{"id":16856,"date":"2016-12-07T02:33:00","date_gmt":"2016-12-07T02:33:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=16856"},"modified":"2023-12-08T02:51:26","modified_gmt":"2023-12-08T02:51:26","slug":"shanghai-gold-rush-part-2-art021-sino-russian-friendship-and-french-quarters","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hans\/shanghai-gold-rush-part-2-art021-sino-russian-friendship-and-french-quarters\/","title":{"rendered":"Shanghai Gold Rush part 2: ART021, Sino-Russian friendship and French quarters"},"content":{"rendered":"\n

Welcome back to the Shanghai Exhibition Centre<\/strong> (\u4e0a\u6d77\u5c55\u89c8\u4e2d\u5fc3), otherwise known as the Sino-Soviet Friendship Building <\/strong>(\u4e2d\u82cf\u53cb\u597d\u5927\u53a6), a Stalinist wedding cake from 1955. Once upon a time it was home to ShContemporary<\/a> (2007-2014), a much vaunted contemporary art fair launched by former Basel director Lorenzo Rudolf<\/a> and Italy\u2019s Bologna Fiere. Lorenzo left (he now directs Art Stage<\/a>, Singapore and Jakarta), then there was an economic crisis, taxes on imported art remained high, Bologna Fiere didn\u2019t look after its local connections properly, and then it died rather miserably. Never mind. 2013 saw the launch of a new, boutique fair called ART021<\/a>, owned by young collectors Kelly Ying<\/strong>, David Chau,<\/strong> and Bao Yifeng<\/strong>. Two years later, ART021 had outgrown its home on the Bund and moved\u2026to the Shanghai Exhibition Centre (ha!).<\/p>\n\n\n\n

Beyond economic impetus, there are essentially two reasons why the Chinese art market has grown so mightily. The first is China\u2019s ancient history of art appreciation and culture of collecting. By comparison, look at South East Asia\u2014including Hong Kong\u2014where the culture of collecting is a far more recent phenomenon and even then often imported from China. Secondly, the broad ambition of the Chinese art world is remarkable. Whether we are talking about artists, collectors, curators, or gallerists, China wants to be a player on the world scene. Building networks is also intrinsic to Chinese society (the word \u201cguanxi\u201d is increasingly used in English). So China has the means, resources, scale, and\u2014crucially\u2014the intention to pursue its ambitions, be it building museums, sponsoring foreign institutions (K11 with Palais de Tokyo in Paris, the ICA in London and MoMA PS1 in New York), or launching an art fair.<\/p>\n\n\n\n

ART021 has grown but also matured. Thomas W\u00fcstenhagen, the director, has succeeded in developing the fair, ensuring a good mix of local and international galleries, big and small. Display is more crowded than at West Bund, but it works. ART021 definitely has more bling (including gold bling)! But prices are also generally lower than West Bund and visitors generally younger (ART021 is also more crowded). This is the first time the two shows have coincided. Both pragmatically moved their opening dates to coincide with the Shanghai Biennale<\/a>. It is too early to say exactly how the dynamic in this m\u00e9nage \u00e0 trois<\/em> played out (whether or not one member was left feeling hurt) but Ran Dian thinks ART021 and West Bund are very effective foils for one another, and we hope the model succeeds. No where else do two major art fairs go head to head in the same city at the same time.<\/p>\n\n\n\n

\"\"
Geng Jianyi \u201cUntitled 11\u2033 (2015) at ShanghART, which resonated with Chen Zhe\u2019s \u201cRemembering the Forgotten, Forgetting the Remembered (Revisiting the Bearable)\u201d (2012) at the Shanghai Biannale<\/figcaption><\/figure>\n\n\n\n

