Art Fairs
Marion Maneker0March 09, 2014

Armory Week Sales Report

Georgina Adam had these sales in the FT:

Ancient & Modern’s showing of paintings by Jan Pleitner ($9,000-$20,000) were among the booths that had a sellout weekend.

October Gallery placed a number of masks by Bénin artist Romuald Hazoumè ($19,000-$21,000).

Sperone Westwater said Charles LeDray’s “Rainbow” (2012-14) went to a “major US institution” for about $350,000.

Alexander Gray sold out a solo display of 1970s work by Jack Whitten ($45,000-$300,000)

Pace sold all its James Turrell holograms from 2004-08 at $100,000 each. But new works by Jacob Kassay were selling sluggishly at $25,000-$50,000.

The Art Market: Clare McAndrew’s Tefaf report – FT.com.

Eileen Kinsella has Artnet’s sales report from the Armory:

Marlborough Gallery: sold out the entire edition of nine of the small bronze Kissing Couple 2013, by Tom Otterness, at prices around US$50,000 to US$60,000, as well as a unique stainless steel Otterness sculpture for over US$130,000, Sad Sphere (2014); a polished oil on canvas by  Stephen Hannock, Incendiary Nocturne: Golden Rockets, Emerald Sky (Mass MoCA #210) (2014), sold for about US$100,000; and a mixed-media work on canvas by Juan Genoves, Arido (2013), sold for about US$150,000.

Galerie Thomas: sold Imi Knoebel’s Anima Mundi 3-2 (2013) for US$52,500 and Damien Hirst’s diminutive spin painting Beautiful Exploding Spinning Spiral Painting (1993) for US$11,500.

Cardi Gallery sold out of 12 works by Chicago-based artist Scott Short. Each of the paintings were priced at US$30,000.

Lehmann Maupin both Teresita Fernández works sold. The larger one, a 30-panel piece titled Nocturnal (30 Nights) (2013), sold in the range of US$150,000 to US$200,000. Klara Kristalova’s sculpture Seated Flower, 2014, as well as one of her drawings in the range of US$27,500 to US$41,000; four works from Do Ho Suh’s “Specimens” series (2011–2013) priced at US$20,000 to US$100,000; and Micakalene Thomas’s Hair Portrait #18 (2013) in the range of US$50,000 to US$75,000.

Lisson Gallery sold a Carmen Herrera for about $100,000. Other sales included works by Haroon Mirza, Julian Opie, and Spencer Finch at prices ranging from US$20,000 to US$100,000.

Sprüth Magers sold A suite of nine black and white photographs by Bernd + Hilla Becher, Water Towers: (Haus) (2010) sold for US$123,000

David Zwirner sold a new inkjet print on canvas work by Jordan Wolfson for US$30,000. The highlight sale at Zwirner was a new Oscar Murillo work (four panels made of metals) at US$400,000. [Note: Judd Tully has same sale for $200k below]

Sean Kelly Gallery: Kaye Donachie, Absence Without Want (2014), for US$36,800; The Cloud – Rabbit, (2013), by Leandro Erlich, (one of an edition of three), for US$45,000; After Duchamp (Bicycle Wheel) (2014) by Idris Khan, for US$90,000; Frank Thiel,Perito Moreno #17 (2012/2013), for US$44,000; and an ink and watercolor on paper by Sun Xun, entitled The Time Vivarium – 04 (2013), for US$8,000.

What sold at The Armory Show, 2014

Israel Lund, 36k USD

Katya Kazakina is back at it:

Thaddaeus Ropac: A Chinese client purchased a 10-foot-tall painting by Georg Baselitz for $660,000. Robert Longo’s large photo-realist drawing depicting a Burning Man scene went to an American buyer for $380,000.

James Fuentes: “90 percent of the works were sold, with prices ranging from $3,000 to $14,000.”

Eleven Rivington: five hand-sewn bundles of stuffed colorful clothes on plywood pedestals by Aiko Hachisuka, a Los-Angeles-based artist, were quickly snatched up, with prices ranging from $6,500 to $8,500. Belgian collector Alain Servais said he bought one of the pieces; another went to a trustee of the New Museum in New York, the gallery said.

Marianne Boesky: solo presentation of work by South Africa-based artist Serge Alain Nitegeka resembled a giant maze of overlapping plywood beams and suspended shipping containers. The barricade-like structure masked the entrance to the booth hung with five large paintings made with plywood and roof paint. Priced at $10,000 to $25,000, they quickly sold to private collectors, the gallery said.

