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In this interview with Marta Gnyp, collector and art historian, we start to step into some of the art world’s taboos. Marta, with her wit and humour and openness, shares with us her acute observation on the market dynamics and the phenomenon of collectors’ rising power.
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蔣志在魔金石空間的最新展覽「注定」，其錄像裝置在同一個空間中放了兩個螢幕呈現：一邊是一對男女幾近自虐式的身體探索；另一邊卻是荒無一人的陌生星球，分別了精神和象徵兩個世界。放在螢幕前的LED燈箱，滾動著文字，成為了解讀錄像的一條線索。
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In this interview with Marta Gnyp, collector and art historian, we start to step into some of the art world’s taboos. Marta, with her wit and humour and openness, shares with us her acute observation on the market dynamics and the phenomenon of collectors’ rising power.
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What makes someone a good collector and a collection a good collection? Am I good enough as a collector, and have I gained a good reputation as a collector in the art world? These are the questions that even the most adept and serious collectors will wonder about from time to time.
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For many art fair trotters, the Art Basel Unlimited is the most enjoyable sector of the whole fair business. Its popularity and success has prompted other fairs to adopt the same strategy of giving space (though in a more modest manner) for ambitious museum-like presentations which are not necessarily marketable but are good for marketing.…
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Born in Dhaka, Bangladesh, in 1977, Shumon Ahmed came to international attention in 2014 with his photographic series Metal Graves, presented first at the Dhaka Art Summit in a show B-desh curated by French curator Deepak Anand, then at the Kochi-Muziris Biennale in India curated by Jitish Kallat. The public soon discovered the multi-facets of Ahmed’s…
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The art world is becoming more and more of a vanity fairground for the rich and powerful. While 1% of the art world is busily stocking up on valuable pieces and placing them in tax-free storage, we often forget that 99% of ordinary people still take art to their hearts. They love it and want…
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When Dr. Uli Sigg donated his collection of Chinese contemporary art to Hong Kong’s future M+ in 2012, the news generated mixed speculations from both Mainland China and Hong Kong, each from their own perspectives. The polemic came from the fact that the Sigg Collection is not just the biggest but also the most coherent and…
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As the global Lead Partner of Art Basel, UBS hosts a pre-Art Basel media lunch in their Hong Kong IFC office every year in order to announce their annual program. This is a once a year occasion for me to visit UBS’s premises and have a glimpse into a tiny part of the global financial…
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今年二月「M+希克藏品」在香港正式展出之前，已是滿城風雨，而所有的討論、爭辯幾乎都是因「政治」兩個字而起。從這個中國當代藝術館藏與香港本身的關係、2,300萬美金的交易金額是否合理，到展覽會否受到政治審查、是否延用「正確就是錯誤（Right is Wrong)」名字、香港能否守護這個館藏的將來，甚至質疑西九文化區存在的必要性等，話題焦點只在政治，偏離藝術。展覽在政治氣候不明朗的香港登場，成為了支持和反對的分野線。 我們找來了負責研究這個館藏和策劃展覽的M＋希克高級策展人皮力先生，從藝術史的角度討論「M+希克藏品」的意義和價值。
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