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喻干—— 2011 纽约亚洲当代艺术周专题报道


喻干—— 2011 纽约亚洲当代艺术周专题报道

2011年3月21日至3月31日在纽约市举行为期十的"亚洲当代艺术周"活动。参与这次活动的有世界当代艺术领域里具有影响力的策展人,批评家, 学者,艺术家,画廊经理人和艺术机构组织者。他们用不同的形式,从各种角度来深入研究和探讨现今的亚洲当代艺术形态和发展方向,并建议相互间在学术领域和市场开拓层面建立互动协作关系网。"亚洲当代艺术周"的内容包括展览,影视回顾,专题系列讨论,展览策划人与艺术家对话等活动。观众除大量纽约本地区专业人士,媒体和艺术爱好者外,也有许多来自外州和界世各地的艺术同行。参与这次亚洲当代艺术周的机构有现代美术馆(MOMA), 古根汗博物馆(Guggenheim Museum),亚洲协会博物馆(Asian Society Museum), 苏富比(Sotheby's ),亚洲艺术档案馆(Asia Art Archive),中美博物馆(MOCA),皇后美术馆(Queens Museum of Art),鲁宾美术馆(Rubin Museum of Art),柯恩艺术馆(Ethan Cohen Fine Arts)等25所机构。在这个专题报导中,中华艺术网有选择地介绍几个与中国当代艺术有着直接或间接联系的活动,并结合现场评论,对艺术机构经理人和艺术家专访,网友提问等形式来讨论在新的世界经济形势下,中国和亚洲当代艺术的发展情况。下面是中华艺术网策划人喻干Yu, Gan制作的几个专题和评论。

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走访柯恩艺术馆
访谈者: 喻干
 

是为期十的纽约市亜洲当代艺术周的笫六天, 晚7时我来到位于曼哈顿下城的柯恩艺术中心Ethan Cohen Fine Arts 参加中国艺术家,中央美术学院教授,北京当代艺术馆馆长秦风先生的个展开幕酒会。柯恩艺术中心总经理 Ethan Cohen先生和秦风先生在画廊现场分别接受了我的专访

 
(一)对画廊总经理人柯恩先生的采访
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: 柯恩家族在中国艺术界有许多老朋友, 当年柯恩夫人的名字在中国当代艺术圈中大家都很熟悉,您们是早推动和进入中国当代艺术领域和市场的西方艺术机构之一,对中囯当代艺术的发展的出过重要的贡献。但后来在中国当代艺术蓬勃发展期, 尤其是2000年以后,我们未见贵画廊在中国有大规模的投资行为。请问Ethan Cohen Fine Arts在今后对中国当代艺术市场有没有新的投资打算?

柯恩: 事实上柯恩艺术中心在过去10年里始终中孜孜不倦的为中国当代艺术而努力工作,并且-直是推动中国当代艺术发展的重要角色。我在全美国各地不断地为中国当代艺术作讲演,讲学并在我纽约的画廊里与一些策展人和艺术机构一起经常主持和策划各种有关中国当代艺术的活动。如2004 年由高明潞策划在北京千禧博物馆举行的"中国的准则"主题展等。我本人也于2005 年在迈阿密贝塞尔国际现代艺术博览会上策划举办了一个名为"中国艺术的入侵"的展览,这是在这个国际的现代艺术博览会上所看到的个重要的中国当代艺术展览。在2007年莫斯科双年展上,我联合策划了一个名为"我们是你们的未来"展览。是这个展览次把中国和南美洲的当代艺术带到莫斯科。有一件可能不会常常被媒体注意到的事就是这些年来我一直电脑屏幕前与全球各地的收藏家和投资人保持密切的联系,并不断地针对中国当代艺术而给予他们专业性的投资指导,促进和提高他们对中国当代艺术方面的意识。举一个例子, 在过去多年里,我促使我的收藏家们把他们收藏的重要中国艺术家的作品如秦风,谷文达,徐冰和王东龄的作品租借给纽约大都会美术馆进行展览。购买我画廊代理作品的重要收藏家有: Charles Saatchi, Uli Sigg, the Rothschilds, 以及美国前财政部长Michael Blumenthal 等, 然而他们仅仅是我的收藏家群体中的一小部分。以艺术教育来开拓收藏家们的视野,让他们了解中国当代艺术的魅力和能量是我一直在从事的工作。我一直在非常勤奋地研究中国,也在不断在为收藏家购买做咨询和推荐,同时我本人也在收购中国当代艺术作品。随着市场的迅速成长,这些年来我在中国渡过了不少时间,这的确是非常令人兴奋的日子。

问: 请柯恩先生介绍一下秦风先生作品和下一步的推广计划?