Roberts & Tilton: striped silkscreen diptych by Israel Lund, sold for $36,000 to a longtime West Coast client “who will ultimately give it to a museum,” co-owner Bennett Roberts said in an interview.

Art Buyers Mob New York’s Armory Show as Booths Sell Out (Bloomberg)

Judd Tully’s Armory report is out:

Galerie Thaddaeus Ropac: Tony Cragg, “Distant Cousin,” from 2008, in 1,250 kilograms of stainless steel, for $1 million ; Tom Sachs, “Untitled (United States),” from 2014, for $200,000. An American collector bought both works.

Jack Shainman Gallery: Kerry James Marshall’s “Ecce Homo,” from 2008, 29- by 24-inch acrylic on PVC panel painting sold for $175,000; Lynette Yiadom-Boakye’s “2 PM Salamanca,” $60,000; Leslie Wayne’s color-charged, trompe l’oeil “Paint Rag #33,” from 2013, for $16,000.

Spruth Magers: Rosemarie Trockel’s glazed ceramic wall piece, “Ubung” (Practice), from 2011, €110,000; as well as, “Untitled,” from 1986, for €650,000. Louise Lawler’s “Keeping Yourself,” from 2007-08, for $40,000.

Pilar Corrias Gallery Ken Okiishi eight of his untitled, robot assisted paintings behind Plexiglas sold at prices ranging from $8,000 to $17,000.

David Zwirner: Oscar Murillo’s ambitious four-panel work, “Tension 2,” from 2014, for $200,000.

Report: Armory Show Contemporary Sees Bursts of Sales at VIP Opening (Blouin Artinfo)

Kehinde Wiley at Sean Kelly

Katya Kazakina gathered some some comments and some sales reports at the ADAA opening last night:

“There are fewer dealers who are bringing Impressionist and modern art to the fair,” said David Nash, co-owner of Mitchell-Inness and Nash gallery in New York, which has participated in the show since 2003. “Clearly the market is very excited by contemporary art at the moment.”

“The first hour was extraordinary,” [Stefania Bortolami] said. “Some of the people who were here today have never been to my gallery. And now they might come by because we had a nice chat and they liked the work. That’s invaluable.”

Sean Kelly: eight glittering paintings shaped as Russian and Greek Orthodox icons by Kehinde Wiley. Priced at $75,000 each, more than half of the booth sold in the first two hours, Kelly said.

Matthew Marks: A $2 million painting by Ellsworth Kelly

Pace: five light holograms by James Turrell, priced at $100,000 apiece

David Zwirner: a group of six “black” oil-on-paper drawings by Ad Reinhardt. Exhibited in the U.S. for the first time, the group sold for $3 million to a European collection, the gallery said.

Stefania Bortolami: three new $50,000 abstract paintings by Richard Aldrich and one $300,000 striped canvas from 1973 by Daniel Buren.

James Cohan: Spencer Finch works on paper, $18,000 apiece, sold out at the opening.

Cheim & Read: two Louise Bourgeois bronzes that each sold for around $500,000

Trophy Art and Curated Booths at ADAA’s Art Show (Gallerist)

Kravis, Loeb Hit Art Show as $2 Million Painting Sells (Bloomberg)

Art Fairs
Marion Maneker0March 07, 2014

Over-Collectors Face Under-Supply of Interesting Art

Kelly Crow on Armory Week WSJ Video

Fair fatigue! The Wall Street Journal declares the era of the universal art fair over and story concludes that no one ought to go to all of the art fairs around the world because … its not necessary!

Dallas collector Howard Rachofsky and his wife, Cindy, used to plan vacations around attending far-flung fairs, but lately they have winnowed to a few favorites like Art Basel Miami Beach and Frieze Art Fair in New York—and they don’t feel guilty if they don’t go at all. “Fairs are like supermarkets today,” Mr. Rachofsky said. “You’re wandering around miles of aisles looking for new flavors, but I already know what I like. Fairs are not critical to growing our collection anymore.”

