a.m. post

a.m. post 117期
分類:2015
上層分類:a.m. post

a.m. post 11/12 2015 117

content

spot-departing/

columns/

Academic: ir. Gerhard Bruyns

Museum: Florian Knothe

profile/

Zheng Bo 鄭波

Yuan Goang-Ming 袁廣鳴

Yang Yanling 楊雁翎

David Diao 刁德謙

Liu Xiaodong 劉小東

city review/

Taipei — Mature Yet Growing

成熟且成長中的台北

Evolution of Art Fairs in Taiwan

台灣藝術博覽會的演進

The Properties of the Taiwanese Art Market

台灣藝術市場的特性

Gallery Report

年度畫廊報告

A New Place for Galleries to Gather in Taipei  Taipei Art District

台北畫廊新聚集  大內藝術特區

issue/

Facing the Globalisation of Collecting Art Taipei 2015

迎戰收藏全球化  2015台北國際藝術博覽會

On Shark and the Humanity, or on Art and the Mass?

鯊魚與人類,還是藝術與民眾?

Conversation with Mao Lizi

專訪毛栗子

A Slightly Cool Auctumn in Hong Kong Autumn Auction 2015

景氣微涼的秋天—2015香港秋拍觀察

048-049

Between Knowing and Unknowing Research in-and-through Art

未知之知

Art Kaohsiung 2015

高雄藝術博覽會2015

reviews/ 

Yeung Yang: ‘Yip Kai Chun’

楊陽葉啟俊

Frank Vigneron: ‘New Ways to Colour the Wall’

韋一空點上你的牆

Pan Gaojie: ‘Urban Change and Artistic Experimentation Liu Wei's "Silver"’

潘高傑/城市變遷與藝術實驗 劉韡《白銀》香港白立方個展

Wang Powei: ‘Hong Kong Under the Vision of Object Network’

王柏偉/物件網絡視角下的香港

Liu Xiyan: ‘The Power of the People’

劉希言/民生的、民間的、有力量的

Bonny Yau: ‘Photo Shanghai 2015’

姚蓓玫/上海藝術影像展2015

Bonny Yau: ‘Neo-Perception China's New Generation of Women Artists’

姚蓓玫/新感知-中國新一代女性藝術邀請展

Tiffany Chae: ‘Division and Remained Task Uproarious, Heated, Inundated’

蔡娟/在自身蛻變中尋找自由

 

spot-landed/

articles in Chinese/


ampost-201511-editorial

台北,作為一種文化的品牌

文/樊婉貞

巴塞爾藝術展2016年最新的畫廊名單剛於十月底公佈,沒有太多的驚喜。大畫廊區有進有出,230間畫廊比2015年稍少,原因是有些畫廊要了比較大的空間。之前從畫廊區跌出來的刺點畫廊,2016年將再度進入,今年剛加入的台灣尊彩畫廊,2016年推出許家維,更是強勢回歸。新進藝術家區,2015年香港僅有刺點畫廊及a.m. space,明年無增有減只剩a.m. space。今年a.m. space的藝術家楊嘉輝獲得第一屆的BMW藝術旅程大獎,隨即六月便被邀請到瑞士巴塞爾藝術展展出,接下來為期半年的藝術之旅,楊嘉輝已暫時放下城市大學的教務,全心進行創作。2016年a.m. space推出與楊嘉輝同時於2013年a.m. space的開幕展展出的台灣藝術家張暉明,及與香港藝術家鄧啟耀的聯展。雖僅三年時間,a.m. space已兩次被選入巴塞爾藝術展及台北藝博。

無驚無奇,不是一種意外。一個商展活動若是成功,有質素的畫廊就會持續留在原位,累積逐年增加的收藏家名單。若幾年嘗試都進不去的畫廊可能放棄,選擇參與較次要的藝博會。有誰不願意多賺些錢?一年500多個申請者,何不多開闢幾層展區,讓更多畫廊進入?酒店博覽會便會以多樓層、多畫廊攤位來作招攬,卻不計內容及質素。維持「質素」是品牌與內容的保證,是收藏家必訪與頂尖畫廊願意投資的原因。好的藝博會收入來源不似酒店博覽全靠賣展位生存,贊助與品牌展位是重要的資源。比起引入不太強勁的畫廊,增加品牌商業贊助同時讓其提供收藏家休息區的尊貴服務是藝博會的利招,藝博會打蛇沿棍上,提升商業價值之餘還借花獻佛。

