Frieze 2011

 

作者/Mike Collett-White 编辑/Paul Casciato 编译/顾灵

 

 

 

读图:

 

Frieze-1.jpg

 

10月12日,伦敦市中心摄政王花园(Regents Park)弗瑞兹艺博会现场,一名参观者正在拍摄翠西·艾敏(Tracey Emin)的作品“我说了我爱你”(And I said I love you)。REUTERS/Andrew Winning. 

 

Frieze-2.jpg

 

另一名参观者Paul ChavesGerhard Richter的标志性条纹画前自拍。REUTERS/Andrew Winning.

 

 

 

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今年弗瑞兹艺博会开幕,吸引逾6万名参观者前来观展,各路藏家和交易商都希望在此收获新兴艺术家,或购入新作为其收藏锦上添花。

 

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来自全球各地的170 家画廊,特邀的艺术家定制项目与各类讲座,主办方不想看到艺博会因目前低迷的经济局势而同样垂头丧气。

 

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德国艺术家Christian Jankowski在现场出售快艇。这辆崭新的快艇标价50万欧元,但是,如以“雕塑”的“身份”出售,附加艺术家亲笔签名——价格立马攀升至62.5万欧元。他在接受BBC采访时如是说:“我对将一件奢侈品置与艺术品同台竞技很感兴趣。一辆普通快艇可能会随着年久失修而跌价,艺术品则正相反。我希望藏家们踊跃与我联系,驾驶这架快艇驶入艺术世界。”

 

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名流云集,如俄罗斯企业家Evgeny Lebedev与模特Elle Macpherson出席VIP预览。希望今年生气盎然的作品能一扫经济不景气的阴霾。

 

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Pierre Huyghe的水族馆是一套活生生的生态系统,“为弗瑞兹特设的台词”。各类奇形怪状的海水生物被选作Huyghe水族话剧的演员。主办方表示,水族会将“构建一个亲密无间的心理世界,与艺博会的其他展品形成鲜明对照。”

 

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弗瑞兹联合创办人Matthew Slotover说今年有大量画廊申请“框架”(Frame)单元,该单元旨在展示年轻画廊的新兴艺术家,从而最终参展的作品质量比往年来得优秀。其中来自Helena Almeida, Melanie Smith, Alina Szapocznikow的作品已被泰特收藏(Tate Collection),该收藏由弗瑞兹基金会(The Outset /Frieze Art Fair Fund)支持。

 

这一年度收藏委员会的成员包括:泰特总监Nicholas Serota, 泰特策展团队Ann Gallagher, Frances MorrisTanya Barson。每年,两位国际性的重要策展人将受邀与泰特策展团队一起从是年的弗瑞兹艺博会中甄选作品加入泰特收藏。今年的两位特邀成员是“传真费城——印刷图像艺术节”(Philagrafika 2010)的艺术总监José Roca,与巴塞尔美术馆总监Adam Szymczyk

 

 

 

此届收藏作品的完整名单:(图片:tate001-003)

 

Helena Almeida, 出生于1934, 葡萄牙人
Drawing (with pigment), 1995-1999
纸上水墨,钢笔和颜料, 38 parts
29.4 x 20.8cm
代理画廊: Galeria Helga de Alvear

 

 

 

Melanie Smith, 出生于1965, 常驻墨西哥的英国艺术家
Xilitla, 2010
Rafael Ortega合作作品
单通道录像, 16:9 竖向投影,彩色,有声, 24:40 min, 循环播放
Ed. of 4 (+ 2 AP)
代理画廊: Galerie Peter Kilchmann

 

 

 

Alina Szapocznikow, 1926 – 1973, 波兰
Tumour, 1969
聚酯纤维和黑白照片
13 x 22 x 18 cm 
独此一张
代理画廊: Broadway 1602

 

伦敦路透社中国买家会来救驾吗?富人们会把油雕作为比股票债券更好的投资吗?十月13-16日,百余画廊藏家空降伦敦摄政王花园参与弗瑞兹艺术博览会——一年一度的战后及当代艺术盛会,那些艺术圈嘴边的热门话题也开始白热化。

 

 

 

任何想买顶尖现当代大师杰作的人都不会错过这每年一度的大帐篷约会,她孕育了走马灯似的拍卖行,艺术与设计大展(PAD,如今已于弗瑞兹势均力敌),伦敦周边连轴转的画廊展览开幕(包括白立方的新展),当然,还有数不尽觥筹交错的派对。

