{"id":19321,"date":"2013-11-15T10:58:00","date_gmt":"2013-11-15T10:58:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=19321"},"modified":"2024-01-02T11:04:46","modified_gmt":"2024-01-02T11:04:46","slug":"making-heads-and-tails-of-collectors-art-taipei-2013-report","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/making-heads-and-tails-of-collectors-art-taipei-2013-report\/","title":{"rendered":"Making Heads and Tails of Collectors\u2014Art Taipei 2013 Report"},"content":{"rendered":"\n

Celebrating its 20th anniversary this year, the Art Taipei 2013 <\/strong><\/a>opened its doors to the largest contingent of galleries from Hong Kong and the Mainland ever. Many locals therefore more or less came with the expectation that the quality seen in Art Basel Hong Kong (May 2013) would serve as a positive model for Taipei. After all, the main galleries were practically the same ones in attendance in May; moreover, this was the first time for many galleries to exhibit in Taiwan.<\/p>\n\n\n\n

Amid all this, the familiar family-run space, de Sarthe Gallery<\/strong><\/a> looked busy at their booth. However, compared with last year when numerous galleries reaped a generous harvest as early as opening day, this year only the veterans were able to entice collectors.<\/p>\n\n\n\n

This year\u2019s fair also brought about a little heated debate when a work by Jim Lambie<\/strong>, originally arranged to be situated in the middle of the walkways between the booths, was rumored to be removed due to pressure from a local gallery, though the fair organizers cited security concerns [update<\/strong>: see below]. Instead, there was Takeshi Murakami\u2019s \u201c6 Princess,\u201d offering a fantastic opportunity for Kaikai Kiki gallery booth to harness foot traffic with hordes of tourists huddled around taking photos with the cosplay-inspired piece.<\/p>\n\n\n\n

It is not difficult to notice that Art Taipei\u2019s PR approach clearly differed from Hong Kong (its natural competitor), with local institutions benefitting from their connections to the fair. Asia Art Center<\/strong><\/a>, for instance, got the publicity machine fired up for several films made about their artists by the Discovery channel. Meanwhile, Eslite Gallery<\/strong><\/a>, a member of the Art Taipei Executive Committee, enjoyed a home-field advantage with a booth for its own bookstore, where the best-selling book was naturally about Daido Moriyama \u2014 an artist promoted by this year\u2019s organizers of the fair. As well, a large number of works seen in May in Hong Kong emerged in smaller formats here. Meanwhile, many impressive works were shown in more low-key format and somewhat marginalized positions at this regional fair [note correction below<\/em>]. One of these was Su-Mei Tse\u2019s stone installation, \u201cThe Source,\u201d standing in one corner of the Eslite booth. The rolling ink quietly, flowed continually from the fountain and circulated over and over again.<\/p>\n\n\n\n

[Corrections: the previous version may have led to confusion that Su-Mei Tse’s work was presented in Hong Kong. It was not, and the current version makes it clearer.<\/em>]<\/p>\n\n\n\n

[update<\/strong>:\u00a0Though the fair organizers cited security concern, one Taiwanese press reported that Tina Keng was observed to publicly complain that the work “hindered entry and viewing.” When the fair organizers removed the installation on the opening night, Tina Keng was reported to have expressed relief at finally “being able to get some fresh air.”<\/em>\u00a0See link\u2014in Chinese only<\/strong><\/a>.]<\/p>\n\n\n\n

\"\"
Su-Mei Tse, \u201cThe Source,\u201d 2012 [Eslite Gallery]
\u8c22\u7d20\u6885\uff0c\u300a\u6e90\u8d77\u300b\uff0c2011\uff3b\u8bda\u54c1\u753b\u5eca]<\/figcaption><\/figure>\n\n\n\n

Some say that Art Taipei has always been a magnet for Japanese galleries; however, this mainly refers to the medium and lower-priced works. In fact, Silverlens<\/strong><\/a> from the Philippines, having received much interest during the Hong Kong fair, was well rewarded for participating in the fair; after all, artists from this region still fetch quite reasonable prices. Yet some galleries with higher-priced works, like Ben Brown Gallery<\/strong><\/a>where Andreas Hecker manned the booth himself, had a harder time due to the reticence of the local audience. Though Mainland galleries generally did not repeat their good fortune from last year, works in the right price categories still managed decent outcomes.<\/p>\n\n\n\n

ShanghART<\/strong><\/a>\u2019s curious booth nearly doubled in size from their first time last year. However, the selection this year was rather carefree in mixing the new and the old, and had hints of their Shanghai exhibition \u201cClutch.\u201d But in terms of footfall, it was certainly not as crowded as last year when their booth featured the works of Sun Xun and other ShanghART notables.<\/p>\n\n\n\n

\"\"
Robin Rhode, \u201cThe Point of Vanishing\u201d, 2012-13 [Lehmann Maupin Gallery]
Robin Rhode\uff0c\u300aThe Point of Vanishing\u300b\uff0c2012-13\uff0c\uff3b\u4e50\u66fc\u6155\u54c1\u753b\u5eca]<\/figcaption><\/figure>\n\n\n\n

Opposite ShanghART, side by side, were Lehmann Maupin Gallery<\/strong><\/a> and Urs Meile Gallery<\/strong><\/a>, two members of the selection committee for the last iteration of Art Basel Hong Kong. The former showed Robin Rhode\u2019s small, poetic piece \u201cThe Point of Vanishing\u201d inside its pleasing booth. The artist employed his well-known forms of various gang-related symbols: the street graffiti shot one after the other referencing the structure of film. Meanwhile, Urs Meile\u2019s rather more modest booth displays Yan Xing\u2019s black-and-white tinted photos. Most first-time galleries tried to test the waters with a range of media. Indeed, some Hong Kong or Mainland professionals could be heard eliciting advice about the character of the local audience at a few local gallery vernissages on the opening night.<\/p>\n\n\n\n