Geng Jianyi<\/strong> has a show at OCAT Shanghai <\/a>and ShanghART showed his \u201cUntitled 11\u2033, a video cabinet of curiosities. Non-objective photographer Liu Yue<\/strong> is becoming a regular at ShanghART booths and deserves more attention. Galleria Continua highlighted a reclining figure from Hans Op de Beeck<\/strong>\u2018s \u201cThe Collector\u2019s House\u201d installation, which received so much attention at Art Unlimited in June, and works by Kiwon Park<\/strong>, who currently has a show at their Beijing gallery<\/a>. Highlights from David Zwirner included paintings by Luc Tuymans<\/strong> (already well known in China), vitrines by Sherrie Levine<\/strong>, and new \u201cnegative\u201d still lifes by Thomas Ruff<\/strong>. Another international gallery that showed simultaneously at West Bund and ART021 was Esther Schipper. As usual Schipper had one of the most aesthetic and rigorous displays, including numerous international starts whom have not yet received as much attention in China as perhaps they deserve, including Liam Gillick<\/strong>, whose sliding doors definitely have more attention now.<\/p>\n\n\n\n

A number of Chinese galleries made strong abstract painting displays. A Thousand Plateaus (Chengdu) brought mainly abstract works, including by Wang Jun<\/strong> (b.1974) and a giant work by Yang Shu<\/strong> (b.1965). PIFO Gallery (Beijing) had a really beautiful display of Wang Chuan<\/strong> and Enrico Bach<\/strong>, (and proving China-West displays can be much more than just a gimmick). Finally, Taiwan\u2019s A+ Contemporary showed Chen Xi<\/strong>, He Xun<\/strong>, Jiang Cheng<\/strong> and sculpture by He Yida<\/strong>, who currently has a terrific solo show at A+ in Shanghai\u2019s M50 art compound. Beijing\u2019s White Space displayed Li Shurui<\/strong>, whom the gallery has long represented. Shanghai\u2019s Matthew Liu Fine Art exhibited an intriguing small mixed-media abstract\/landscape work by Yin Zhaoyang<\/strong>. It would be good to see more.<\/p>\n\n\n\n

One of the strongest local displays was Hive Center for Contemporary Art, among others with a striking painting\/sculpture installation by Zhou Li<\/strong> and austere but playful photography by Liu Guoqiang<\/strong>.<\/p>\n\n\n\n

\"\"
One of the best stands, with interesting things around every corner, was Hive Center of Contemporary Art, from Beijing, here with Zhou Li<\/figcaption><\/figure>\n\n\n\n

Yu Ji<\/strong>\u2018s decapitated torso \u201cFlesh in Stone Component 2#\u201d was a highlight at Beijing Commune, but not the only one. Yang Xinguang<\/strong>\u2018s \u201cGolden H-No.3f\u201d received a lot of attention and sold quickly, while Liang Shuo<\/strong>\u2018s small recycling constructions also sold. MadeIn gallery showed works by Lu Pingyuan<\/strong>, Miao Ying<\/a> <\/strong>and Xu Zhen<\/strong><\/a> (of course!). Shang Liang<\/strong>\u2018s Pinocchio-bodybuilder painting, \u201cThe Real Boy No.9\u2033, was brilliantly paired with a Buddha-Africa cross-breed by Xu Zhen. Galerie N\u00e4chst St. Stepha<\/strong>n Rosemarie Schwarzw\u00e4lder from Vienna sold a major painting by Ying Miao. The gallery also brought substantial works by Herbert Brandl<\/strong> and Romanian artist Daniel Knorr<\/strong>, who will participate in documenta next year. A highlight at Long March Space was Zhou Xiaohu<\/strong>\u2018s \u201cNo.9\u2033 (2016), a laser-etched \u201cpainting\u201d and Wang Sishun<\/strong>\u2018s bronze \u201cApocalypse\u201d heads. Hong Kong\u2019s Edouard Malingue Gallery has just opened a new gallery in Shanghai (just above MadeIn\u2019s Xu Zhen Store at Longteng Avenue, West Bund). At ART021, the gallery shoed a very good Eric Baudart repurposes sun umbrella, \u201cparaSols p002\u2033 (2016). At Arario (Seoul, Shanghai), a small vitrine figurative sculpture be Lee Dongwook<\/strong> was eye-catching but further inside the booth was something even better, Yan Heng<\/strong>\u2018s painting-installation, \u201cCivilization 1- Ewe\u201d (2015-2016).<\/p>\n\n\n\n

