MUSEUM DUNIA MAYA DR IWAN S.
Once banned by Mao Zedong as a bourgeois activity, stamp collecting has become increasingly popular in China in recent years. While early collectors were from Hong Kong, Taiwan, and the international Chinese diaspora, some important Mainland Chinese collectors are today “repatriating” stamps, in the same way that others are bringing back Chinese artworks.
A franked version of a 1968 stamp that Robert Schneider, a principal with the auctioneer InterAsia Auctions in Hong Kong, called “the most iconic stamp of the People’s Republic of China,” sold at auction in August for 345,000 Hong Kong dollars, or about $44,500.
The stamp, titled “The Whole Country is Red,” depicts a group of workers holding Mao’s “Little Red Book,’ with a red map of China in the background. It was pulled from circulation on the day it was issued, however, officially because the map omitted the Xisha and Nansha Islands, although probably a more important omission was Taiwan. Some of the stamps had been sold before the order to pull them came. Read the whole story in the IHT. //
Saturday, October 30
There is more than meet the eye in this new show by Korean artist Lee Sang-hyun. His digitally montaged imagery is made in vivid, bright pop colours that accent black and white photography depicting fictitious and historical scenes, juxtaposing past and present, West and East, nature and industrialization, mass culture and traditional landscapes. The artist has said he’s interested in the irony of photography that can be used to distort facts and hide truths. Past & Present: An Awkward Reunion is now at Amelia Johnson Contemporary.
Local graffiti artist, Zul Othman aka ZERO, investigates the relationship between graffiti art, advertising, and youth-oriented consumer culture in his graffiti art show, The Spectacular Spectacular. The artist “dresses” characters in popular brands, like Louis Vuitton and Starbucks, to investigate the notion of branding and the link between marketing strategies and grafittis.
New York-based Singaporean artist Jimmy Ong is primarily known for his black and white charchoals of human figures and large landscapes recalling earlier days when Singapore was still a British colony. His new paper works at STPI are a colorful departure with bright purples, yellows and greens. The exhibition is titled SGD as Ong reflects on the Singapore currency note, exploring the Tembusu tree on the $5 bill, offering the face of Lee Kuan Yew, the first Prime Minister of Singapore and regarded as a father figure by many, as an alternative to the current face: Yusof Ishak, the first president of Singapore, who graces all current bills. For me the most interesting work (which I would have bought had they not been snapped up) is a view of a busy Keppel Harbour that he likes to compare to the view of the Singapore river as it appeared on the $50 note (these works are in various colors, with some working better than others). Towering over the harbour is a cloud-like female figure, while at the bottom, the words Goddess of No Poverty are scribbled – a nice reflection on the booming economy and a play on the acronym GNP.
Friday, October 29
In the wake of Sotheby’s record-breaking Autumn sales series in Hong Kong, which totalled over HK$3 billion, Sotheby’s biannual sale of Fine Chinese Ceramics and Works of Art in London will take place on November 10. The auction, estimated to realise approximately £5.76 million, will be headlined by a Blue and White ‘Peony’ Jar, Guan, Yuan Dynasty, mid 14th century, which comes from a private Portuguese collection, with an estimate of £400,000-600,000. In shape, design and painting style, the present vessel is an archetypal example of the 14th century blue and white porcelain, and represents the final stage of the gradual alteration in proportions of the shape known as guan. The neck is more distinctive, the shoulders broader and the body expanded to make the vessel appear stable and balanced. The dramatic swelling of the body contributes to the powerful profile of this guan shape, and the Yuan guan presented a new aesthetic image with its striking blue and white decorative scheme. The painting on the jar encompasses the most characteristic elements of Yuan porcelain design – the peony scroll, lotus scroll, waves, classic scroll and petal-panels or lappets.
