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Fair
ART TAIPEI 2011
Art Taipei, formerly known as Taipei Art Fair International, is the longest-standing art fair in Asia. It has been organized by Taiwan Art Gallery Association since 1992. The 18th annual event, Art Taipei 2011, will be held during 26th to 29th August, 2011, at Taipei World Trade Center.
The most important link for trading Chinese and Asian arts Art Taipei is the most experienced and professional platform for trading Chinese and Asian arts. The art market in Taiwan has become more and more mature since the 80's, and today's Taiwanese collectors, many of whom brought up in this established environment, are considered to be the best collectors in the Chinese community. Taiwan's art galleries also pride themselves with great understanding of works and relationships with artists. Not only do galleries from Korea, Japan and Southeast Asia gather at Art Taipei each year, European and North American participants are also no strangers to the event. Furthermore, with the gate opened between Taiwan and China since 2000, galleries from China and Hong Kong at the event have increased and Art Taipei is now genuinely the most important platform for Chinese arts.
This year Art Taipei will also be the first Art Fair in Asia that is also accessible as a Virtual Fair, from August 25th. till September 30th.
Taiwan also has the inherent advantages in its location, both geographically and culturally.
Located in the joint between Southeast and Northeast Asia, Taiwaneses are generally mixed-cultural, always friendly and open-minded. And with a very low Commodity Tax at only 5%, Taiwan is indeed the best venue for trading Asian arts. Also, the organizer of Art Taipei, Taiwan Art Gallery Association, is the important consultant in Chinese art markets. Its long-time experiences and knowledge have led to a comprehensive database of Chinese art market, which means the quality of Art Taipei is guaranteed. During Art Taipei, Art Taipei Forum (Asia Art Economy Forum in Taipei) will also be held and serves as the platform for gallery directors, scholars, collectors, and press from all over the world to share and exchange information about Asian art markets.
Art Taipei is also well known for its vision. Since 2004, programs like “Artist of the Year”,I“Art Project”, and “Ela–Video” were introduced with the aim of brinigng great art works to Taiwan. In 2008, “Made in Taiwan–Young Artist Discovery” projects were launched, specifically designed to promote young, outstanding Taiwan artists onto the world stage.
In Art Taipei 2006, two new sections “Asia Live” and “Ela-Asia” focused on contemporary and electronic arts. In 2010, one new section “Art Taipei PHOTO” brought contemporary photography, conception photography and fashion photography to the scene. Through these pioneering projects, Art Taipei is now known as a professional art fair in presenting Asian art creation as well as the best venue for trading Asian arts.
Art Taipei 2010, held from August 20th to August 24th, 2010, closed on a high note. The number of participating exhibitors was 111, among which 53 were international galleries. The themed sections of Art Taipei 2010, which were Art Galleries, Mega Contemporary, Ela-Video, Art Taipei PHOTO, and Made in Taiwan–Young Artist Discovery provided the audience various stimuli of art. The exhibiting galleries considered Art Taipei 2010 a great success. New records were made on both attendance and transactions. During the five-day exhibition, this international gathering of the art world attracted 40,000 artists, collectors, curators, and art lovers from around the world. In terms of quantity and quality, Art Taipei once again proved to be one of the best international art fairs in Asia.
Date
Aug 26th (Fri) to Aug 29th (Mon) 2011
Time
11 am ~7 pm (Lasts until 6 p.m. on Aug 29th)
Vernissage
Aug 25th (Thu) 6:30pm - 9:00pm
Venue
Taipei World Trade Center (Area A&D)
Organizer
Council for Cultural Affairs
Taiwan Art Gallery Association
Taiwan External Trade Development Council
The most important link for trading Chinese and Asian arts Art Taipei is the most experienced and professional platform for trading Chinese and Asian arts. The art market in Taiwan has become more and more mature since the 80's, and today's Taiwanese collectors, many of whom brought up in this established environment, are considered to be the best collectors in the Chinese community. Taiwan's art galleries also pride themselves with great understanding of works and relationships with artists. Not only do galleries from Korea, Japan and Southeast Asia gather at Art Taipei each year, European and North American participants are also no strangers to the event. Furthermore, with the gate opened between Taiwan and China since 2000, galleries from China and Hong Kong at the event have increased and Art Taipei is now genuinely the most important platform for Chinese arts.