巴塞爾藝術展當初選擇邁阿密作美洲基地,是基於紐約太多藝術情事發生,而阿根廷、哥倫比亞與巴西又擁有非常重要的藏家;如何讓收藏家來個不算短的旅程,同時好好逗留兩三天度假又狂歡,都是非常重要的斟酌。看看大陸突起直飛的經濟場域與台灣成熟的收藏家市場,香港—不愧為一個文化的沙漠,居於亞洲的轉接站,於2008年香港藝博進來時,既沒有活躍的藝術活動,亦沒有收藏家。然她具有國際級配套及精煉的行政支援,前瞻大陸、後顧東南亞,國際貿易自由港的美稱,讓她也成了巴塞爾藝術展擴展亞洲基地,具有境外資金流通與轉接站功能的橋梁。巴塞爾藝術展的選擇顯現精準的商業計算,45年的經驗果然穩步扎根。

目標專注的行銷策略永遠是正確的,品牌擦亮了,更不會隨亂讓不及品牌的產品共同曝光。

此次a.m. post的城市專輯,沿襲過往幾期的比較分析,這期來到了台灣台北。比較大陸的外放與急速成長,台灣與日本一樣,藝術發展是內銷與橫線平穩發展的。早自1980、90年代台灣經濟起飛的時代,醫生地主等名門望族已經知道文化藝術的重要,他們扶植許多本土藝術家,讓藝術如幼苗發展茁壯構成當時旖旎的文人風景。而今,建築師與設計師等從事文化建設的新興收藏家群以及工薪族收藏家,他們已不全然將藝術品當裝飾品來買,如何選擇前瞻性夠的藝術家,同時選擇眼光好又夠膽量的畫廊作為自己的藝術顧問,讓藝術市場的發展更加唇齒相依。

1990年代台北阿波羅大廈聚集了一群畫廊共同取暖,而後又開花散葉生長,許多畫廊的分布完全不受控制、各自精彩。而今,畫廊又開始聚集在大直、內湖區,如同香港的黃竹坑藝術區,開始組織協會並舉辦一年一次的藝術行,讓更多的潛力收藏家可以認識該地區。許多在台北的藝術活動,多到眼花撩亂,來不及消化,就又一次消失。星期六的集體開幕,似乎已經成為台北畫廊的現象,苦了那些藝術雜誌的編輯,不斷採訪之餘,還要與畫廊及藝術家做朋友,很多藝術媒體的編輯或記者都跑去做了策展人與藝評人,這真是台灣業界的一個怪象。

拍賣公司做起私人洽購展覽早已不是新鮮事,一手與二手市場的界限漸漸模糊;畫廊若不在大街或是商業大樓開業,便選擇走向顧問辦公室或只作藝術博覽會;香港藝術館總展逝去藝術家的展覽,文創類的展覽空間卻又老以策展為主,來來去去展出的藝術家,可以一年重複出現三次,也是奇觀。藝術家將來可在哪裡展覽?藝博會?美術館?或是複合空間有咖啡店、書局及展覽廳?台北專輯提供一個新鮮的視角,有空加入我們的二年訂閱計劃,好好咀嚼一番吧。

 

Taipei as a Cultural Brand

text/ Anthea Fan

The list of participating galleries of Art Basel 2016 was announced in late October. There were not many surprises. For the main gallery exhibition, some new ones come in and some old ones go. The total of 230 galleries is fewer than the 2015 line-up because some of the galleries will take up bigger spaces. Blindspot Gallery which was out of the main gallery exhibition will return in 2016. Liang Gallery from Taiwan who took part in the fair for the first time this year will make a strong presence with Hsu Chia Wei. In 2015, Blindspot Gallery and a.m. space were the only Hong Kong galleries to make the Discoveries sector. In the coming year, only a.m. space is left. Samson Young of a.m. space was the winner of the inaugural BMW Art Journey and had been invited to exhibit in Art Basel in Switzerland in June. Young then suspended his work in the City University of Hong Kong for half a year to focus on his studio practice. a.m. space in 2016 will present a group exhibition of Chang Huei-Ming who showed with Samson Young in the space’s inaugural exhibition and Hong Kong artist Frank Tang. Within three years of establishment, a.m. space had been selected by Art Basel twice and by Art Taipei.