Among a selection of fine Imperial objects is a seated gilt-bronze figure of Amitayus, the Buddha of Infinite Life and the elegant tall gilt-bronze figure of an attendant. The figure was commissioned by the Kangxi emperor (r. 1662–1722) as a gift, possibly for his grandmother who was a devote Buddhist, and belongs to a select group of Buddhist figures made in the Imperial foundry. The Ming dynasty (1368–1644) attendant figure is an important piece because, unusually for Chinese sculpture, it is dated. It bears an inscription that confirms that the figure was made in 1641 on the orders of the Directorate for Imperial Accoutements (Yuyong jian), one of the major directorates of the Ming court responsible for overseeing the production of objects for the Emperor’s use.
Thursday, October 28
Christie’s Hong Kong Fall sales of Important Ceramics and Works of Art will take place on December 1 and offer three important single-owner sales, amonts many other important pieces, worth a total in excess of HK$555 million (US$71 million).
There will be fine Chinese ceramics from the Greenwald Collection, featuring exquisite Ming and Qing Imperial porcelains. Gerald Greenwald has been a passionate collector of Chinese ceramics for more than thirty-five years, during which time he has amassed a remarkable collection of fine and very rare pieces. Initially captivated by the beautiful porcelains of the Ming and Qing dynasties, his passionate interest rapidly evolved and as he became more deeply fascinated by Chinese ceramic art history, he gradually broadened his scope to include ceramics from earlier periods. The result is a most remarkable collection of porcelain. The forthcoming sale is comprised of 32 Imperial ceramics from the Ming and Qing dynasties, ranging in estimates from HK$80,000 to HK$5 million.
Leading the collection is a very rare pair of doucai water pots from the Yongzheng period. These charming water pots are finely painted and enameled around the sides with swirling clouds circling the base in delicate tones of green, aubergine, blue, yellow.Most interestingly, the clouds are used here as a symbol of good fortune, for the word for cloud in Chinese is yun, a homophone for the word fortune. Previously in the collection of the Tsui Museum of Art in Hong Kong, these water pots are elegant examples of the decorative technique known as doucai, in which underglaze-blue outlines are filled with colored overglaze enamels.
The second collection is that of Walter and Phyllis Shorenstein and include examples of Chinese glass, imperial porcelain and jade of particular distinction. Phyllis Shorenstein was a passionate collector of Chinese glass and the impressively comprehensive collection that she amassed is one of the most admired and comprehensive collections in private hands. Both Walter and Phyllis Shorenstein will be remembered for their immense contribution to the city of San Francisco’s cultural, educational and social life, as well as their generous and thoughtful charitable works. In 1966 Phyllis became one of the founders of the San Francisco Asian Art Museum. The sale offers a magnificent pink-enamelled blue and white Qianlong moonflask. Decorated with phoenixes amongst flower scrolls in underglaze blue and overglaze pink enamel, it is a rare and superb example that is as a testament to the outstanding artistry and technical skill of the craftsmen employed at the imperial kilns. Each phoenix is exceptionally finely rendered, making this moonflask one of the most striking examples of the few porcelains known with this combination of colors and techniques. The pair of this vase is in the Matsuoka Museum of Art, Tokyo.
The third collection is that of Alfred Morrison and is also known as the Fonhill House collection, one of the most important 19th century English collections of Chinese art. Alfred Morrison (1821 – 1897) was the second son of the wealthy textile merchant James Morrison, who was believed to be the wealthiest commoner in 19th century England. After his father’s death in 1857, Alfred inherited the Fonthill estate and devoted much of his inheritance to collecting extraordinary art treasures. Set in the Wiltshire countryside, Fonthill was the perfect backdrop for him to present his magnificent collection, including a significant group of engravings and Chinese art, with a particular emphasis on Qing
porcelain and enamel wares. The Fonthill Collection is especially famous for its exceptional imperial cloisonné and champlevé enamels on metal and for its superb imperial enameled porcelains. Leading the collection is a magnificent and extremely rare pair of imperial cloisonné enamel double crane censers from the Yongzheng period (1723-1735). Representing peace and longevity, these magnificent cranes are auspicious creatures that may have flanked an Imperial throne. Unusually large and exceptionally detailed, these magnificent works of art appear to be unique in having two cranes in each group rather than being a pair of single cranes. Indeed, all extant cloisonné censers and candle holders published from the palace collections have only a single crane on each base. It is thought that these crane censers may have been commissioned by the Prince Hongli (later Emperor Qianlong), probably as a birthday gift for his father Emperor Yongzheng. The peaches held by the taller cranes are symbols of longevity – a fitting choice. Meanwhile, the beautifully depicted bamboo spray symbolizes integrity, a virtue that was particularly valued by the Yongzheng Emperor.