Michael Hort, who runs a paper-printing company in New York, said he and his wife, Susan, were worried a few years ago when a medical issue caused the couple to delay their trip to the Basel Miami fair by a couple of days—arriving long after hundreds of VIPs might have picked over the offerings. It turns out, “we hadn’t missed a thing. A long time ago when there were fewer fairs, getting in first was important. We no longer need to be first,” Mr. Hort said.

Indeed, the underlying, unstated conclusion of the story is that as the art market grows beyond the bounds of relatively small coterie of  deeply committed over collectors, it is bringing in a larger population of buyers. That’s a good thing. Next up on the agenda, however, is dealing with the under-supply of appealing art and tendency for work to gravitate toward similar themes:

New Jersey-based art adviser Clayton Press agrees, saying the fair onslaught reveals how “homogenous and repetitive” the current art scene can be when it’s continually being trotted out under a tent. Fairs bill themselves as a way to track the latest art trends, but Mr. Press said this marketing tactic can backfire if the same pieces keep cropping up at fair after fair—a “ship it until it sells” approach that can turn off savvy shoppers.

“There should be an international moratorium on art made with mirrors, Mylar, aerosol paint, and virtually any ‘found objects’ no matter how esoteric or dear,” he added, citing typical art-fair offerings.

An Art-Fair Survival Guide (WSJ)

Art Fairs
Marion Maneker0March 06, 2014

ARCO Sales Report

 (Photo by Luis Alda, Courtesy ARCO Madrid.)

(Photo by Luis Alda, Courtesy ARCO Madrid.)

“Since Carlos has run the fair, it’s made an enormous step forward. It has become so international. Not just European collectors, but ones from Latin America and the U.S.,” said Thomas Krinzinger of Austria’s Galerie Krinzinger, who noted that he’d already sold two pieces for between 30,000 and 50,000 euros.

Marcia Gail Levine, special projects director at New York’s Marlborough Gallery, said that the gallery had already sold four pieces by Juan Genovés for around 100,000 euros and two by Manolo Valdés for some 200,000 euros to Spanish and American collectors.

Reading Spain’s economy through art sales (Term Sheet/Fortune)

“Otra Frontera,” a 2013 conceptual wall sculpture made out of a sieve by the Argentinian artist Nicolás Robbio, was among Vermelho’s early sales, to a Colombian collector for $4,000

Galería Elvira González: 1984 Robert Mapplethorpe photograph “Pheasant” to a Spanish foundation for €13,000;  2008 Miquel Barcelo canvas, “Dogon – 2,” reminiscent of a cave painting, for about €430,000

Global Reach for Smaller Fairs (NY Times)

Helga de Alvear: Angela de la Cruz, which sold for €60,000 (US$82,200)

Thomas Schulte: Juan Uslé. Titled Two in Blue Note (2013), the painting sold for €65,000 (US$89,000).

Kewenig: an Elger Esser photograph titled La Grande Be (2009) for €40,000 (US$55,000).

Javier Lopezsold: KAWS, NYT (2909) (2014), for US$16,8000.

Mehdi Chouakri: Mathieu Mercier’s Drum and Bass 182 (2002-2013) for €18,000 (US$24,750).

Galeria Filomena Soares: Rodrigo Oliveira, Fachada Suprema (Luxalon) (2014) for €16,000 (US$22,000).

ADN Platform: 54 Carlos Airesworks on US dollar bills from his Disaster Series, each priced at the impulse-buy price of €1,000 (US$1,370). By Friday, the gallery had already sold 13 of the works

AtAMA gallery: Elina Brotherus’, L’Etang (2012) went for €8,500 (US$11,600).

Gallery Forum Box: Mia Hamari’s sculpture for €2,980 (US$4,080).

ARCO Madrid Delivers Solid Mid-Market Sales in 2014 Edition (Artnet News)

Galerie Anhava: Antti Laitinen,“Forest Square I” and “Forest Square II,” 2013, sold almost immediately for €5,000 ($6,800) each.

Showroom Helsinki: Jiri Geller“We Come At Night (Glossy),” 2014. Priced at €105,000 ($144,000), this new work already sold prior to the fair.