Tang Contemporary once again had a strong display, including Chen Shaoxiong<\/strong> (1962-2016) and a terrific \u201cSky\u201d painting by Zhao Zhao<\/strong>. Beijing\u2019s Gallery Yang, which recently moved from Caochangdi to 798 art district, gave Shanghai\u2019s aaajiao<\/strong> a mini-multimedia solo show.<\/p>\n\n\n\n

Galerie Krinzinger presented major works by Zhang Ding<\/strong>\u2014golden cups and chopsticks for everyone\u2014and Thomas Zipp<\/strong>, who also has a show at David Chao\u2019s new Cc Foundation space at M50. More gold, lots more gold in fact, like really a LOT OF GOLD, was at Galerie Perrotin. Pragmatic? Problematic? Market oriented? Cynical? Well, it worked.<\/p>\n\n\n\n

In video, Boers–<\/strong>Li Gallery showed Zhang Peili<\/strong> and Vitamin Creative Space showed a new shadow-animation film by Cao Fei<\/strong><\/a>. Leo Xu Projects again showed Pixy Liao<\/strong>, not just the video but also the backpack, which is surprisingly confronting!<\/p>\n\n\n\n

It was a lot of fun attending ART021. It was fun walking around, fun exploring its labyrinthine corners and mezzanine flyovers. A couple of times I heard and read snobbish (sour?) comments about quality, as if anything that wasn\u2019t Basel isn\u2019t Basel<\/em>. This is ridiculous. ART021 has proven it\u2019s a successful fair\u2013including sales, display, and organisation\u2013and that it has a strong foundation (and network) upon which to build. Taxes are the one thing that needs to be addressed. Sure, you can have an art fair without international galleries, but it would be less interesting and the competition is good for the local scene anyway. And at the end of the day, it is noteworthy that despite government support, low taxes, efficient logistics, and arguably the best freeport in the world, Singapore still hasn\u2019t managed to succeed, whereas Shanghai keeps raising the bar. Interesting.<\/p>\n\n\n\n

Beds<\/h1>\n\n\n\n
\"\"
Death of Marat, or \u201cA.O. Physical Reality and Mental Experience\u201d (2016) by Thomas Zipp, also with a solo show at David Chau\u2019s Cc Foundation at M50<\/figcaption><\/figure>\n\n\n\n

<\/a><\/p>\n\n\n\n

\"\"
Zhang Peili at Boers-Li Gallery, which also showcased the master video artist at frieze Masters this year.<\/figcaption><\/figure>\n\n\n\n
\"\"
From Hans Op de Beeck\u2019s Collector\u2019s House, with works by Kiwon Park in the background, at Galleria Continua<\/figcaption><\/figure>\n\n\n\n

Gold !<\/h1>\n\n\n\n
\"\"
Yang Xinguang \u201cGolden H-No.3f\u201d (2016) sold, at Beijing Commune (gold was a theme at ART021, which wore its bling proudly)<\/figcaption><\/figure>\n\n\n\n
\"\"
And even more GOLD! at Galerie Perrotin. Well, if it works, Bling it on!<\/figcaption><\/figure>\n\n\n\n

<\/a><\/p>\n\n\n\n

\"\"
More of Zhang Ding\u2019s golden mugs and chopsticks at Krinzinger<\/figcaption><\/figure>\n\n\n\n

Objectively non-objective. I mean, not pointless (ahem, we are an art journal). Just not objectionable. Here are the good ones.<\/h1>\n\n\n\n
\"\"
Yang Shu at A Thousand Plateaus, Chengdu<\/figcaption><\/figure>\n\n\n\n
\"\"
Enrico Bach at PIFO Gallery, Beijing<\/figcaption><\/figure>\n\n\n\n

<\/a><\/p>\n\n\n\n

\"\"
Yayoi Kusama at Ota Fine Arts<\/figcaption><\/figure>\n\n\n\n
\"\"
Yin Zhaoyang at Matthew Liu Fine Arts, Shanghai<\/figcaption><\/figure>\n\n\n\n

