Art Market Monitor

Global Coverage ~ Unique Analysis

  • AMMpro
  • AMM Fantasy Collecting Game
  • Podcast
  • Contact Us

Art Stage Singapore Still Trying to Define Region

January 10, 2017 by Marion Maneker

As Art Stage Singapore is set to open, Lorenzo Rudolph has some stark words for the city-state’s culture industry where art sales are off 25-40%:

“Everybody is asking: Where is Singapore going? We all know Gillman Barracks has problems, we all know galleries are trying to survive and some have left. We all know also that institutions are not in the best position.” […]

Continue Reading

What Makes Art Stage Singapore So Different, So Appealing

January 27, 2014 by Marion Maneker

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)

Platforms and Sales at Art Stage Singapore

January 23, 2014 by Marion Maneker

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)

Art Stage Singapore 2014 Sales Report

January 20, 2014 by Marion Maneker

Wenson Gallery Art Stage Singapore 2014

Excellent sales report on Art Stage Singapore from Nicolas Forrest in Artinfo Australia:

  • Arndt Singapore: Eko Nugroho embroidery for US$30,000, a Fendry Ekel painting for US$28,000, an Entang Wiharso sculpture for US$22,000, two Rodel Tapaya paintings for US$20,000 and $US23,000, and the entire solo show of seven paintings by Filipino artist Jigger Cruze (US$8,000 to US $18,000) within the first 10 minutes of the fair.
  • Galerie Mark Hachem: sold four works by Egyptian-born artist Yves Hayat for an average price of EUR 10,000, one painting by Palestinian artist Laila Shawa for EUR 30,000, two paintings by Algerian-born Paris-based artist Nacer for EUR 12,000 each, and one Polles sculpture for EUR 5,000.
  • Sundaram Tagore Galleries: sold “Mount Edziza Provincial Park #1, Northern British Columbia, Canada, 2012,” by renowned photographer Edward Burtynsky for US$27,820, “Iceberg between the Paulet Island and the South Shetland Islands, Antarctica,” 2005, by Brazilian-born Paris-based photographer Sebastião Salgado for US$38,734, two pieces by Indian-born Copenhagen-based poet, artist, and Tantric guru Sohan Qadri, each selling for US$63,130, and “50 Faces” by Singaporean artist Jane Lee For US$66,000.
  • Galerie du Monde Hong Kong: four paintings by Chinese artist Zhu Yiyong on the opening day, all from his “Memories of China” series. Three 90 x 90cm paintings sold for US$49,000 each and one 170x100cm sold for US$80,000.
  • Ota Fine Arts Japan/Singapore: a painting by Yayoi Kusama during the preview. Indonesian artist Ay Tjoe Christine also proved popular for the gallery which reports having a long waiting list for the work that they have brought by the artist (“Big Portion Only For the Red”).
  • Galerie Ernst Hilger:  sold one work by Ai Kijima for SGD$14,000.
  • Gajah Gallery: four works by Indonesian artist Yunizar. Three of the works are the artist’s most recent bronze creations, in editions of three, which were realized during his time at the Gajah Gallery’s Yogya Art Lab in Indonesia. Two of the bronze sculptures sold for SGD$29,000 and one sold for SGD$27,000. The fourth work by Yunizar that was sold by the gallery is a painting entitled “Silver Sun,” for SGD$63,000.  [T]hree works by contemporary Chinese artist Li Jin.
  • Chan Hampe Galleries, which is presenting a solo exhibition of work by Singapore painter Ruben Pang, reports SGD$50,000 worth of sales in the first hour of the VIP preview.
  • Edouard Malingue Gallery had a very busy first day selling several paintings by Chinese artist Yuan Yuan and an installation by Hong Kong-based installation and media artist Joao Vasco Paiva.
  • Galerie Sogan & Art sold their entire stock of five photographs by Singapore-based emerging multidisciplinary artist Sarah Choo.
  • Galeri Apik Indonesia, reports selling two works by contemporary Indonesian artist Yarno that were created especially for Art Stage Singapore. “Night Forest” was sold for SGD$ 30,000 to a Taiwanese collectors and “The Growth” for SGD$24,000 to a Malaysian collector.
  • de Sarthe Gallery: sold a work by Zhou Wendou for US$3,500 and a work by Weng Guofeng for US$30,000. Weng Guofeng’s “2012, No.1,” 2013 – a 300 x 642 cm Giclée print exhibited by de Sarthe Gallery as part of the China Platform – was sold to the Long Museum in Shanghai.
  • Frantic Gallery has sold three works from their solo show of Japanese artist Cousteau Tazuke including “The work with acrylic resin surface 2013.10.21” for EUR 9,000, “The work with acrylic resin surface 2012.10.10” for EUR 18,000 and “The work with acrylic resin surface 2012.03.22” for EUR 3,000.
  • Zemack Contemporary Art had a fantastic start to the fair, selling three works by the New York-based hyperrealist painter Yigal Ozeri for SGD$50,000 each. In addition the gallery sold an oil on canvas by French artist Philippe Pasqua for SGD$120,000.
  • Equator Art Projects reports selling a number of works with interest in several more. According to a gallery spokesperson, “We are very pleased with the response to Sherman Sam’s solo booth, Nikki Luna’s lightbox installation at the Southeast Asia platform, and to Awiki. We look forward to more people visiting our Gallery Booth (E7a) to have their portrait painted by Awiki.”
  • Scream London sold a significant work by Beijing-based artist Ye Hongxing for SGD$24,000 during the opening of the fair.
  • Galerie Paris: “We’ve  sold one of the biggest piece of our booth to a significant Singaporean collector (a video by Yang Yongliang priced at USD$100,000), we sold many photographs by Chinese performer Liu Bolin at around USD $20,000 each, and a painting by young Chinese painter Ma Sibo at USD$25,000.”
  • 7Adam Gallery reports selling nine bronze sculptures by Singaporean artist Kumari Nahappan ranging in price from SGD$672.00 to SGD$13,200.
  • CUC Gallery is the first gallery from Vietnam to participate in Art Stage Singapore. Ms. Pham Phuong Cuc, founder of CUC Gallery, says that she has sold two works by Vietnamese artist Ly Tran Quynh Giang for SGD$11,000 each.

