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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.” […]

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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)

What It Takes to Make It Selling Art in Singapore

October 8, 2013 by Marion Maneker

Art Plural Gallery

The Financial Times sketches out the strategies, costs and customer composition of a Singapore gallery opened by Europeans. This case study involves Frederic de Senarclens, the owner of Art Plural, a gallery originally meant to be run out of their new home in Singapore’s Emerald Hill:

Starting out posed a bigger challenge than expected. The couple rented a 6,000 sq ft house in Singapore’s fashionable Emerald Hill district to sell art from their home, a method that works well in Europe. But it didn’t work in Singapore. “People don’t want to come to your home. Asians want to come to a gallery to see that you are established. That’s when they begin to trust you.”

Opening the gallery meant quadrupling sales to make ends meet. “It was a huge risk,” de Senarclens admits. Still, he says it is going well now, with sales better than expected. His solo exhibitions include prominent artists such as Ian Davenport, Pablo Reinoso and Chun Kwang Young. He also participates in regional art fairs, including Art Taipei in November.

Most of de Senarclens’ clients live in New York, Europe, Hong Kong, Malaysia, India and Australia. Some visit the gallery when travelling through Singapore. Others find it through Facebook, Twitter, YouTube and Artnet. “The internet response has been a big surprise – up to 25 per cent of our clients buy pieces they see online and we ship to them.”

Some 35 per cent of clients are local – Chinese or Indian Singaporeans.

Swiss art dealer on taking a gamble and moving to Singapore (Financial Times)

Singapore Previews New Gallery Hub

January 18, 2012 by Marion Maneker

SceneAsia, the Wall Street Journal’s listening post in the region, has one final bit of news to cap off its excellent coverage of Art Stage Singapore:

Come May, 13 galleries will set up shop at Gillman Barracks, a former colonial military compound about 15 minutes out of the city center.  […] The initial batch of galleries includes Japan’s Kaikai Kiki, run by artist Takashi Murakami, and Sundaram Tagore Gallery, which has spaces in New York, Los Angeles and Hong Kong. Gillman Barracks, which was handed over by the British in 1979 and used first as a Singapore army camp before becoming a commercial and dining spot, will eventually hold about 20 galleries.

The Singapore government came up with the idea of developing Gillman Barracks into an arts cluster in 2010, and has since invested S$10 million into the project. An open tender was made last June for galleries to apply for a space in the barracks. “We thought hard about galleries that would have the effect we want [and could] make Gillman Barracks a catalyst” for the Singapore arts scene, said Eugene Tan, a director at the Economic Development Board. Selection criteria included the participation of galleries in international art fairs, the artists the galleries represented and the profiles of gallery directors.

A New Art Hub in Singapore (SceneAsia/Wall Street Journal)

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