This year Art Taipei will also be the first Art Fair in Asia that is also accessible as a Virtual Fair, from August 25th. till September 30th.
Taiwan also has the inherent advantages in its location, both geographically and culturally.
Located in the joint between Southeast and Northeast Asia, Taiwaneses are generally mixed-cultural, always friendly and open-minded. And with a very low Commodity Tax at only 5%, Taiwan is indeed the best venue for trading Asian arts. Also, the organizer of Art Taipei, Taiwan Art Gallery Association, is the important consultant in Chinese art markets. Its long-time experiences and knowledge have led to a comprehensive database of Chinese art market, which means the quality of Art Taipei is guaranteed. During Art Taipei, Art Taipei Forum (Asia Art Economy Forum in Taipei) will also be held and serves as the platform for gallery directors, scholars, collectors, and press from all over the world to share and exchange information about Asian art markets.
Art Taipei is also well known for its vision. Since 2004, programs like “Artist of the Year”,I“Art Project”, and “Ela–Video” were introduced with the aim of brinigng great art works to Taiwan. In 2008, “Made in Taiwan–Young Artist Discovery” projects were launched, specifically designed to promote young, outstanding Taiwan artists onto the world stage.
In Art Taipei 2006, two new sections “Asia Live” and “Ela-Asia” focused on contemporary and electronic arts. In 2010, one new section “Art Taipei PHOTO” brought contemporary photography, conception photography and fashion photography to the scene. Through these pioneering projects, Art Taipei is now known as a professional art fair in presenting Asian art creation as well as the best venue for trading Asian arts.
Art Taipei 2010, held from August 20th to August 24th, 2010, closed on a high note. The number of participating exhibitors was 111, among which 53 were international galleries. The themed sections of Art Taipei 2010, which were Art Galleries, Mega Contemporary, Ela-Video, Art Taipei PHOTO, and Made in Taiwan–Young Artist Discovery provided the audience various stimuli of art. The exhibiting galleries considered Art Taipei 2010 a great success. New records were made on both attendance and transactions. During the five-day exhibition, this international gathering of the art world attracted 40,000 artists, collectors, curators, and art lovers from around the world. In terms of quantity and quality, Art Taipei once again proved to be one of the best international art fairs in Asia.
Date
Aug 26th (Fri) to Aug 29th (Mon) 2011
Time
11 am ~7 pm (Lasts until 6 p.m. on Aug 29th)
Vernissage
Aug 25th (Thu) 6:30pm - 9:00pm
Venue
Taipei World Trade Center (Area A&D)
Organizer
Council for Cultural Affairs
Taiwan Art Gallery Association
Taiwan External Trade Development Council
2011-08-25 to 2011-09-20
Curated by: Rodion Trofimchenko
Works by: Naritaka Satoh, Atsushi Takahashi, Soda Hiebie (Naoki Sasayama)
During the upcoming longest standing art fair in Asia, Art Taipei, Frantic Gallery is honored to present 3 artists who work with the topics of Loneliness, Anxiety and Horror. United in the exhibition titled “Uncanny and Sorrow in Monochrome and Color”, works of Atsushi Takahashi, Naritaka Satoh and Naoki Sasayama present three different points of view on intense human emotions using three completely different painterly methods.
Atsushi Takahashi is unusual in his technique and squeezes oil on canvas without leaving any touch or strokes. His painting looks like textile while the white spaces are depicted with the back of the canvas itself. His recent works are mainly portraits that represent people in deep sadness or with deemed consciousness.