柯恩: 我很荣幸能够在过去十多年的时间里作为秦风先生的经纪人和艺术顾问一直在为他工作。我己为秦风在柯恩艺术中心Ethan Cohen Fine Arts里举办过四次重要的个人画展,并把他的作品带到许多其它的展览和博览会上展出。秦风的作品被介绍入双年展这使他有机会在主流美术馆展出,以至其作品的价值上升二十倍以上。我计划继续推动秦风的艺术,我们将会看到秦风的作品在许多精采的博物馆级的展览里露面。

问 : 您刚才提到与Pace Prints合作在中国开发当代艺术名家的高质量的限版印刷品市场,您们希望使这些印刷品在价格上能与国际大师, 如毕加索等人的限版印刷品处于一个层面,为中囯国内收藏家提供一个理想的收藏渠道。这是否就象您刚才反复提及的艺术家"延伸产品"市场?

柯恩: 我们Ethan Cohen艺术中心己经和Pace Prints(培斯印刷)结成商务合作伙伴共同开展业务。我们的业务范围很广但并非是那些衍生产品。我们为重要意义的中国当代艺术家们制作高质量的限版刷精品,从下面几个重要方面来看我们现在所做的和以住其他人为艺术家所做的有什么明显不同: (1)Pace Prints和我不会去制作艺术家己经问世作品的限版复制品。过去在市场上所见到的都是些中国艺术家们家喻户晓的名作,它们仅仅是一种由石版印刷的高质量海报或招贴。这恰恰是Pace Prints和我不愿做的事。(2)Pace Prints 和我与艺术家们约定只为我们所制作的限版印刷项目而特别创作的新作品,这可以让"印刷品万岁"。(3)这项合作让我们有机会把杰出的中国艺术家们与世界上杰出的印刷工艺和专家们联合在一起来共同创造杰出产品。我们已获准运用艺术家索 莱缠维特 Sol Lewitt 的耐久印版来制作我们的丝网 印刷品,用契克 克劳斯Chuck Close个人所用过的木刻原版,以及用毕加索 Picasso 用来印制他的限版铜版画作品的同一个模子去生产我们的产品。(4)我们为世界艺术市场带来高质量的艺术才华的中国当代艺术家们的限版 印制品,并使这些技艺精湛的作品价格很合理的。这是很重要的一点,因为中国艺术家们的印刷品现己被世界主流社会所接受,它给予每一位中国艺术家更多的引响力与合法性成为活跃在世界艺术市场中的一员。在当代社会,印刷制品对于收藏家来说己成为很重要的和令人兴趣勃然的一个艺术品种。比方说,一位收藏家想买一幅岳敏君的作品,但又不愿出一百万美金,但他或她可以仅花5至8千美元就从培思Pace Prints和柯恩艺术中心Ethan Cohen Fine Arts 那里买到一幅质量的木版或丝网版印制品。我们现己把许多中国当代艺术家的印制品投入市场,这些艺术家是: 岳敏君,秦风,祁志龙,张大力,罗氏兄弟,白宜洛。其他艺术家的作品也将会不断被我们推出。

问: 我听说中国的艺术市场交易总额己排世界。如果要进入中国国内市场,您们这些国际集团将如何对待中国本土艺术经营机构的强力竞争压力?

柯恩: 从许多不同角度的统计数字上看,有一个共识点就是中国当代艺术终于在自己的土壤上找到了成长的地方。正如我刚才所说的那样,这是一个令人振奋的时刻。在过去10年里我已经与多家中国画廊,策展人,拍卖机构结成贸易伙伴。是的,我看到了中国艺术的潜力,随着市场和收藏家在中国不断壮大,我们会不断寻求艺术经纪商和咨询顾问的专业知识在那里得到更好的运用,使我们的能力得到信任,让我们的努力取得成功。 25 年多以来,我一直在为推动中国当代艺术而不懈地努力,我们四处展出教育大众: 我们从审美层面上,从精神层面上,当然也从经济层面上大力宣传中国当代艺术和它的重要性。这就是为什么世界各地的艺术经纪人,比如我; 艺术机构和画廊,比如柯恩艺术中心将继续在艺术领域里扮演重要的角色。

问: 美国花旗银行预测印度将会在近十多年内赶上中国成为世界第二大经济体,华尓街曰报专家预测印度将在12个月后超过中国成为世界上发展快的大型经济实体。我上周三晚参加了一个由"苏畗比"与"经济学人"联合主办的"南亜当代艺术研讨会",我感觉现在西方主流经济机构和艺术机构己在为下一个世界当代艺术的浪潮做舆论和操作准备。您认为这种现象可能发生吗?这将是一个真正投资风向的转变还是国际当代艺术领域里的"印度浪潮"根本就不会到来?Cohen家族在艺术投资方面一向具有独到的眼光,请问您们会在"印度浪潮"还未欣起前去投资那里的当代艺术吗?东南亜的当代艺术会对中国当代艺术形成战略性冲击吗?

