This is not art news but an indication of the political climate in present day China that has implications on the climate surrounding art that is produced in China. President Xi reigning in the media and stepping up political allegiance by making members of the media take exams in order to get their media passes. One can’t go further than this warning to toe the line or.....change profession. This is oceans apart from what protesters in Hong Kong are asking for. The two systems in one country are escalating in opposite directions. 🥵🥵🥵🥵 “About 10,000 reporters and editors from 14 state-run online media outlets in Beijing are expected to sit the “pilot tests” using the Xuexi Qiangguo mobil
Mami Kataoka will assume leadership at Japan’s leading private museum, the Mori Art Museum, when Fumio Nanjo retires and becomes special advisor at end of the year. 👏🏼👏🏼👏🏼👏🏼👏🏼 “I would like to see the Mori Art Museum function as a focal point for thinking together about a better future, deepening our understanding of the structure of the world in which we live and paying respect to different historical, social and cultural backgrounds, through contemporary artists whose activities span the globe,” she stated.” There we have it, a clear articulation of how she would carve Mori Museum’s place in contemporary culture today. 👏🏼👏🏼👏🏼👏🏼 http://artasiapacific.com/News/MamiKataokaTo
This is an interesting initiative, getting artists, creatives, thinkers, founders, and entrepreneurs from all fields a chance to forge new pathways to the future through the arts. But a piece of information is missing here: it costs USD 15,000 a person. At this price, they have indirectly prequalified certain segments of people from the creative field. I guess that’s just how the art world is. An interesting idea nevertheless. https://bit.ly/2HTzEwv?fbclid=IwAR3fRe4RPB3CS-V6Ca427neJjBifxqttw5j7jUMWvOzpFGQPdlyRxKhbLKo
Ruangrupa talks about how they wish to approach documenta 2022 - based on an approach that is locally inspired, yet universal in reach and applications. Brilliant! 👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼 “[Lumbung]-This is not a theme or a concept but a protocol. We want to work in a certain way. We are looking for more friends in different parts of the world who are thinking similarly to us about sustainability. We are questioning art practices and how to support them through alternative ways of subsistence, and asking what kind of experiments are out there to sustain ideas in challenging contexts: places where there is censorship, of course, or little support from the government, or little capital for ar
It is so interesting to read about how the International Council of Museums are split on what a museum does and should champion [1 & 2] and Ai Weiwei’s remark of Western Institutions’ (Tate, Victoria & Albert Museum, British Museum and the Center Pompidou in Paris) rush into China as a “joke” and a “charade”, knowing that there is heavy censorship . Sure, we are certainly at the cusp of massive changes in the museum world, and hence the debate. It may well be an argument between the old world and the new world and their respective mandates. I can’t help but also think: is it just a disagreement about ‘lack of consultation and respect for procedures as well as the widely criticised wording
How would you like to buy performance art...no, not the video or photo documentation but the performance itself?
“Would you like to own an artwork in which a woman plays with assorted objects laid out on a table? Or perhaps you might be interested in acquiring an industrial fan that delicately balances a balloon in mid-air?
The new protocol put in place by the fair ensures that dealers can answer any questions that might arise about the transaction. (Such questions might include: Will the collector or the artist be tasked with hiring performers for future activations? Are the costumes included?). Guidance like this makes acquiring performance feel less like a blind act of patronage and m
It sadly begs the question, “who can AFFORD to be an art writer today?”. I’m not only referring to financial compensations, but the social cost of writing critically, especially within Asia.
All of us have expectations of how art criticism need to work and how shallow art journalism has gotten. This is a super long, Western-centric piece on the crisis in art reviewing, but there are a few universal factors we can note. It is one thing to criticise the quality of reviews we read and another to understand the structural reasons behind it.
“The Reuters Institute for the Study of Journalism, which conducts research in around 40 countries including the US, found that both traditional ‘legacy’
Will Indonesia be the new China? “As one Hong Kong-based gallerist put, ‘people are looking for a new China.’” https://bit.ly/2NUTLhx?fbclid=IwAR3Fldhmn8zqwnhVderHpCVdJnKCN375wIlsxaa4mOP8_Hj2FPKUmcGBBZ4
RIP Chng Seok Tin. Repost: “To be an artist or to make art is not that important. You should know how to be a real human being. Your morality, your integrity, whether you are trustworthy. (Whether) you are a benefit to your community or a benefit to the country. I think that’s more important, (rather than) every day so self-centred and (struggle) for their own benefit.” Chng still feels that young artists in Singapore today will face difficulties in trying to sustain themselves: ‘I think it’s not easy lah, because the market is very small. And then people don’t have this kind of hobby, to purchase artwork. Then you want to survive as an artist, I think still not yet lah. It can be a struggle
This development was shared last year and we are now beginning to see actual changes in ownership. Swiss-based owner of Art Basel sells majority stake in Delhi event as part of wider withdrawal from regional art fairs programme. “The acquisition sees Angus Montgomery, which already owns more art fairs in East Asia than any other organiser, grow its profile in South Asia, which jumped from ninth to sixth place in ArtTactic’s 2019 global rankings of regional art markets. Angus Montgomery's portfolio of fairs includes Sydney Contemporary, Art Central Hong Kong and Art SG in Singapore.” https://www.theartnewspaper.com/news/india-art-fair-to-be-solely-owned-by-angus-montgomery?fbclid=IwAR2YVGBr2D