Naritaka Satoh works mainly with pencil, adding white acrylic for background and charcoal for the darker sections. Consequently, his works combine the visuality of a drawing dominated by lines with features of a painting which stresses spots and brush strokes. Trying to achieve hyperreal representation and depicting babies that look like toys or in reverse toys that obtain organic bodies, Satoh creates gloomy rooms with tense relationship between characters in it.
Naoki Sasayama produces his own dense watercolor paints (mixing glycerin, pigment, ethanol and other materials) to illustrate The Catastrophes and the consequences of fatal events. Vibrating color and volume achieved by the thick watercolor generates original visual aspects which include arabesque-like patterns and non-figural elements. Additionally, the represented mortal incidents paradoxically has a light, lively sensibility. Sasayama’s works burst with vitality and the lusciousness of life, grasping both sides of the accident: its "life" and its "death".
The exhibition in general offers intricate interplay between the works, which get involved into the observation of the exhibits in different ways. While watercolors of Naoki Sasayama and oil paintings by Atsushi Takahashi are filled with intense colors that “jump out” at the viewer, drawings/paintings by Naritaka Satoh are monochrome and trie to drag the onlooker inside their depicted dark spaces. “Uncanny and Sorrow in Monochrome and Color” Exhibition presents similar topics, but they are expressed with distinct means of representation and the works being presented in one space creates a unique field of shifting feelings and emotional moods.
Atsushi Takahashi is unusual in his technique and squeezes oil on canvas without leaving any touch or strokes. His painting looks like textile while the white spaces are depicted with the back of the canvas itself. His recent works are mainly portraits that represent people in deep sadness or with deemed consciousness.
Naritaka Satoh works mainly with pencil, adding white acrylic for background and charcoal for the darker sections. Consequently, his works combine the visuality of a drawing dominated by lines with features of a painting which stresses spots and brush strokes. Trying to achieve hyperreal representation and depicting babies that look like toys or in reverse toys that obtain organic bodies, Satoh creates gloomy rooms with tense relationship between characters in it.
Naoki Sasayama produces his own dense watercolor paints (mixing glycerin, pigment, ethanol and other materials) to illustrate The Catastrophes and the consequences of fatal events. Vibrating color and volume achieved by the thick watercolor generates original visual aspects which include arabesque-like patterns and non-figural elements. Additionally, the represented mortal incidents paradoxically has a light, lively sensibility. Sasayama’s works burst with vitality and the lusciousness of life, grasping both sides of the accident: its "life" and its "death".
The exhibition in general offers intricate interplay between the works, which get involved into the observation of the exhibits in different ways. While watercolors of Naoki Sasayama and oil paintings by Atsushi Takahashi are filled with intense colors that “jump out” at the viewer, drawings/paintings by Naritaka Satoh are monochrome and trie to drag the onlooker inside their depicted dark spaces. “Uncanny and Sorrow in Monochrome and Color” Exhibition presents similar topics, but they are expressed with distinct means of representation and the works being presented in one space creates a unique field of shifting feelings and emotional moods.
Curated by: Platform China 站台中国
Works by: 毕建业 (Jianye Bi), 黄亮 (Liang Huang), 秦琦 (Qi Qin), 宋元元 (Yuanyuan Song)
Platform China 站台中国 @ [Art Taipei] Booth No.: B06
www.platformchina.org
info@platformchina.org
+86-10-6432-0091
www.platformchina.org
info@platformchina.org
+86-10-6432-0091
Curated by: Wolf Lieser
Works by: Casey Reas, Marius Watz, Eelco Brand, Boredomresearch ()
An exhibition of digital art, animations and software art.
Curated by: Art For All Society (Macau/Beijing)
Works by: Tong Chong
AFA (Art for All Society) is a non-profitable art organization established in 2007 in Macau. Our objectives are to enhance the development of Macau contemporary art, to facilitate local art creations as well as to assist the Macau SAR Government with the development of local cultural undertakings.
