{"id":17312,"date":"2016-09-20T04:50:00","date_gmt":"2016-09-20T04:50:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=17312"},"modified":"2023-12-08T08:39:28","modified_gmt":"2023-12-08T08:39:28","slug":"photofairs-shanghai-decent-impact-despite-weak-sales","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hans\/photofairs-shanghai-decent-impact-despite-weak-sales\/","title":{"rendered":"PHOTOFAIRS | Shanghai: Decent Impact, Despite Weak Sales"},"content":{"rendered":"\n

Rebranded this year as PHOTOFAIRS | Shanghai<\/a>, the fair formerly known as Photo Shanghai<\/a> seems to have matured since its inaugural edition three years ago. The images of scantily clad starlets have been replaced by a new exhibition \u201cInsights\u201d showcasing new photographic techniques. Though there were complaints of weak sales, there is a strong consensus that Photofairs has been making a strong contribution to raising the profile of the medium.<\/p>\n\n\n\n

\u201cPhotofairs Shanghai is helping to create and build the infrastructure of the photo market and to create a connection with the art system,\u201d says Steven Harris, director of Shanghai\u2019s m97 gallery <\/a>(one of the two longest-running photography galleries in the city); \u201cIn the 20th century, we see as early as the \u201920s and \u201930s that photography was already being integrated into the fine art establishment [in the West]. You had museums taking photography out of the drawing department, and the establishment of curators like John Szarkowski from MoMA, Anne Tucker from [MFAH] Houston, and Sandra Phillips at SF MoMa, and these people built up connections that were massive. We don\u2019t have a single person like that in China and that\u2019s cause for concern.\u201d<\/p>\n\n\n\n

Beyond creating buzz which draws swarms of photo-enthusiasts, the fair also \u201ccreates an understanding of photography\u2019s value as a collectible,\u201d says Harris, \u201cThe point is that sales may not have been through the roof, but it\u2019s a long game, and at this point the educational activities which raise the profile of the medium are much more important.\u201d<\/p>\n\n\n\n

Lise Li, director of Shanghai\u2019s Vanguard Gallery<\/a>, was impressed with both the foot traffic and the sales: \u201cSales this year were better than we expected, similar to the first year we participated. This time we brought three artists, two Japanese\u2014Aki Lumi and Yuki Onodera\u2014and a Chinese artist, Yi Xintong; all of these artists were collected, which made us really happy.\u201d<\/p>\n\n\n\n

Harris, who had two solo exhibitions on show in addition to the fair, sold the iconic \u201cStage of Life\u201d (1954) by Hong Kong documentary photographer Fan Ho for 150,000 RMB and works by Wang Ningde for 130,000\u2013180,000 RMB. Huang Yunhe, director of Ofoto Galler<\/a>y, sold Zhang Bojun\u2019s We<\/em> (a series amassed over the course of seven years) for 33,000 RMB to a foreign client, and Tian Ye\u2019s series Wandering Slowly<\/em> (2002-9) for 12,000 RMB, but felt that sales were slower than the previous year. Jiao Xueyan, director of Hunsand Space, remarked \u201cWe had a few sales and met some middle-class executive-type collectors, which we will have to work on maintaining after the fair.\u201d This sentiment was echoed by Lu Liqing, manager at Three Shadows +3 Gallery<\/a>: \u201cI didn\u2019t have much chance to talk to other gallerists but I occasionally heard that sales weren\u2019t ideal, and it seems to be the case. It\u2019s still a long road.\u201d<\/p>\n\n\n\n

The fair needs to attract a broader public in order to create future potential clients. That said, the \u201cphotographer uncles\u201d\u2014older men in photographer\u2019s vests aggressively poking their lenses into the booths of various galleries\u2014were a nuisance to gallerists seeking to meet clients. Says Agnes Cohade, gallery partner of Art Plus Shanghai<\/a>, \u201cIt was our first time at Photofairs Shanghai. It was far from our expectations regarding both the level and behavior of visitors [referring to the uncles] . . . The problem was that the fair was not able to bring actual collectors and potential buyers. We were very disappointed by the VIP evening and preview.\u201d<\/p>\n\n\n\n

