Since Chinese art has become red hot in the international contemporary art market, many of the most prominent Chinese pieces are being bought by foreigners and exhibited overseas.
Guan Yi, a Chinese ex-business man who made millions in chemical manufacturing in Qingdao, is trying to change the dynamic.
Guan Yi has one of the largest collections of Chinese contemporary art in the world; his collection includes over 700 pieces many of which are huge installation works. He is now developing plans to build an art museum and sculpture park on a 16.5 acre plot of land in Beijing situated between the 798 art district and the airport.
Usually media shy, Guan Yi recently agreed to be interviewed by Art Newspaper. He answered questions about his views on the history of contemporary Chinese art, the art market today, as well as his plans for building a private museum. An edited version of the interview can be found on The Art Newspaper website, while the full text can be found on Shanghai Eye.
In other art news from Shanghai Eye, the Ullens Center for Contemporary Art just previewed its new show entitled “Our Future—the Guy and Miriam Ullens Foundation Collection.” The show features 97 works by over 60 Chinese artists.
Shanghai Eye reviews the show and describes its (rather eventful sounding) opening:
With attendees well over the allowed gathering size of 40 people, a new rule for the Olympics period, the large crowd were privileged to get the first viewing of the 15 year collection of Guy and Miriam Ullens, an eclectic tour of recent contemporary Chinese art history. Included in the opening was a live performance by He Yunchang, especially commissioned by the Ullens.
For the performance He was suspended upside down above the gallery floor held by mysterious tubes attached to a large alien like object. Encased in rubber claw feet and hands he was then spray painted by his assistants and left to hang unmoving for an interminable time while stressed UCCA personnel attempted to prevent the large crowd of journalists and onlookers from taking photos. Several turtles attached to the artist’s hands attempted to escape but were prevented from doing so. Other staff were steering the audience away from unhung work.
As with many major Chinese shows there was an edge of danger, anarchy and spirit of misadventure. A fight broke out between two women and staff had to mop up blood from the gallery floor.
- The Shanghai Eye: Our Future—a preview of the major new show at UCCA in Beijing