Wednesday, October 20
Christie’s Hong Kong will also hold its Fall sales of Fine Chinese Modern Paintings on 30 November with masters such as Qi Baishi, Xu Beihong, Fu Baoshi, Zhang Daqian, and Lin Fengmian.
One of the highlights this season is Fu Baoshi’s The Song of the Pipa Player, based on the poem of the same name written in 816 AD by Bai Juyi, a well-known Tang dynasty poet and official. A tightly composed, dramatic work that exudes a pensive and melancholic tone, The Song of the Pipa Player shows Fu breaking through the traditional notions of Chinese painting to create something exciting and different while remaining culturally significant with its undercurrents of political commentary. There is also one of Lin Fengmian’s Opera Figures, as well as a beautiful Flying Deity by Zhang Daqian, one of the 276 works he painted during his two years in recording the Dunhuang cave temples and a cat by Xu Beihong.
Christie’s Hong Kong Fall sales of Fine Chinese Classical Paintings and Calligraphy will take place on Nov 30 and will feature significan works by artists spanning both Ming and Qing Dynasty (15th-19th century). The highlight is an important work with impeccable provenance by one of Qing Dynasty’s most influential painter, Bada Shanren. Also known as Zhu Da, he was a prince of the Ming dynasty who became a monk under Qing’s rule. Zhu Da later abandoned his monastic life and developed a career as a professional painter, adopting a series of descriptive pseudonyms, most notably Bada Shanren by which he is most often known today. His paintings feature sharp brush strokes which are attributed to the sideways manner by which he held his brush. Leading the season’s offerings is Pine and Lingzhi in his signature slanting brushstrokes. There is also a piece by Hua Yan (1682-1756), one of the most important members of the “Eight Eccentrics of Yangzhou” who was renowned for his innovative mixture of meticulous method and freestyle brushwork. Although famous for his flower and bird paintings, his landscapes (PHOTO) also demonstrate his masterful brushwork. This sale will present Autumn Stroll, a work in which the artist’s strong, spirited strokes depicting the rich texture of the mountains and rocks contrast with the relaxed expressions of the scene’s chatting literati.
Tuesday, October 19
Sotheby’s New York sale of Watches & Clocks on 27 October will offer several important pieces made for the Chinese market. The highligh is an Ormolu, Silver Mounted and Colored Glass Center Seconds, Four Tune Musical Automaton Table Clock, with Quarter Striking, made in the late-18th century by Francis Perigal, a British clockmarket to the King who specialized in musicalautomaton clocks. The design of this table clock combines the creativity, opulence and novelty that characterize many of the finest clocks destined for use by the Chinese emperors of the 18th century. From the time the first clocks were brought to China from Europe around 1582, the Chinese Emperors were fascinated with European mechanical clockworks. The demand was such that a workshop dedicated solely to Western-style clocks was established by the Kangxi Emperor among the Palace workshops. The Qinlong Emperor was also an avid collector, and eventually more than 4,000 examples existed in the Imperial Palaces. The sale also includes a stunning enamel butterfly-form musical snuff box. When his colored wings open they reveal a watch and a snuff compartment on either side.
Monday, October 18
A fully articulated iron dragon will be the highlight of the Bonhams Fine Japanese Art sale taking place on November 11 at New Bond Street. The 133cm long creature is estimated at£120,000 – 130,000.