ARCOmadrid Puts a Spotlight on Finnish Art (Blouin ArtInfo)

Art Fairs
Marion Maneker0March 03, 2014

Art14 London Sales Report

art14-london

Below is the sales report issued by the fair’s PR firm Sutton PR

Art14 London, sponsored by Citi Private Bank, drew artists, galleries and collectors from across the world, and saw an increased number of visitors at the second edition of London’s global art fair. The Fair ran from 28 February – 2 March at Olympia Grand, Kensington, presenting 180 galleries from 40 countries, and welcoming 31,231 visitors over four days. Gallerists from countries such as Hungary, Taiwan and China were exhibiting alongside galleries from Cuba, France, Russia, Germany and the UK, generating interest from collectors and visitors eager to learn more about art produced globally.
Sales of art from around the world at Art14 London included:
  • Sundaram Tagore Gallery (New York City, Hong Kong, Singapore) sold Fernando Botero’s ‘Donna Seduta’, 2005, for USD 960,000
  • Kálmán Makláry Fine Arts (Budapest) sold a painting by Judit Reigl entitled ‘Outburst’, 1956, for GBP 220,000 to an English collector. The gallery also sold two works by artist Sam Havadtoy for GBP 8,000 and GBP 18,000 to an Asian collector
  • Alexander Ochs Gallery (Berlin, Beijing) sold Zhao Zhao’s ‘Waterfall’, one of the Art14 London Projects, for EUROS 90,000 to an Israeli collector
  • Galerie Mark Hachem (Paris, New York City, Beirut) sold four works by artist Jesus Curia to a private museum in Dubai. One of the sculptural works made of bronze and wood, entitled ‘7-Camino’, sold for GBP 29,000
  • Rossi & Rossi Gallery (London) sold two works by the Tibetan artist Tenzing Rigdol for USD 15,000 and USD 25,000, in addition to two works by the American artist Tsherin Sherpa ranging from USD 15,000 to USD 25,000
  • Pearl Lam Galleries (Hong Kong, Shanghai, Singapore) sold a painting by Chinese artist Zhu Jinshi, entitled ‘Old Cycas Tree’ for GBP 195,000 to a UK based collector
  • Pifo Gallery (Beijing) sold five works including two works by Chinese artist Kang Haitao for GBP 40,000 and GBP 60,000, both to London based collectors
  • Faur Zsófi Gallery (Budapest) sold work by an emerging Hungarian sculptor called Áron Zsolt Majoros to two privately owned contemporary art museums. Both sculptures were sold for GBP 10,000, one was bought by a private museum in Istanbul and the other in Mexico City
  • Jerome Zodo (Milan) sold a work entitled ‘Bianco’, 1978 by Agostino Bonalumi for EUROS 140,000
  • A painting entitled ‘Ashen face-Aiko Fang’ by Taiwanese artist Lo Chan-Peng sold at AKI Gallery (Taipei) for GBP 48,000 to an European Collector
  • Sims Reed Gallery (London) sold a complete set of 16 etchings and aquatints by David Hockney entitled ‘A Rake’s Progress’ 1961-63, for over GBP 100,000 to a London-based collector
  • Tang Contemporary (Bangkok, Beijing, Hong Kong) sold a painting by Chinese artist Wang Yuyang for GBP 17,000
  • Lin & Lin (Taipei, Beijing) sold two mixed media works on canvas by Taiwanese artist Liu Shih-Tung, ‘Blossom’ 2013 sold for GBP 15,000 in the first 30 minutes of the Fair, and ‘Look, Something Amazing Has Happened Here!’ 2013 sold for GBP 11,000
  • The Fine Art Society Contemporary (London) sold a film work by Rob and Nick Carter entitled ‘Transforming Nude Painting, 2013 after Giorgione’s ‘Sleeping Venus’, c.1510’ for GBP 100,000
  • Lazarides (London) sold a painting by Conor Harrington for GBP 60,000

Colline Milliard adds this sale on Artnet:

  • Karsten Schubert: Four Bridget Riley works on paper  in the region of £100,000 (US$167,276).

Art14, London’s Latest Fair, Sheds Light on Another Art Market (Artnet)

Art Fairs
Elena Soboleva0February 28, 2014

Elena Soboleva: My Armory Show Top Ten

Elena Soboleva 2014Elena Soboleva is a Specialist at Artsy, and one of the guides at the Armory Show. @elenasoboleva

So here is a look at ten booths you should check out when you are at the Armory Show in New York next week. (Full disclosure: my insider art knowledge comes from working on the Armory Show preview for Artsy, which has partnered with the fair for the second year in a row to bring it online, and provide me with ample opportunity to contemplate the works ahead of the VIP opening.)