Overall, this fair had an unusual number of two-dimensional works, and was therefore judged to be a more conservative edition. In fact, even local galleries known for their video works displayed paintings by such artists as Yan Pei-Ming in their booths. In my long stubborn attempt to discover video works, I managed to make my way to Edouard Malingue Gallery<\/strong><\/a>, situated on the edges of the hall. Though they had last year exhibited a large-scale installation by Laurent Grasso, this time, they only displayed a 12\u201930\u2019\u2019 single-channel video, \u201cPsychokinesis\u201d (2008). While the cathode blinkered, the image of  a boulder levitating over a barren field was shown. Such a concrete object ended up being read very non-concretely here\u2014as though any reference of time was being lost. In a way, this also symbolized how since Art Basel landed in Hong Kong, the Taipei fair feels a bit up in the air.<\/p>\n\n\n\n

\"\"
Shi Jinsong, \u201cScenes from an Unpredictable Theatre\u201d, 2012-13 [MOT\/ARTS]
\u53f2\u91d1\u6dde\uff0c\u300a\u4e0d\u53ef\u9884\u77e5\u7684\u620f\u5267\u73b0\u573a\u300b\uff0c2012-13\uff0c\uff3bMOT\/ARTS]<\/figcaption><\/figure>\n\n\n\n
\"\"
Zhou Wendou, \u201c100 Books One Must Read in a Life Time, No. 2\u2033, 2013 [de Sarthe Gallery]
\u5468\u6587\u6597\uff0c\u300a\u4e00\u751f\u5fc5\u8bfb\u7684100\u672c\u4e66\uff08\u4e8c\uff09\u300b\uff0c2012-13\uff0c\uff3b\u5fb7\u8428\u753b\u5eca]<\/figcaption><\/figure>\n\n\n\n
\"\"
Xu Qu, \u201cEnergy Crystal I\u201d, 2013 [Tang Contemporary Art Center]
\u5f90\u6e20\uff0c\u300a\u80fd\u91cf\u6676\u4f53\uff29\u300b\uff0c2013\uff0c\uff3b\u5f53\u4ee3\u5510\u4eba\u827a\u672f\u4e2d\u5fc3]<\/figcaption><\/figure>\n\n\n\n
\"\"
Yang Jian, \u201cAre We More Stupid Than Before?\u201d, 2013 [White Space Beijing]
\u6768\u5065\uff0c\u300aAre We More Stupid Than Before?\u300b\uff0c2013\uff0c\uff3b\u7a7a\u767d\u7a7a\u95f4]<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Celebrating its 20th anniversary this ye … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":19340,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[23],"tags":[9939,12877,9958,11388,12467,9281,12878,12879,6010,12880,5326,122,12881,12882,363,12883,143,3024,7147,12884,12885,12480,12886,3043,10865,1156,2567],"yoast_head":"\nMaking Heads and Tails of Collectors\u2014Art Taipei 2013 Report - \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\/making-heads-and-tails-of-collectors-art-taipei-2013-report\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Making Heads and Tails of Collectors\u2014Art Taipei 2013 Report - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"Celebrating its 20th anniversary this ye … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/making-heads-and-tails-of-collectors-art-taipei-2013-report\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2013-11-15T10:58:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-01-02T11:04:46+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2024\/01\/stupid-2013.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"268\" \/>\n\t<meta property=\"og:image:height\" content=\"188\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Lien\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Lien\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/making-heads-and-tails-of-collectors-art-taipei-2013-report\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/making-heads-and-tails-of-collectors-art-taipei-2013-report\/\"},\"author\":{\"name\":\"Lien\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\"},\"headline\":\"Making Heads and Tails of Collectors\u2014Art Taipei 2013 Report\",\"datePublished\":\"2013-11-15T10:58:00+00:00\",\"dateModified\":\"2024-01-02T11:04:46+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/making-heads-and-tails-of-collectors-art-taipei-2013-report\/\"},\"wordCount\":1010,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"art taipei\",\"Ben Brown Gallery\",\"de Sarthe Gallery\",\"Edouard Malingue\",\"Eslite Gallery\",\"Jim Lambie\",\"Kaikai Kiki\",\"Laurent Grasso\",\"Lehmann Maupin\",\"Pearl Lam Gallery\",\"Robin Rhode\",\"ShanghART\",\"Silverlens\",\"Su-Mei Tse\",\"Taiwan\",\"Takeshi Murakami\",\"Urs Meile\",\"Yan Xing\",\"\u4e50\u66fc\u6155\u54c1\",\"\u53f0\u5317\u56fd\u9645\u827a\u672f\u535a\u89c8\u4f1a\",\"\u5fb7\u8428\",\"\u8bda\u54c1\u753b\u5eca\",\"\u8c22\u7d20\u6885\",\"\u9122\u9192\",\"\u9999\u683c\u7eb3\",\"\u9a6c\u51cc\u753b\u5eca\",\"\u9ea6\u52d2\u753b\u5eca\"],\"articleSection\":[\"News\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/making-heads-and-tails-of-collectors-art-taipei-2013-report\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/making-heads-and-tails-of-collectors-art-taipei-2013-report\/\",\"url\":\"http:\/\/www.randian.art\/making-heads-and-tails-of-collectors-art-taipei-2013-report\/\",\"name\":\"Making Heads and Tails of Collectors\u2014Art Taipei 2013 Report - 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