This dragon is a stunning example of jizai okimono, naturalistic, fully articulated iron animal figures, whose bodies and limbs can be moved replicating their counterparts in real life. The dragon offered by Bonhams has a long serpentine and undulating body, forged with numerous scales that have been joined inside the body. The head, mouth, claws and ears are each constructed of moving parts and the leg joints can turn 180 degrees. Although little is known about the origin and development of jizai okimono as works of art, this dragon was created in the Edo Period (18th/19th century) by the Myochin School. Historically, members of the Myochin Family were supreme armour makers and famous for their excellent iron forging and hammer work. However, during the protracted long peaceful Edo period there was less demand for the manufacture of armour and the family used their craftsmanship and expertise to create other objects, including jizai okimono. There are only three of such dragons known to exist that are similar in size and workmanship.
Sunday, October 17
Thursday, October 14
Sotheby’s autumn sale of Important Watches will be held Nov 15 in Geneva, and includes amongst others very rare enamel timepieces, made for the Chinese and Turkish markets during the 18th and 19th centuries. Trade relationships between Swiss watchmakers and China began in the Court of Constantinople in the late 16th century. At that time, Swiss exports were delegated to the British who enjoyed unparalleled access to the Chinese market through their trading posts. At first an object of curiosity, Swiss and European luxury timepieces became highly desired among the Chinese dignitaries under the reign of Emperor Qianlong (1736-1796). Direct trade relationships developed between China and Swiss watchmakers, which flourished until the Opium War (1840-1842). The sale includes a rare gold, enamel, jewel and pearl-set automaton caterpillar, probably made by Henri Maillardet, circa 1800. Reproducing the undulating crawl of the carterpillar, the creation is a great example of the art of automatons. There is also a rare gold, enamel and pearlset musical knife, circa 1800. For me, the most beautiful piece is a gold, enamel, diamond and pearl-set musical lorgnette watch (PHOTO), made circa 1800 probably by Piguet and Meylan. The masters in the art of marrying automata and ornamental watches, Piguet and Meylan employed some of the best enamel painters to decorate their watches, and some of their creations are now part of the world’s foremost collections, including the Patek Philippe Museum, Geneva, the Metropolitan Museum of Art, New York, and the Musée d’Horlogerie, Locle.
Tuesday, October 12
Ai Weiwei’s commission for The Unilever Series at the Tate Modern has just been unveiled. Sunflower Seeds is made up of millions of life-sized sunflower seed husks, which are actually intricately hand-crafted porcelain. Each seed has been individually sculpted and painted by specialists working in small-scale workshops in the Chinese city of Jingdezhen. The 100 million seeds have been poured inside the Turbine Hall’s vast industrial space, and visitors can walk over them and touch them, an invitation to look at the ‘Made in China’ phenomenon. This is the largest porcelain work Ai has ever made.