 

 

 

但经过两年走势强劲的价格攀升(尤其对一线艺术家而言)之后,全球金融局势继2008年雷曼兄弟倒台后阴霾再现,让这艺术周的前景不甚明朗。

 

 

 

弗瑞兹联合创办人Matthew Slotover承认这一全球艺术大腕级展会可能会因全球经济复苏的过缓脚步与欧洲债务危机而受到不良影响。但他同其他许多人一样,认为有钱人也会更倾向于把支票开给一幅画而非一纸投资协议。“这可是看得见、摸得着的。”在近日接受路透社采访时,他表示不会将艺术单纯看作一种金融投资。“如今人们对期货、股票等纸面投资失去信心,而艺术是人们可以真实拥有、感受的,最起码我有个实在的东西在手。”

 

 

 

专家们越来越经常将市场的高端部分与中端部分区分开:那些家喻户晓的大师级作品很少在市场上露面,而中级市场的价格区间基本在$100,000$500,000。艺术数据分析网站ArtTactic 就设立了艺术投资者面向艺术市场不同层面的信心指数,总监Anders Petterson10月份的中级市场信息指数从90%急跌至30%。同期相比,针对价值百万美金朝上的作品,其信心指数依然维持在90%的水平。

 

 

 

中国人是新一代美第奇?

 

 

 

邦瀚斯拍卖行(Bonhams)当代艺术部主任Anthony McNerney如此总结拍卖行业长盛不衰的秘诀:“貌似有钱人总有办法一直很有钱。很显然,市场不乏紧张气氛,怕三年前的悲剧重演。我想我们只有尽力而为,如果你有上乘新货到手,那就不用愁。”

 

 

 

手中藏着大有来头的顶尖作品的藏家近期似乎再逐渐出售,如Andy WarholRoy LichtensteinFrancis Bacon的作品在拍卖行中频频露面。但亚洲超级富豪们的收藏欲望如饥似渴,是所有拍卖场次的万灵药。几年前,俄罗斯寡头们席卷了全球最昂贵的艺术品,如今中国则是聚光灯下的“当代美第奇”。

 

 

 

近期香港苏富比的好成绩展现了中国藏家对艺术与奢侈品的旺盛需求。全场拍卖总成交额$411 million,尽管如此,相较4月份还是有所下跌,拍品质量也不如前几轮,当代艺术专场超过五分之一的作品流派。Petterson指出,尤其是那些“时尚、前沿的当代艺术”在类似弗瑞兹这样首屈一指的展会中,很可能会表现低迷。即使是高端艺术市场,如果经济局势继续恶化,也未必如投资者预期的那么乐观。上一轮经济危机的调查结果表明,当投资者信心消失,所有资产都只得相互依存,这是许多艺术市场专家往往不愿去面对的事实。

 

 

 

本周一线拍卖行上拍的作品总计估价逾一亿英镑(折合1.6亿美元),而根据此届弗瑞兹艺博会指定保险商Hiscox透露,全部参展作品的估价为3.5亿美元,同比去年的3.75亿美元略有下跌。

 

 

 

此次秋拍的头牌当数佳士得拍卖行推出的Gerhard Richter的《蜡烛》(Candle),估价6-9百万英镑,这一估价被一名德国艺术家认为是“无法理解”和“愚蠢可笑”的。事实上,在大家和颜悦色探讨画作的美感与意义而非价格的世界里,将艺术与其商业价值平行而论总会受人白眼。但正如此届弗瑞兹艺博会展出的一件影像装置所直白指出的:“艺术世界的存在还得倚仗(原文如此)商业交易。”

 

 

 

标签:

 

白立方White Cube | 弗瑞兹Frieze Art | 雷曼兄弟Lehman Brothers |佳士得拍卖

 

LONDON (REUTERS).- Will Chinese buyers ride to the rescue? Will the super-rich decide painting and sculpture is a better investment than volatile stocks or risky debt?

 

 

 

Those are the big questions on the art world’s lips as hundreds of galleries and collectors descend on London for the annual post-war and contemporary frenzy centered around the October 13-16 Frieze Art Fair in Regent’s Park.

 

 

 

The annual event held in a giant marquee has quickly become a key date for anyone wanting to acquire top works by modern and living painters.

 

 

 

It has spawned a merry-go-round of auctions, rival fairs like the Pavilion of Art & Design (PAD), major exhibitions, gallery openings including a new White Cube space and, of course, endless glitzy, champagne-fueled parties.