With an impressive list of over 200 galleries and a highly competitive selection process, this iteration of the fair is bound to have a self-assured vibe of not trying too hard. Many big names such as James Cohan, Sikkema Jenkins and Thaddaeus Ropac are new, while a multitude of younger European and Asian galleries, both new and returning, will be showing fresh talent coming to light. This year’s curatorial focus is China, which is extremely relevant, but far from my area of expertise, so I leave it to people who know far more.

Skip the Israel Lund at Roberts & Tilton.  There’s a 100% chance it’s long-sold, months before it was created, to a bigger collector than you.  If you really want to try your luck, maybe add yourself to the wait list for one of the Harold Ancarts at CLEARING Gallery, which sit there like fine tropical birds—to be desired but not captured. You might even spot a few of these rare breeds, if you get the coveted invite to the Hort’s Sunday Armory Brunch—and if the Horts have them, then what are the chances for the rest of us.

Instead, let’s talk about emerging painters and new media. Here are the booths I am most excited to see at this year’s Armory Show.

Hayal Pozanti Technocream (Image courtesy of the artist and Jessica Silverman Gallery)

Hayal Pozanti
Technocream
(Image courtesy of the artist and Jessica Silverman Gallery)

Jessica Silverman Gallery  (Pier 94 – Contemporary, Booth 761)

The booth is part of the inaugural edition of Armory Presents, a curatorially tight section of the fair dedicated to newly-established dealers and younger artists. The San Francisco gallery, and preeminent outpost of emerging talent on the West Coast, will present Hayal Pozanti’s new series of paintings.  With names like Technocream and Archival Alchemy, the irresistible canvases depict rounded geometric forms derived from subconscious doodles, GIFs and digital rendering which reconcile the digital world with canons of modern art.

I8  (Pier 94 – Contemporary, Booth 609)

There are a lot of interesting artists out of Iceland and Northern Europe dealing with temporality and the laws of visual and metaphysical perception disguised in post-minimalist form.  This booth is a Nordic haven and will feature Olafur Eliasson, Thór Vigfússon and Alicja Kwade. My personal favorite is the Ragnar Kjartansson photograph from his S.S. Hangover voyage, which sailed across the the Venice Arsenale at last summer’s biennale.

Jon Rafman Monet Master Bedroom,  (Courtesy of the artist and Zach Feuer Gallery)

Jon Rafman
Monet Master Bedroom,
(Courtesy of the artist and Zach Feuer Gallery)

Zach Feuer (Pier 94 – Contemporary, Booth 821)

At every fair, I am ever more blown away by Jon Rafman’s works. With the recent cameo of his morphed heads in the RoboCop film, the rest of the world also seems to have caught onto my obsession. The Monet Master Bedroom and De Kooning Hallway are especially amazing—they are unreal environments, digitally created to transmute iconic artwork into the physical realm, through 3D modeling software. Paired with new shingle paintings by Marianne Vitale, this booth is not to be missed.

James Fuentes LLC  (Pier 94 – Contemporary, Booth 781)

The solo booth of Jessica Dickinson’s works on paper is a thoughtful and slow contemplation, that’s a rare find amidst any art fair, where mirrors and neons are the usual modus operandi. Her works are explorations into material flesh of paper itself and subtle color modulations. They are meditative, strong and will serve as a perfect respite from the visual barrage of everything else.

Marianne Boesky Gallery  (Pier 94, Booth 604)

After that edgy WSJ feature, and a killer lineup of new talent including Andisheh Avini and the current show of Kon Trubkovich, Marianne Boesky has been turning heads this season. She delivers another ‘art star’ of the rise, with a solo booth dedicated to Serge Alain Nitegeka. The constructed planes of of wood and black contrasting shapes are exquisite and have depth and focus. With Julia Dault now on the roster as well, things are just heating up for this gallery.

THOMAS RAAT The 1958 Pittsburgh International Exhibition of Contemporary Painting 2012 (Courtesy the artist and BolteLang, Zurich)

THOMAS RAAT
The 1958 Pittsburgh International Exhibition of Contemporary Painting
2012
(Courtesy the artist and BolteLang, Zurich)

BolteLang  (Pier 94, Booth 779)

Thomas Raat was a new name to me before the Armory, but he has shown extensively around Europe and will have Zurich’s BolteLang Gallery booth dedicated to his vividly geometric, whimsically abstract and overall delightful paintings. They are a real gem,  with an unpretentious price point and unique floor display. This should be a destination for any younger collectors looking to discover a new name.