Monday, October 11
Conspicuous consumption may be out of fashion in the West. But in China, the luxury-goods business is booming, and the rich are becoming more discriminating than ever. No longer satisfied with snapping up the same Louis Vuitton luggage and Fendi baguettes they can find in New York or Paris, Chinese consumers are demanding luxury goods that are tailored especially to them. The French luxury giant Hermès, for instance, recently opened a boutique in Shanghai for its new Chinese brand, Shang Xai. The offerings are in stark contrast to the brand’s colorful trademark silk scarves. There are Ming-style chairs, eggshell porcelain bowls and jewelry inspired by unusual Chinese collectible baubles, such as teapots. The materials used—zitan wood, lacquer, and Mongolian cashmere—are luxurious, and local. Packed with customers since opening, the boutique has generated huge buzz, and other Western brands are taking notice. American and European multinationals from Coca-Cola to Procter & Gamble have been trying for decades to capitalize on the world’s most populous nation, but for many top brands progress has been surprisingly slow. That’s in part because China is still a relatively poor country, with a high savings rate. But also, it’s because many big brands have simply dumped their existing products on the Chinese market, with little thought to tailoring their wares to the audience beyond changing the language on the packaging. “Until quite recently, the attitude has been, ‘Let’s invent in the West and ship to China,’?” says Hubert Hsu, a senior partner at Boston Consulting Group and leader of the firm’s consumer practice in China. “It didn’t work.” But companies are beginning to wise up—and none too soon. Read the whole story in Newsweek
Saturday, October 9
Singapore, and its wealthy dinners, keep on attracting some of the world’s top chefs. Guy Savoy, Santi Santamaria, and Tetsuya Wakuda have already opened fine dining restaurants at the Sands, soon it will be the turn of Daniel Boulud to also open there. Meanwhile at Resorts World Sentosa, Joel Robuchon is gearing to open a fine dining restaurant and a separate L’Atelier Robuchon in February. The fine dining kitchen will be helmed by Tomonori Danzaki, the very same chef that opened Joel Robuchon Restaurants in Tokyo and in Las Vegas, “one of the best three chefs whose worked for me in my entire career,” the mild manner Robuchon said at a press conf. Given that the Joel Robuchon restaurant is the only 3 Michelin star restaurant on the West Coast and the only top restaurant in Las Vegas you have to reserve for, this is good news for the local foodies. Asked about the competition heating up for fine dining in Singapore, Robuchon believes the more the merrier. He pointed to the example of HK’s food scene, which are risen to new height in the last 5 years, since several celebrity chefs opened in town. Robuchon promises his famous potato puree will be on the menu… can’t wait!
Sotheby’s HK is still in the mist of its Fall auction, which has achieved some very strong results, so it’s probably the right time for Christie’s to announce some of the details of its fall sale of Southeast Asian Modern and Contemporary Art, which will take place on 29 November. It will feature over 120 lots with a pre-sale estimate of $3.5 million. Leading the sales are two extremely rare works by prominent masters of the late 19th and early 20th century who both profoundly influenced the hallmarks of Southeast Asian art as we know it today: Wounded Lion by Raden Sjarief Bustaman Saleh, (circa 1810 – 1880) known as the Delacroix of the East and hailed as the father of modern Indonesian painting, and Balinese Legend by Russian-born German artist Walter Spies (1895 – 1942). Spies arrived in Indonesia in 1923 on the cusp of European modernism, bringing with him an aesthetic style influenced by modernist philosophy, early film, and tribal folk art from a period of internment in the Russian Urals region during the World War I. During his early years in Indonesia he became the conductor for the Sultan of Jogjakarta’s orchestra. In 1927, Spies moved to Bali and became both mentor and student, as he staged art exhibitions, re-arranged native music and re-choreographed the traditional Balinese dancing, while simultaneously absorbing the visual impact of native artwork and temple carvings based on Sanskrit mythology. Balinese Legend (estimates on request, which means if you ask you can’t afford it!) was painted in 1929 and is very theatrical in composition with lots od details.
In the Contemporary section, there will be the usual suspects of Indonesian painters including: I Nyoman Masriadi, Handiwirman Saputra, Christine Ay Tjoe, Agus Suwage and Rudi Mantofani.
Friday, October 8
Art Singapore has just opened, the fair is a real mix of high-brow and decorative art. Here are my picks: Two Chinese, one Vietnamese and one new Korean. What surprised me was the few Western galleries that are offering completly unknown names here. Not sure how well, they will sell, given the local interest for “brand” names. A few interesting Pop artists, though. //
Sotheby’s Chinese ceramics and works of art auction is going extremely well. The first day of the two-day sale brought in $148 million for 35 lots of imperial treasures, well in excess of the estimate of $43-61.4 million. The yellow-ground famille-rose double-gourd vase seal with the mark of Qianlong was bought by renown connoisseur Alice Cheng (photo) for $32.4 million, a world record for any Chinese work of art or porcelain at auction. A famille-rose floral medallion bottle vase enamelled in the Palace Workshops brought the exceptional price of $18 million, while a massive imperial white jade “xintian Zhuren” seal sold for $16 million, another world record for an imperial seal and white jade at auction. Finally a Beijing enamel gold teapot and cover with the mark of Yongzheng sold for $5.3 million, a world record for any Beijing enamel ware at auction. Enough to make you dizzy!