The fair attracted a mix of roughly 80\u201390% Chinese viewers with few collectors from Asia or the West, and the cost of a booth can be quite a burden even when sales are average. Says Harris, \u201cPhotography has a problem because it\u2019s a lower price point; it\u2019s not like you can sell three paintings and then you\u2019re done. You need a broader public, to keep the prices high. The equivalent of Han Lei in Germany would sell for 30,000-50,000 dollars\u2014here its 30-50,000 RMB.\u201d<\/p>\n\n\n\n

Rain Lu, Director of L-Gallery<\/a> in Chengdu, sees it as something of a work in progress: \u201cThe collection of photography has just begun in China; this is the third edition of Photofairs in Shanghai and we now see that there are more and more people paying attention to photography, but it is just one category in the realm of contemporary art, so we have to do a lot of work to familiarize people with the medium. \u201c<\/p>\n\n\n\n

Photofairs may be selling more ideas than artwork, and if the attendance of talks is any indication, the public seem to be eagerly absorbing it. \u201cMichael Wolf\u2019s talk was standing room only, but two years ago you could shoot a canon through that room. I saw 3-4 talks which were pretty packed, and that\u2019s a way to allow the public to listen to the artists,\u201d says Harris.<\/p>\n\n\n\n

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Shen Xuezhe, \u201cThe Fallen Tree\u201d, 2012, courtesy of the artist \u6c88\u5b66\u54f2, \u201c\u5012\u4e0b\u7684\u5927\u6811\u201d, 2012, \u9e23\u8c22\u827a\u672f\u5bb6<\/figcaption><\/figure>\n\n\n\n

Around town<\/strong><\/p>\n\n\n\n

Elsewhere around town, spaces brought out a number of outstanding exhibitions that frankly overshadowed most of what was happening at the fair. M97\u2019s solo exhibition \u201cStage of Life\u201d featured Fan Ho\u2019s cinematic images of 1950s Hong Kong\u2014a mixture of street photography and something of the chiaroscuro drama of Ray K. Metzker. In their upstairs space, m97 showcased an ongoing project by Michael Wolf, \u201cInformal Solutions\u201d<\/a>\u2014photographs of discarded objects repurposed by Hong Kong\u2019s urban poor which amount to unintentional installations of found objects which could be and are at home in a gallery.<\/p>\n\n\n\n

At ShanghART, Jiang Pengyi <\/a>explored landscape as a transcendental vehicle in the exhibition \u201cGrace\u201d. His remote, verdant hillsides are spliced in half by lone waterfalls\u2014images taken within the arctic circle of the northern and southern hemispheres of lands untrammelled by mankind. This work has a formalistic dialogue with his other series \u201cTrace\u201d which features what appear to be light-leaked Polaroid films with a white line down the middle (echoing the waterfalls of \u201cGrace\u201d), which he then converts into \u201cemulsion lifts\u201d by removing the top layer of the Polaroid and placing the wet emulsion on to a piece of paper. Through the use of straight pins, we see the emulsion lifting off the paper in sinewy webs. Though each series is relatively strong, the use of the white line uniting the two created a connection in form only.<\/p>\n\n\n\n

Up at m50, Ofoto featured a striking exhibition of Luo Yongjin<\/a>, who is well-known for his architectural photography of gas stations, tobacco sheds and Kaiping watch towers (Kaiping Diaolou<\/em>); Luo has taken a turn towards the abstract in this new exhibition called \u201cAround\u201d, with floating picture planes and dark-toned explorations of patterns and textures that are contrasted with brooding landscapes populated by phantom buildings.<\/p>\n\n\n\n