If a commercial exhibition is successful, then quality galleries will stay and the list of collector will accumulate. There is no surprise or accident in it. Galleries which have a few unsuccessful attempts of entering the fairs will try out some lesser fairs. Who would not what to earn more money? In the event of receiving more than 500 applications, why not set up a few more storeys of exhibition spaces to accommodate more galleries. Hotel art fairs would promote themselves with the amount of spaces and booths but do not care about content and quality. Maintaining ‘quality’ is the guarantee of a brand and content. It is the reason for collectors to visit and invest. The source of income of a good art fair is not the sales of exhibition booth, but the sponsorship and branding. Compared to the fairs that attracted lesser galleries, improving the services in leisure area for collectors with sponsorship is a great tactic. Art fairs can seize the opportunity of the services to increase their business value and please their clients.

Art Basel chose Miami to be its base in America because too many art events take place in New York. Moreover, there are important collectors in Argentina, Columbia and Brazil. It is crucial to let collectors take a trip of moderate length and at the same time play as hard as they can in the space of two to three days. Look at the flying economy of mainland China and the mature Taiwanese collector’s market. Hong Kong is such a desert of culture and a transfer station of Asia. When Art Hong Kong came in in 2008, there was not any active art activity or any collector. Nonetheless, the city had world-class infrastructure and administrative support. Hong Kong’s reputation as a free international trading port on the back of mainland China and Southeast Asia makes her the destination for Art Basel to set up the fair’s base in Asia. The city bears the function of facilitating the flow of foreign capital and the money’s transfer station. This choice of Art Basel demonstrates precise business calculation and the solid 45 years of experience.

A focused target is always right in sales strategies. Once a brand is created, what cannot match up with the brand will not be shown.

Comparison and analysis are presented in this edition of City Review like the previous ones. This time we come to Taipei, Taiwan. Compared to the outgoing and fast growth of mainland China, art development of Taiwan is more internal and steady like Japan. Doctors, property owners and other nobles in Taiwan had known the importance of culture and arts since the 1980s and 90s at the time of economic bloom. They helped a lot of local artists and constructed beautiful art scene. Nowadays, the likes of architects, designers, other practitioners in cultural industries, emerging collectors and payroll collectors do not only buy art for the sake of decoration. The issues of choice artists with vision and brave clever galleries as agents bring different parties in the market very close to each other.

In the 1990s, there gathered a group of galleries in Apollo Building, Taipei. The development is uncontrollable since then. They spread to other areas and flourished. Now, galleries start to gather again in Dazi and Neihu like Wong Chuk Hang of Hong Kong. The galleries in the art district organise an association as well as an annual festival for themselves so to let potential collectors know about the district. The amount of art activities is too many for one to take. Collective opening seems to be a phenomenon amongst galleries in Taipei. What a tough job it is for art magazine editors. They have got to visit exhibition for reporting on the one hand and make friends with gallerists and artists on the other hand. How strange it is in Taiwan that many editors or reporters of art media move on to work as curators and critics.

It is nothing new for auction houses to accept private commission for exhibitions. The border between primary market and secondary market is blurred. Galleries either open on main road or a commercial building or they only set up consultancy firm or take part in art fair. Hong Kong Museum of Art always shows artists who have passed away. The cultural and creative type of space only employ curatorial plan. The same artist might appear three times a year. When can artists exhibit in the future? Art fairs? Art Museums? Or the composite spaces of cafés, bookstore and exhibition halls? The Taipei City Review provides a new angle of thoughts. Join our two-ear subscription plan and enjoy your a.m. post!