柯恩: 印度的艺术市场长期以来一直保持着多元化,但它振荡得也比较厉害。我们与在印度艺术领域里高层次的收藏家和画廊共同工作己有多年。虽然中国与印度全球经济和当代艺术方市场面有许多不同之处,随着印度经济的增长,我们会看见人们对印度的兴趣也在增长,印度也会象现在的中国一样出现大批本土收藏家。世界上对中国当代艺术的高度重视也有利于其它一些非西方的艺术市场发展,包括印度和东南亚。的确,对于印度和东南亚的一些的艺术家,收藏家和艺术经纪人来说,他们面临着巨大的机会。多年来我一直关注东南亚地区和印度的一些艺术家,并与他们有比较密切的交往。

问: 我刚读到一篇报道说中国当代艺术收藏大户尤伦斯将于四月初苏富比香港春季拍卖会上抛售105件收藏精品。有人担心这将引发收藏界对中国当代艺术的疑虑或造成"崩盘"现象。请Cohen先生预测一下今后几年中国当代艺术市场发展的方向?

柯恩: 首先是关于尤伦斯拍卖的问题,尤伦斯这些年来在投资中国当代艺术方面非常成功, 他这次的行动正是为增强这个方面而努力,尤伦斯在公开场合表示他将继续投资和收藏中国当代艺术品。总的说来,尤伦斯的这次甩卖行为同其它一些大收藏家们为了扩大他们的投资事业而清卖掉部分他们长久欣赏过的,己价值连成的收藏品而回收投资的行为并没有什么区别。对于中国艺术市场的前景,我看到在当前世界经济危机的大动荡时期里,中国当代艺术现象和那些天才的中国艺术家们仍能挺然毅立。诚然,我们也看到许多作品在价值上进行调整,以及一些非主要的和价格过高的作品在被进行清理,所留下来的是真正的具有奉献精神的天才艺术家群体和拥有教育背景和专业素养的收藏家们。许多年以前,当我刚踏进艺术经纪之门槛时,中国当代艺术还处在新兴阶段,但己是一个具有潜力的市场。我的同事们和我通过艰苦的努力促使这个市场有了重要大的变化,中国艺术家们如今己不再被看作是一个有些特殊意义的次要群体,而被视作全面地与国际当代艺术家们相结合在一起的主流团体。如果我们去研究一下世界当代艺术家的佳出售价格表,或看-看全球主要拍卖行当代艺术的销售记录,我们可以看到中国艺术家们的排名与来自欧美的那些大师们紧贴在一起。艺术学校在中国,在印度,在东南亚,在中东不断培养出朝气蓬勃的,天才的和重要的当代艺术家们。他们前程似锦。

喻干: 谢谢!

( 柯恩答题中文翻译 : 喻干 )
(二) 对艺术家秦风先生的采访
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问: 刚才画廊经理Ethan Cohen介绍了一些您的情况。在这里,他为您共开过四次个展。请问奏先生在美国和中国两边生活的大致时间是怎么按排的?

秦风: 在纽约这边基本上占三分之一,其余的时间在北京,一方面在中央美院带研究生,另一方面北京当代艺术馆也有许多亊要做。

问: 毎年您在中美二地都要生活较长时间,您对这二个不同地方的当代艺术的气氛有什么特别的感受?在表现形式上各有什么特点?

秦风: 我认为国内对当代艺术的总体认识比较局限,老是去重复某些东西,比方说政冶波普等,画了还画,很少有新格局出现。还有就是认识程度的问题,如反映战争,暴力或性主题等方面的内容,不一定要直接了当或血淋淋地表达,有时用平静的方式可能效果更好。总的说来当代艺术在西方就象生活中的一个环节,不是太刻意,在中国有时走了极端,顾此失彼,这点比较令人担心。

问: 中国当代艺术界似乎有以拍卖价论英雄的现象, 对于这样的情况您是怎么看待的?