Landscape was also on show at Shanghai Center of Photography with \u201cNature as a Subjective Place\u201d, which sought to explore the construct of nature in the human consciousness. Most impressive were Lin Ran\u2019s wildly textured landscapes which present nature as the formidable adversary of man, and Shi Guowei\u2019s colorized manicured scenes of greenhouses and gardens which speak to the role of man as an architect of nature.<\/p>\n\n\n\n

Finally, Liz Hingley\u2019s \u201cShanghai Sacred\u201d<\/a> project at FL:EX Gallery offered a rare glimpse of spiritual territories; this involved a workshop where participants needed to create their own shrine in a columbarium-like structure. The workshop was an extension of her \u201cShanghai Sacred\u201d\u2014an important anthropological documentary project exploring the sacred life of Shanghai and portraying a multifaceted community of faiths including the Baha\u2019is, Sikhs, Quakers, and Russian Orthodox communities.<\/p>\n\n\n\n

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Wang Man, \u201cRoom 73201 Series\u201d, inkjet print on archival paper, 2016, courtesy L-Art Gallery.<\/figcaption><\/figure>\n\n\n\n

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

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Lea Jessen, \u201cSteps\u201d, 120 x 180 cm, 2016, courtesy In the Gallery<\/figcaption><\/figure>\n\n\n\n

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

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Jiang Pengyi , \u201cGrace No. 8\u201d, emulsion lift on acid free paper, 160 x 227 cm, 2016, courtesy Shanghart Gallery \u848b\u9e4f\u5955\uff0c\u201c\u7ed9\u4e88 No.8\u201d, \u79fb\u819c\u3001\u65e0\u9178\u5361\u7eb8, 160 x 227 cm, 2016 ,\u9e23\u8c22\u9999\u683c\u7eb3<\/figcaption><\/figure>\n\n\n\n

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

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Chen Zhuo , \u201cThe rocker in the lake\u201d, archival ink-jet print, 80 x 63.5 cm, 2015, courtesy Hunsand Space\u9648\u5353, \u201c\u5e9f\u6e56\u91cc\u7684\u7901\u77f3\u201d, \u6536\u85cf\u7ea7\u55b7\u58a8\u6253\u5370\uff0c80 x 63.5 cm, 2015, \u9e23\u8c22\u62fe\u842c\u7a7a\u95f4<\/figcaption><\/figure>\n\n\n\n

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

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Wu Ding, \u201cThe Spectacle No.2\u201d, 152.4 x 121.9 cm, 2016, L-Art Gallery<\/figcaption><\/figure>\n\n\n\n

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

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\u4f55\u756a\uff0c\u201c\u5efa\u7b51\u5de5\u5730\u201d\uff0c\u94f6\u76d0\u9ed1\u767d\u56fe\u7247, 15 x 32.8 cm, 1979 (\u9e23\u8c22\uff1am97\u753b\u5eca) \/ Fan Ho, \u201cConstruction Pattern,\u201d vintage silver gelatin print, 15 x 32.8 cm, 1979 (courtesy m97)<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Rebranded this year as PHOTOFAIRS | … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":17334,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[23],"tags":[11452,11453,149,415,11454,67,11455,1152,102,11456,11458,11457,11459,7675,11460,11461,11462,11463,11464,11465,4025,11466,11467,416,11468,6333,11318,11469,11471,11470,11472,29,239,417,374,393,260,11474,11473,11475,5723,11476,11477,11478,122,11479,11480,11481,4506,11482,11483,11484,11485,11486,11487,11488,11489,1303,11490,11492,11493,11494,11491,11495,11498,11497,11499,419,11496,210,11500,11501,460,11502,230,421,7689,11503,10529,11504],"yoast_head":"\nPHOTOFAIRS | Shanghai: Decent Impact, Despite Weak Sales - \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\/photofairs-shanghai-decent-impact-despite-weak-sales\/\" \/>\n<meta property=\"og:locale\" content=\"zh_CN\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"PHOTOFAIRS | Shanghai: Decent Impact, Despite Weak Sales - 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