Wednesday, October 6
“Drying Salted Fish,” painted in 1978 by Cheong Soo Pieng and reproduced on the back of Singapore’s 50-dollar note, is considered exemplary of the late artist’s style. The elongated limbs and distinctive almond eyes of his subjects are part of the signature style that made him appreciated by collectors and are what he is primarily known for today. But an exhibition at the Singapore Art Museum, “Cheong Soo Pieng: Bridging Worlds,” highlights how the artist who was so experimental in the 1960s and ’70s also embraced abstraction and mixed media. Read the full story in the International Herald Tribune
Tuesday, October 5
Old Chinese masters have outperformed contemporary artists. Sotheby’s Hong Kong sale of Fine Chinese Paintings achieved amazing results today, with 98.9 percent of lots sold! The sale raised $52.2 million (well about the $15.4-22 million, setting a highest ever total for a various owners sales of these paintings. The top lot of the sale was Fu Baoshi’s Court Ladies which sold for $4.2million, multiplying its pre-sale estimate ($640,000-890,000). Works by other Chinese masters such as Zhang Daqian and Qi Baishi also achieved strong prices. Twenty-two Paintings and Calligraphy from the Collection of Chai Sian Kwan (Lots 1128-1149) performed exceptionally well as Chinese buyers throughout Asia sought works with the renowned provenance of a collector who was known not only for his discerning eye but also the special relationships he enjoyed with many of the artists whose works he collected. Overall the sale results clearly show that Chinese collectors still favors classical paintings over contemporary ones..
Luxury hotels continue to pop up in Asia. A new St. Regis has just opened in the heart of Osaka’s central business district (location, location). The 160 room hotel features Kawashima silk wall coverings and Kyoto silk bedding, two restaurants (the signature Rue D’or, a classic French bistro, and La Veduta with rustic Italian cuisine) and a signature Remède Spa (love the smell of their products!). Meanwhile, a Waldorf Astoria just opened quietly in Shanghai, with just a few suites available for now. A white, soothing and elegant theme dominates the interior décor, and the architects had done a great job at resurrection the original long bar in the 100-year old heritage building, based on archived pictures.
Sotheby’s Hong Kong contemporary Asian Art autumn sales raised a combined $32.8 million, with $6.4 million raised for the single owner sale (76.3% of lot sold) and $26.4 million from the various owner sale (76.3% of lot sold). Zhang Xiaogang, whose work had not performed as well others in recent year, broke a world record with Chapter of a New Century – Birth of the People’s Republic of China II, and important painting in his career as it inspired his bloodline series, which sold for $6.69 million after heated bidding. The painting went to a museum in Shanghai, more than doubling its high estimate. Impressive prices achieved for other blue-chip contemporary like Zeng Fanzhi, Cai Guo-qiang and Liu Ye. In the single owner sale, Ding Yi’s Appearances of Crosses – 6 sold for $1.08 million (well above its estimate of $194,000-322,000). Yu Youhan’s The Waving Mao sold for $850,000, also well above the $90,500-116,000 estimate.
Seoul Auction’s Mmodern & Contemporary art autumn sale in Hong Kong raised $10.21 million with Marc Chagall’s Bestiaire et Musique selling for $4.18 million, becoming the most expensive painting by a Modern Western artist ever sold at auction in Asia (that record won’t hold for very long giving the upcoming auction of masters at Sotheby’s Hong Kong). The painting sold to an Asian buyer after a heated competition. Picasso’s Le Modèle dans L’atelier, inspired by his young wife Jacqueline Roque sold for $2.23 million to an Asian collector. Vase de Fleurs by Pierre-Auguste Renoir fetched $539,922, selling to a Western collector.