A Definitive Art Stage Singapore 2014 Sales Repor (Blouin Artinfo)

Art Stage Singapore Thriving on Competition from Hong Kong

January 8, 2014 by Marion Maneker

marina_bay_sands

Lorenzo Rudolf, former director of ArtBasel, is gearing up for another edition of his Art Stage Singapore next week. Though many think ArtBasel Hong Kong has gained momentum in Asia, Rudolf is quick to point to the sheer size of the market in Asia:

Smiling at the mention of Art Basel – Rudolf, a former director, is credited with transforming that modest event into a glitzy Miami Beach-style success – he says: “Competition is the best thing for the business. There are only two places where you can make an international art fair in Asia: Hong Kong and Singapore. It’s the best thing that can happen for Asia – the biggest continent in the world and two fairs.

“Count all the fairs in Europe – it’s 10 times more. Asia is a continent that’s growing, increasing, which means they need platforms like that, a successful top fair in Hong Kong and Singapore, as long as the two fairs are not at the same time and do not have the same concept,” the 54-year-old Swiss says, adding he is happy that his old colleagues from Art Basel have ventured to Asia.

“It’s not a question of an increase, but a question of what you want,” says the fair director. “It is typical of every contemporary art fair to try to balance both sides: not just a fair for billionaires, but also quality works, young art that [is] not expensive. The importance is to have the entire balance.”

This year’s event, from January 16 to 19, also aims to strike a balance between the business of selling art, and that of educating collectors.

Art Stage Singapore puts region’s art in global spotlight (SCMP)

Next Page »
LiveArt

Want to get Art Market Monitor‘s posts sent to you in our email? Sign up below by clicking on the Subscribe button.

  • About Us/ Contact
  • Podcast
  • AMMpro
  • Newsletter
  • FAQ

twitterfacebooksoundcloud
Privacy Policy
Terms & Conditions
California Privacy Rights
Do Not Sell My Personal Information
Advertise on Art Market Monitor
 

Loading Comments...