Our head office is currently located on the Estrada da Areia Preta No. 52, Edificio da Fabrica de Baterias N.E. National, 10th Floor. Aside from an exhibition space, there is a number of studios for artists with a total area of about 500 square metres. Our aim is to provide a stable creative environment so as to encourage more artists to devote themselves in art creation. At the same time, by organizing exhibitions and participating international art fairs, we promote our artists’ works and try to introduce their works to the art market. We hope, by all these means, we can gradually help to create a healthy cultural market which can provide more opportunities for local art workers to develop their careers and to contribute for the bigger art scene of Macau.
To introduce Macau Art to Mainland China and to build an art exchange platform between Macau and Beijing, we have set up a branch, AFA Beijing, in October 2008. AFA Beijing is located in “798 Art Zone". Exhibitions organized by AFA Beijing present newest artworks by artists from Mainland China, Macau, Hong Kong and Taiwan, showing the international city of Beijing various cultural forms.
Our head office is currently located on the Estrada da Areia Preta No. 52, Edificio da Fabrica de Baterias N.E. National, 10th Floor. Aside from an exhibition space, there is a number of studios for artists with a total area of about 500 square metres. Our aim is to provide a stable creative environment so as to encourage more artists to devote themselves in art creation. At the same time, by organizing exhibitions and participating international art fairs, we promote our artists’ works and try to introduce their works to the art market. We hope, by all these means, we can gradually help to create a healthy cultural market which can provide more opportunities for local art workers to develop their careers and to contribute for the bigger art scene of Macau.
To introduce Macau Art to Mainland China and to build an art exchange platform between Macau and Beijing, we have set up a branch, AFA Beijing, in October 2008. AFA Beijing is located in “798 Art Zone". Exhibitions organized by AFA Beijing present newest artworks by artists from Mainland China, Macau, Hong Kong and Taiwan, showing the international city of Beijing various cultural forms.
Curated by: Lorraine Kiang
Works by: Marc Chagall, Zhang Huan
Edouard Malingue Gallery is dedicated to presenting important works by Modern and Contemporary artists.
Artists:
CHU Teh-chun 朱德群
Marc CHAGALL 夏卡爾
Callum INNES
Fernand LÉGER 雷捷
Yoshitomo NARA 奈良美智
Irving PENN
Pablo PICASSO 畢加索
Camille PISSARRO 畢沙羅
Pierre SOULAGES
ZAO Wou-ki 趙無極
ZHANG Huan 張洹
Address:
First Floor 8 Queen's Road Central
Hong Kong
Inquiries:
mail@edouardmalingue.com
Visit: www.edouardmalingue.com
Artists:
CHU Teh-chun 朱德群
Marc CHAGALL 夏卡爾
Callum INNES
Fernand LÉGER 雷捷
Yoshitomo NARA 奈良美智
Irving PENN
Pablo PICASSO 畢加索
Camille PISSARRO 畢沙羅
Pierre SOULAGES
ZAO Wou-ki 趙無極
ZHANG Huan 張洹
Address:
First Floor 8 Queen's Road Central
Hong Kong
Inquiries:
mail@edouardmalingue.com
Visit: www.edouardmalingue.com
Curated by: gallery UG
Works by: Atsuo TAKAHASHI, Kunihiko NOHARA, Mai MURAKAMI, Gekko NUMATA, Shota ISHIWATARI, Mikako TAKAHASHI, Takayuki NIWA
participating young talented artists
Curated by: Naoto Kakumoto
Works by: Kanae Takaoka, Atsuko Onishi, Masaaki MIYASAKO, Chie Nakamoto
Founded 1967 in Ginza, Tokyo. One of a few pioneer galleries in Japan. We deal French Impressionsts to Contemporary Japanese Art
Curated by: Ryoichi Matsuo
Works by: Mariko Noda, Hiroko Uehara, Takahide Komatsu, Tomohiro Kato, Kaoru Soeno, Akiko Sumiyoshi, Yoshiyuki Ooe
Yamazaki Bldg. 2F 1-19-27 Minami-Horie, Nishi-Ku, Osaka 550-0015 JAPAN Map
TEL : +81-6-6534-3993 FAX : +81-6-6534-3994
E-mail : info@tezukayama-g.com
TEL : +81-6-6534-3993 FAX : +81-6-6534-3994
E-mail : info@tezukayama-g.com
Curated by: Grand Siecle Gallery
Works by: YUNG-HSIEN CHEN
The Recluse－Chen Yung-Hsien solo exhibition
Statement
by Chen Yung-Hsien
My artistic concerns have focused on the body for a long time. Early on, following my interest in meditation exercises and counting breaths, I began using own body as an element in art practice. I managed to confront my corporeal experience throughout an illness that caused disruptions in my bodily rhythms. Yet, people can view a body as a single entity with two distinct themes. These themes form a function of successive bodily looping; a looping which is in a self and inner/outer circulating process. This looping process is exactly like parallel and extending axes, thus producing an identity of body that is both familiar and foreign.