秦风: 中囯当代艺术市场在本世纪初随着中国经济的成长而飞跃以致本来很穷的艺术家们突然富起来,这一切来得很容易,来得太快以致让人有点不知所措了。但我们必须知道,整个中国当代艺术的大潮是西方人推上来的,早投资的是西方人,现在的买家是中国人,这是个早己算计好的阴谋。

问: 是否请秦先生谈一下您的近作?

秦风: 右边这一排是刚完成不久的作品名为" 献给父亲" 。去年我父亲和我哥哥同时去世,为了纪念他们,我搞了这样一组作品。它里面惯穿着我的艺术理念和审美倾向。

喻干: 谢谢!

 

Interview Questions from Gan Yu to Ethan Cohen

Gan Yu : The Cohen family has lots of friends in China, and Mrs. Cohen is extremely well known in the Chinese Contemporary Art circle. I know your family is among the earliest who made substantial efforts in promoting and advocating Chinese contemporary art. Even though the Cohen family has made a great contribution to the establishment and development of Chinese contemporary art in the earlier stages, we haven't seen aggressive actions from Ethan Cohen Fine Arts during the hot period of Chinese contemporary art, especially after 2000. Do you have any plan to expand your investment efforts inside China in the coming years?

Ethan Cohen: Actually Ethan Cohen Fine Arts has been busier than ever over the past 10 years and has always occupied an important role in the promotion of Contemporary Chinese Art. I have been giving art lectures across the United States on Chinese Contemporary Art and collaborated with and hosted at my gallery in New York distinguished curators and institutions such as the Beijing Millennium Museum’s exhibition “Chinese Maximilism” curated by Gao Minglu in 2004. I curated and produced “The Chinese Art Invasion”, the first major Contemporary Chinese Art exhibition in Miami Art Basel in 2005. In 2007, I co-curated the show “We Are Your Future” for the Moscow Biennale, an exhibition that brought Chinese and Latin-American contemporary art to Moscow . What hasn't always been readily seen is the continuous work I do under the radar with collectors and investors in bringing awareness and sound advice on investing in Contemporary Chinese art. One example is having my collectors lend important works by artists such as Qin Feng, Gu Wenda, Xu Bing, and Wang Dongling to a recent exhibition at the Metropolitan Museum in New York over the past several years. Charles Saatchi, Uli Sigg, the Rothschilds, and the former Treasury Secretary of the United States, Michael Blumenthal, are just a few prominent collectors who have bought from me. Art education and opening collectors’ eyes to the beauty and power of Chinese art is what I do, and I have assisted in building art collections that specialize on China. I have always been quite active in China researching, consulting and buying for collectors and myself. As the market there grows, I find myself spending more time in China. It is a very exciting time indeed.

Gan Yu: Mr. Cohen, could you please briefly talk about the next promotion plan or market strategy for Mr. Qin Feng's artworks?

 Ethan Cohen: I have been privileged to work with Qin Feng as his dealer and advisor for over ten years. We have had four major solo exhibitions with him and have been able to take his work to many exhibitions and art fairs, involved him in biennales, helped to include him in major museum exhibitions and seen his paintings’ value rise more than twenty fold. I plan to continue to promote Qin Feng and expect that we will see many exciting museum shows of his in the future.

Gan Yu: You just mentioned that Ethan Cohen Fine Arts has formed a partnership with Pace Prints recently . You are going to produce high quality, limited edition prints from some renowned works by elite Chinese contemporary artists, and sell them to collectors inside China. You said you want to make these prints have value comparable to other masters such as Pablo Picasso. Is this a kind of derivative product you mentioned many times before?

Ethan Cohen: Actually, to clarify your question, Ethan Cohen Fine Arts has entered into a co-publishing venture with Pace Prints. And what we have been doing is certainly anything but derivative. We are producing top quality editioned works from some of today’s most relevant Contemporary Chinese artists. The main difference between these projects and previously produced prints from artists is really found in several areas. First, Pace Prints and I are not producing reproductions of already existant images. What has been in the market previously are reproductions of well-known paintings by famous Chinese artists, and many of these are simply lithographs that are a high quality posters; this is exactly what Pace Prints and I are not doing. Pace Prints and I require the full engagement of the artists in producing new images and artworks specifically created for print making. “Vive l’estampe” (long live the print). Our print collaboration allows us to bring extraordinary Chinese artist talent and the most skilled craftsmen and printing professionals in the field to work together. We have engaged Sol Lewitt’s long-term print-master to make our silkscreens and Chuck Close’s personal woodcut master carver, and, in the case of our etchings, we are using the same press that Picasso used to create many of his editioned etchings. We are bringing work of outstanding quality by the most talented Chinese artists to the global art market at fair prices. This is significant because Chinese artists are now accepted into the mainstream print market, and this gives each Chinese artist more power and legitimacy as a player in the global art market. Now prints are exciting and important to collectors. For example, if a collector wants to buy a Yue Minjun, but doesn’t want to pay $ 1,000,000 USD for a painting, he or she can purchase the best quality woodcut or silkscreen print by Yue Minjun for $ 5-8,000 from Pace Prints and Ethan Cohen Fine Arts. We currently have editions by Yue Minjun, Qin Feng, Qi Zhilong, Zhang Dali, Luo Brothers and Bai Yiluo, and other artist editions will follow.