Cardi/Cardi Black Box (Pier 94, Booth 725)

Many dealers like to approach art fairs as a chance to curate and explore themes and intersections of multiple artists’ practice. This year, Cardi promises one of the sharpest presentations with series monochromatic edge that will feature Andy Warhol’s Knives (a jarring silkscreen of just that), a stunning white Fontana slash painting from 1966 and Scott Short’s series of 2013 works. Short is a forerunner to much of today’s process paintings and his pieces are actually re-painted versions of photocopied black and white sheets of paper.

Galerie Rodolphe Janssen  (Pier 94, Booth 507)

The program of this Brussels based gallery has gotten a lot of international attention and has become one of the main spaces for emerging American talent to show abroad.  The gallery will be working with all the members of The Still House Group on a series of upcoming shows. For the Armory, Janssen is bringing a collection of uniquely figurative works by subversive artists including Betty Tompkins, Sean Landers and Chris Martin amongst others.

Peter Blum Gallery  (Pier 94, Booth 709)

New Yorkers never tire of Alex Katz, a timeless favorite at the Armory.  This year one can expect to see his works at no less than six booths. Blum is leading the pack and dedicating his space to Katz’s recent portraits and nature vistas.  The paintings are all cropped off-kilter, gaining dimension in context of one another. Gavin Brown’s Enterprise showed a solo booth of Katz at Frieze last fall and now Blum is choosing a similar approach in New York.

Travess Smalley Vector Weave (Courtesy the artist and Higher Pictures)

Travess Smalley
Vector Weave (Courtesy the artist and Higher Pictures)

Higher Pictures (Pier 94, Booth 771)

Rubbing shoulders with private collector spaces and Gagosian, this uptown gallery is a proponent of emerging art in the 980 Madison building and has been exhibiting abstract photography (and the likes of Sam Falls) before it ever became a thing.  For the Armory, Higher Pictures will be in the Presents section with a booth of all Travess Smalley works. This artist’s goal is to ‘capture physical presence’ through a mashup of computer generated and physical matter. The UV prints on stretched vinyl resemble wave patterns from afar and almost make you wish OpArt would make a comeback.

Art Fairs
Marion Maneker0February 21, 2014

FIAC Opens May Open Two-Front Art Fair War with LA & St. Petersburg Events

So far, only the Los Angeles edition of FIAC—the dominant Paris art fair that follows Frieze in October every year—has been announced but The Art Newspaper says the 2015 event might be paired with one in Russia:

The organisers of the Paris fair, Reed Expositions France, confirmed the US edition this week. Fiac in Los Angeles is due to take place in April 2015 to coincide with Paris Photo LA, which launched in 2013 and which Reed Expositions also manages.

According to reports in the Russian media, Fiac in St Petersburg in 2015, is also being considered.

Fiac heads to Los Angeles and possibly St Petersburg too? (The Art Newspaper)

Art Fairs
Marion Maneker0February 10, 2014

India Art Fair Reports Mixed Sales Amid Slow Revival of South Asian Market

Lekha Poddar

There’s been little in the way of sales information coming out of the annual Indian Art Fair this year. Georgina Adam gathers what she can in the Financial Times:

According to the organisers, sales were buoyant, although on the ground reports were
more nuanced. For some exhibitors, it was “their best year ever”. London’s Grosvenor Gallery scored well with 60 sales, including many by local artist Olivia Fraser, at prices between £500 (prints) and £8,000. This neatly avoided a big headache for international galleries, namely the 15 per cent duty on imported art – and the hassle the exhibitors face when reclaiming the levy on unsold works. Other galleries were as happy, although sales were not at a high price level. Leading local collector Lekha Poddar bought a work by Hajra Waheed at Experimenter of Kolkata; the other big collector Kiran Nadar, who also has founded a private museum, made a flurry of acquisitions.

Others were disappointed: Lelong of Paris, despite its solo show of Nalini Malani, also featured at the Nadar museum, said business was average. The quality of many of the offerings did not please everyone but Girish Shahane, artistic director for next year’s edition, was sanguine. “The art fair can’t run ahead of its market,” he said. “The buyers here are at a particular stage, we will gradually draw in our audience.” Certainly, with reported attendance of almost 100,000, the fair attracted an enthusiastic number of visitors.