My own physicality and life can be experienced, endured or heard as both the sense of bodily existence and identity continually flow from the core of the self. However, among changes over time and cracks in space, the ways of life are wide open and not reducible to a singular perspective. But I sometimes forget the source of bodily perception, even move to anxious or frightened and worried, mind and physicality gradually diverge from the point of intersection.
Observation of the body in this way establishes the theme of my artwork. Again, the loop of body extends from the self, extending to the body of the Other, and back to my own. In an instant when different chronotopes intersect we are led to a coordinate in the body looping function which produces suspension and dislocation at a point between the two extremities because the two axes are parallel or in a loop. This results in a need to find a new route in the repeating dialog between the self, the Other and the body.
What is the new route? Series of “The Recluse” surveys an inescapable and contrasting relationship from an interloper's perspective, especially with regards to the figure situated in a state of open or hidden time. Furthermore, a complex body image quietly leads us to a space of multiple synchronicity as we gaze from dual perspectives. In other words, “The Recluse” suggests the awakening body after wavering, which involves a variety of experiences from shifting to resetting, and splitting or continuing after actually facing the collapse of the body and mind. Also, just like the cut umbilical cord, the circuitous and suspended body loop continually seeks belonging for the self in the cracks between the heart of the border and the frontier zone.
Statement
by Chen Yung-Hsien
My artistic concerns have focused on the body for a long time. Early on, following my interest in meditation exercises and counting breaths, I began using own body as an element in art practice. I managed to confront my corporeal experience throughout an illness that caused disruptions in my bodily rhythms. Yet, people can view a body as a single entity with two distinct themes. These themes form a function of successive bodily looping; a looping which is in a self and inner/outer circulating process. This looping process is exactly like parallel and extending axes, thus producing an identity of body that is both familiar and foreign.
My own physicality and life can be experienced, endured or heard as both the sense of bodily existence and identity continually flow from the core of the self. However, among changes over time and cracks in space, the ways of life are wide open and not reducible to a singular perspective. But I sometimes forget the source of bodily perception, even move to anxious or frightened and worried, mind and physicality gradually diverge from the point of intersection.
Observation of the body in this way establishes the theme of my artwork. Again, the loop of body extends from the self, extending to the body of the Other, and back to my own. In an instant when different chronotopes intersect we are led to a coordinate in the body looping function which produces suspension and dislocation at a point between the two extremities because the two axes are parallel or in a loop. This results in a need to find a new route in the repeating dialog between the self, the Other and the body.
What is the new route? Series of “The Recluse” surveys an inescapable and contrasting relationship from an interloper's perspective, especially with regards to the figure situated in a state of open or hidden time. Furthermore, a complex body image quietly leads us to a space of multiple synchronicity as we gaze from dual perspectives. In other words, “The Recluse” suggests the awakening body after wavering, which involves a variety of experiences from shifting to resetting, and splitting or continuing after actually facing the collapse of the body and mind. Also, just like the cut umbilical cord, the circuitous and suspended body loop continually seeks belonging for the self in the cracks between the heart of the border and the frontier zone.
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