Monday, October 4
Sotheby’s HK sale of Asian art has started on a good footing. Its AM sale for Modern and Contemporary SE Asia art raised $10 million, with a respectable 80% of the lots sold and various records broken. “Father of Indonesian modernism” – S. Sudjojono’s A New Dawn sold for an impressive $1.4 million, over 4 times the high estimate with a fierce bidding battle among nine bidders. One of my favourite paintings, Ronald Ventura’s Natural Lies (photo) fetched $326,000, nine times its estimate and a new record for the artist. In this powerful piece, a young boy with a Pinocchio-like nose is surrounded by fantasy creatures who prod and tease him. Seating in a cluttered, dirty environment, the child appears in quiet contemplation against chaos. The little vermin play musical instruments into his ear, while wearing gas masks; a winged figure casually drops a bomb, while a perverted bronze figure politely makes his way through the child’s parted limbs. The Pinocchio-like nose is not a product of lying but of stress, of innocence in a malicious world.
Some of the auction’s best sellers included Belgian artist Adrien-Jean Le Mayeur de Merpres’s Atelier de Tissage, a beautiful example of his impressionist style which brought in about $640,000. Affandi’s 1979 Self Portrait and its dynamic brushstrokes sold for $325,000. Sok Ngirit (Pretending to be Prudent) by Masriadi sold for $648,000, making him still the darling of the SE Asian contemporary art world. However, the price was only a touch higher than the one achieved for I’m Still Lucky, maybe indicating that the artist’s prices are starting to pick? Other artist records were set for works by several Indonesian artists including Gede Mahendra Yasa, Ay Tjoe Christine, Samsul Arifin, Hendra Gunawan and Filipino artist Andres Barrioquinto.
Sunday, October 3
Sotheby’s clocked in another white glove sale for its second day of wine auctioning, with the saleroom packed to the brim. Over 90% of the lots sold above their high estimates bringing in a total $7.3 million. Sotheby’s Hong Kong will next sell great Bordeaux on October 29, with an offering of Lafite direct from the Château , with vintages from 1869-2009, followed by a fabulous collection of investment-grade top Bordeaux from SK Networks on 30 October. //
We know Asians like good wines and they continue to prove it. Sotheby’s Hong Kong pulled out its eighth consecutive 100%-sold wine auction in the last 18 months. Interestingly Asian buyers widened the range of wines they pursue as they enthusiastically responded to Burgundy, Rhône, California, Australia and Madeira offered in the Magnificent Cellar of Marcus D. Hiles sale. Asian buyers are now dominating the worldwide auction market for wine. Buyers competed so strongly for top wine that the Domaine de la Romanée-Conti, which accounted for only 20% of the volume, achieved 40% of the value. Overall, the sale realised about $6.4 million.
Friday, October 1
Singapore art scene is gearing itself for ARTSingapore 2010, which will start with a private viewing for collectors on Oct 7 and will then open to the general public Oct 8-11. This year, the fair is going boutique (ie there are only 50 galleries instead of the usual 100+), which may not be a bad thing as it had lacked focus in recent years having embraced a sometime too-inclusive approach. There will be various activities including a gala dinner and charity art auction, art “conversations” with curators (the highlight will be Yang Shaobin sharing his artistic journey in a Mandarin session). Visitors can also look forward to A Rough Guide To (The Meaning Of A Life 3.0) by Tan Kai Syng, a multi media installation, which will allow them to interact with Kaidie, the artist’s online alter-ego in London via web-chat. Last year’s ARTSingapore 2009 attracted close to 10,000 visitors, with over $5 million worth of sales. This year, the fair has an added bonus in my view, a strong showing of Korean art, which has been really under-appreciated vis a vis Chinese.
the end @ Copyright Dr Iwan suwandy 2011