2013 King Zhang.<\/strong> USD 354.8 million was the total auction sales in 2016 for Zhang Daqian (1899-1983), making Zhang the foremost artist at auction (Artprice and Art Market Monitor).<\/p>\n\n\n\n

\u2013 Online sales still small<\/strong>. But growing.<\/p>\n\n\n\n

Fakes and Money Laundering<\/strong><\/h1>\n\n\n\n

Are fakes a problem? Sure, but get some perspective, because a far bigger problem is \u201cfakes\u201d in the markets for medicine, milk products and automotive parts. And anyway, in the art world, money laundering and smuggling puts fakery in the shade, because many works are highly transportable, valuable, with limited or no publicly available documentation\u2014 and really, how many customs agents have a clue what they\u2019re looking for anyway? (Dear Miami customs agents, when you suggest to me I am carrying cash and art, not only are you asking the wrong person, but in the wrong place and at the wrong time). Further, once an artwork is stored in a Freeport, it can disappear for years or decades, moved from shelf to shelf as collateral, or as ownership changes (after all, moving USD 50 million these days without something appearing on an electronic bank statement somewhere is virtually impossible).<\/p>\n\n\n\n

So here we are now. Again.<\/p>\n\n\n\n

[no more scrolling \u2013 you can stop now.]<\/p>\n\n\n\n

Sources<\/strong><\/p>\n\n\n\n

Scott Reyburn, \u201cWhat\u2019s the Global Art Market Really Worth? Depends Who You Ask.\u201d New York Times, March 23, 2017.<\/p>\n\n\n\n

https:\/\/www.nytimes.com\/2017\/03\/23\/arts\/global-art-market.html?_r=1<\/a><\/p>\n\n\n\n

\"\"
Shen Shaomin in Encounters (OSAGE Gallery) (Ran Dian images)<\/figcaption><\/figure>\n\n\n\n
\"\"
Bending over backwards at Galerie Perrotin (Ran Dian images)<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

It was great, but did they sell? Yes. Ov … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":16762,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[23],"tags":[9034,149,475,11355,562,415,561,67,154,102,11265,98,416,29,239,417,374,393,11356,457,1191,458,459,419,456,210,460,605,230,461,421,648],"yoast_head":"\nABHK 2017 UNREPORT - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/abhk-2017-unreport\/\" \/>\n<meta property=\"og:locale\" content=\"zh_CN\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ABHK 2017 UNREPORT - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"It was great, but did they sell? Yes. 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