The Art Market: Sotheby’s Impressionist and modern art auction scores £163.5m (Financial Times)

Art Fairs
Marion Maneker0January 27, 2014

What Makes Art Stage Singapore So Different, So Appealing

BBC News on Art Stage Singapore

Kishore Singh decode’s the meaning of Art Stage Singapore’s “We Are Asia” slogan and one of the fair’s directors, Gil Schneider’s take on Art Stage Singapore as a ‘neighborhood” fair:

[It] isn’t preaching a style of Asian art, instead it is treating it like a jigsaw puzzle and assembling the pieces to form a mosaic, the pixillations aimed at presenting a cohesive view. ” Asia stretches all the way from Turkey to New Zealand,” he argues, “so someone sitting in Mumbai has no idea about art in Korea, or Indonesia.” […]

This is what makes Art Stage different from other fairs. Its focus is single-mindedly Asian. Are there any defining features for the region as a whole? If you’ve been to Korea, or Hong Kong and Singapore, you begin to recognise artists’ works and even perhaps an appetite for the “styles”, the most obvious example of which is the wide-eyed comic characters of Japanese and some Korean art that also finds its presence in pornography and is faintly disturbing. But an overarching theme? That would be as naive as looking for a common chord for Asian food (or even Indian cuisine). A smorgasbord is more likely – and the better for it.

[…] Though smaller than Art Basel Hong Kong (in May), it is tapping into the financial community of the island city as well as its neighbourhood, countries that park their money and own apartments in prosperous Singapore. “It does not compete with Hong Kong,” Schneider is at pains to point out, “it complements it.”

Asia rising (Business Standard)

Art Fairs
Marion Maneker0January 23, 2014

Vernissage TV: Art Stage Singapore 2014

Art Stage Singapore 2014

The Vernissage TV folks brought their magic to Singapore for this year’s edition of Art Stage Singapore with numerous artist interviews and lots of great footage (click on the image above to see.)

The fourth edition of the art fair Art Stage Singapore features a new fair format that comprises eight country and regional Platforms. The Platforms, which include Southeast Asia, India, China, Taiwan, Japan, Korea, Australia and Central Asia, are curated by experts of the respective arts scenes. A supporting program complements the gallery presentations, including a special evening program to highlight the local art scene in Singapore and the Singapore Biennale, and guided tours and art talks. Art Stage Singaporepresents over 100 galleries, of which 80% are Asia Pacific-based galleries.

Art Fairs
Marion Maneker0January 23, 2014

Platforms and Sales at Art Stage Singapore

kashya-hildebrand

Kashya Hildebrand

Artforum’s Kate Sutton wandered through Singapore’s Marina Bay Sands for the latest edition of Art Stage Singapore:

The fair itself features a heady mix of smaller galleries from Southeast Asia and a smattering of those Westerners who have opened second or third spaces in Hong Kong, Beijing, or Singapore. “I participated the first two years, then skipped last year,” dealer Kashya Hildebrand confessed. “I came back because I figured things could get pretty fun now that Art Basel Hong Kong has given all these Asian galleries the boot. Collectors missing their Asian art fix know they can come here.” All that and more: Berlin/Seoul/Beijing–based Michael Schultz Gallery made headlines offering a flashy $11.5 million Gerhard Richter painting, with another Richter reported as sold for a more palatable €580,000. […]

ArtStage founder and director Lorenzo Rudolf (who helmed Art Basel in the pre-Keller-era of 1991–2000) keeps the fair from feeling too corporate through the use of ingeniously deployed “Platforms,” nation- or region-specific exhibitions selected from the offerings at the fair by some of Asia’s most celebrated curators, including Mori Art Museum’s Mami Kataoka (Japan); Kim Sung Won (Korea); Charles Merewether (Central Asia); and artist Bose Krishnamachari, who’s responsible for creating Kochi, India’s first biennial. The mixture of curatorial statements and price tags seemed to take; Continua sold Qiu Zhijie’s The Politics of Laughing for $80,000, while Sundaram Tagore delighted in the $66,000 sale of Jane Lee’s 50 Faces. (Lee’s show continues at the gallery’s Gillman Barracks outpost.) Shakshi Gupta’s intricately-carved-and-feathered totem also found a home via Platforms.

all the world’s a stage (Artforum)