And then conceptual painting (meaning you subcontract)<\/h1>\n\n\n\n
\"\"
Miao Ying sold, at Galerie N\u00e4chst St.Stephen Rosemarie Schwarzw\u00e4lder from Vienna<\/figcaption><\/figure>\n\n\n\n
\"\"
Zhou Xiaohu, \u201cNo.9,\u201d shows his residency last year in Berlin was fruitful (take note, Xu Zhen!). (Long March Space, Beijing)<\/figcaption><\/figure>\n\n\n\n

<\/a><\/p>\n\n\n\n

\"\"
As usual Zhao Zhao was political, this time environmentally, with \u201cSky\u201d (2016), at Tang Contemporary.<\/figcaption><\/figure>\n\n\n\n

Or you do it yourself after all<\/h1>\n\n\n\n
\"\"
G\u00fcnther F\u00f6rg at Massimo de Carlo<\/figcaption><\/figure>\n\n\n\n

 But now for something seriously funny<\/h1>\n\n\n\n
\"\"
Shang Liang \u201cThe Real Boy No. 9\u2033 (wall) and MadeIn construction.<\/figcaption><\/figure>\n\n\n\n
\"\"
Liang Shuo \u201cFit No.12\u2033 at Beijing Commune<\/figcaption><\/figure>\n\n\n\n

Conceptual sculptural stuff<\/h1>\n\n\n\n
\"\"
Sherrie Levine \u201cOpal Skull\u201d (2015)at David Zwirner<\/figcaption><\/figure>\n\n\n\n
\"\"
Wang Sishun at Long March Space \u2013 nice to see him back. But what would Olafur say?<\/figcaption><\/figure>\n\n\n\n

<\/a><\/p>\n\n\n\n

\"\"
Cao Fei (foreground) and some interesting stools piled up at Vitamin Creative Space (Beijing and Guangzhou)<\/figcaption><\/figure>\n\n\n\n

<\/a><\/p>\n\n\n\n

\"\"
Arario Gallery (Seoul and Shanghai) was another booth filled with interesting things, not least Yan Heng\u2019s \u201cCivilization 1 \u2013 Ewe\u201d (2015-2016)<\/figcaption><\/figure>\n\n\n\n

And photo stuff too<\/h1>\n\n\n\n
\"\"
New works by Thomas Ruff: \u201cnegvlesecq_02\u2033 (2016) at David Zwirner.<\/figcaption><\/figure>\n\n\n\n

<\/a><\/p>\n\n\n\n

\"\"
Liu Yue, one of my favorite artists working with photography, at ShanghART<\/figcaption><\/figure>\n\n\n\n

<\/a><\/p>\n\n\n\n

\"\"
One to watch: Liu Guoqiang \u201cLeft and Right\u20132#\u201d (2016)<\/figcaption><\/figure>\n\n\n\n

Light installation<\/h1>\n\n\n\n
\"\"
Aki Sasamoto \u201cTaling in Circles Talking\u201d (2915) at Taka Ninagawa \u2013 one of the best installations.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Welcome back to the Shanghai Exhibi … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":16938,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[23],"tags":[949,10646,11383,149,562,415,563,67,251,11384,1220,3350,1324,10066,3283,10191,154,11385,10067,11386,208,11387,11388,11389,6380,79,102,11265,1782,10287,11390,680,953,10726,11391,11393,11392,11394,11395,11396,10109,11397,1591,3477,5868,964,255,1561,2357,207,288,2883,416,11400,11399,5168,11398,29,239,417,374,393,11402,11401,69,11403,11404,122,11405,11406,6378,11408,11407,10074,6399,11409,11410,4789,71,11412,11411,11415,11414,11413,3026,99,3027,601,11416,11417,11356,1191,458,419,456,210,460,605,230,421],"yoast_head":"\nShanghai Gold Rush part 2: ART021, Sino-Russian friendship and French quarters - \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\/shanghai-gold-rush-part-2-art021-sino-russian-friendship-and-french-quarters\/\" \/>\n<meta property=\"og:locale\" content=\"zh_CN\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Shanghai Gold Rush part 2: ART021, Sino-Russian friendship and French quarters - 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