Gan Yu: I heard that the total transaction amount of arts and collectables in China has surged to number one in the world recently. Facing strong competition from local Chinese enterprises,  how do you (international corporations) prepare if you move to the domestic Chinese market?

 Ethan Cohen: There are a lot of numbers and statistics out there that, while saying different things, all do point to the well-known fact that the market for Contemporary Chinese Art has finally found a growing place on home soil. As I said earlier, it is a very exciting time, and I have already been collaborating with a number of Chinese galleries, curators and auction houses over the past decade. Yes, I see a lot more potential for Chinese art. As the markets and collectors develop in China, what will be sought out are the dealers and advisors who have the trust and expertise as well as a proven record of success. For over 25 years I have been promoting, showcasing and educating people about Chinese art and its importance aesthetically, spiritually, and yes, financially. This is why dealers like myself and galleries like ECFA around the world will find continued importance.

Gan Yu: CitiBank recently predicted India will be surpassing China to become the second world economy within the next 10 more years . Same remarks came from the Wall Street Journal, reporting that India is likely to overtake China as the world's fastest-growing major economy within the next 12 months, according to the latest range of forecasts.  I personally attended  to a panel discussion on Contemporary Art in South Asia sponsored by Sotheby’s and The Economist on Wednesday. I felt the current mainstream hot money is preparing to make India the next wave of contemporary art, just like they did in China 20 more years ago. Mr. Cohen, what do you think about it? Is this a real momentum change or will the India wave hardly occur? I was told that Ethan Cohen Fine Arts can always foresee the next move in the art market. Do you intend to invest in the contemporary artworks in South Asian countries? And lastly, will the Chinese contemporary art market be hit by the surging South Asian contemporary art in the long run?

Ethan Cohen: India has had a vibrant and diverse art scene for quite a while. We have worked with collectors and galleries prominent in the Indian art scene for years. Although there are a number of differences between India and China with respect to their places in the global economy and their contemporary art markets, with the increasing economic growth of India we are bound to see increasing interest and a larger number of domestic collectors, as we do now in China. The world attention to what has been happening to the Contemporary Chinese Art market has also greatly helped to sow interest in other non-Western art scenes, including India and Southeast Asia. Certainly in India and Southeast Asia, there will be great opportunity for artists, collectors and dealers. I have been keeping my eye on a number of areas and Indian artists, and have already been working closely with some for years.

Gan Yu: I just read a report saying the big guy Ullens (UCCA) will dump about 10 5 pieces of top notch contemporary Chinese artworks at the coming Sotheby's Spring auction in Hong Kong. Someone suspected this may be the beginning of a turmoil, even crash of the Chinese contemporary art era. Could you please forecast the direction of the Chinese contemporary art market in the years to come?

Ethan Cohen: As to the Ullens’ sale... Ullens has been extremely successful over the years in his dealing with Contemporary Chinese Art and this move just helps to reinforce that. He has even publicly said that he will continue to invest and collect in Chinese art. Overall, I think that this sale is no different from any other large collector liquidating some of his long-enjoyed, but quite valued, works in order to refresh or expand his or her collection or investments. As to the future of the Chinese art market… I think that the recent economic turmoil has shown us that the Contemporary Chinese Art phenomenon and its most talented artists are here to stay. Of course, we saw many value adjustments and a weeding out of the less significant and overpriced art, but what we have left is a truly talented group of dedicated artists as well as a far more educated and savvy base of collectors. When I started out many years ago, Contemporary Chinese Art was seen as new and exciting, but still a niche market. My colleagues and I have worked hard to accomplish a major change. Chinese artists are not seen anymore as a select or unique group but are more fully integrated into the international elite of contemporary artists. If we examine the lists of top selling contemporary artists worldwide or look through any major auction sale, we see Chinese artists taking their place next to all the big names from Europe and America. Art schools in China, India, South East Asia and the Middle East are producing fresh, talented and relevant contemporary artists. The future is certainly bright.

 
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