 

 

 

But after two years of strong growth in prices, particularly for top artists, global financial turmoil once again threatens to bring the chill of uncertainty to the week as it did in the wake of the 2008 Lehman Brothers collapse.

 

 

 

Matthew Slotover, co-founder of Frieze who is considered one of the art world’s most powerful figures, conceded that concerns over slow economic growth and Europe’s debt crisis could weigh on the fair.

 

 

 

But he, like many others, argued that investors may prefer to put their money into a painting than a paper asset.

 

 

 

“It is something tangible and real,” he told Reuters in a recent interview, stressing that personally he would not treat art as a financial investment alone.

 

 

 

“In an age where people are losing faith in paper money, in currencies and in equities, it’s one of those assets that people feel, well, at least I’ve got this actual thing.”

 

 

 

More and more frequently experts draw a distinction between the top end of the market — works by household names that rarely come to market — and mid-range art priced, say, between $100,000 and $500,000.

 

 

 

Anders Petterson, head of ArtTactic which tracks investor confidence in different sectors of the art market, saw his mid-range indicator slump from nearly 90 percent in June to less than 30 percent in October.

 

 

 

Over the same period the indicator for works valued at $1 million or above slipped slightly but remained over 90 percent.

 

 

 

CHINESE THE NEW MEDICIS?

 

 

 

Anthony McNerney, head of contemporary art at Bonhams, summed up the mood among the auction houses.

 

 

 

“It seems that rich people quite often will always stay rich,” he told Reuters.

 

 

 

“Obviously there is a lot of nervousness that it (market contraction) will happen again as it did three years ago. I think we’ve got to carry on as best we can, and if you’ve got great quality fresh to the market, it really doesn’t matter.”

 

 

 

The focus on the very best art with strong provenance has seen a narrowing in the art that owners are prepared to sell, with the likes of Andy Warhol, Roy Lichtenstein and Francis Bacon taking up a larger share of auctions.

 

 

 

One “wild card” this week could be demand from Asia’s growing number of ultra-wealthy collectors.

 

 

 

A few years ago it was Russian oligarchs who were snapping up much of the world’s most expensive art. Now the focus is firmly on China as the land of the “modern-day Medicis.”

 

 

 

Recent sales at Sotheby’s in Hong Kong gave a mixed picture of Chinese demand for art and luxury goods.

 

 

 

The auctions raised $411 million in spite of difficult conditions on financial markets, yet the total was down from April and of the works on sale, contemporary art struggled most with more than a fifth of lots unsold.

 

 

 

Petterson wrote recently that the kind of “fashionable, cutting-edge contemporary art” typically on show at Frieze could be vulnerable to another downturn.

 

 

 

“Even the top end of the art market might not be quite as safe as investors would like to think if the economic crisis escalates further,” he said.

 

 

 

“As research from the last crisis shows, when investor confidence evaporates, all assets start to correlate, something many art market insiders like to forget.”

 

 

 

Auction houses will offer works valued at over 100 million pounds ($160 million) this week, and the art displayed at Frieze is estimated by insurer Hiscox to be worth $350 million compared with $375 million last year.

 

 

 

The top lot could be Gerhard Richter’s “Candle,” estimated by Christie’s at 6-9 million pounds, a figure the German artist said last week was “impossible to understand” and “daft.”

 

 

 

In fact, talking about art in the same breath as its commercial value is often frowned upon in a world where polite conversation focuses on a painting’s aesthetic appeal and meaning and not its price.

 

 

 

But as one video installation featured in this year’s Frieze Art Fair catalog states bluntly: “The ART WORLD is dependant (sic) on commerce for its existence.”

 

 

 

(Reporting by Mike Collett-White, editing by Paul Casciato)

 

White Cube | Frieze Art | Lehman Brothers |

 

 

 

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This year’s Frieze Art Fair has opened its doors to thousands of visitors. The event attracts collectors and gallery directors who are hoping to discover a new artist or an interesting work to add to their collection. More than 60,000 people are expected to attend the event, which is held in London’s Regent’s Park.

 

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The fair features art from more than 170 galleries around the world. It also includes specially commissioned artists’ projects and talks. Organisers are hoping the success of the event will not be damaged by the current economic downturn.

 

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German artist Christian Jankowski is selling a speedboat. You can buy it new for 500,000 euro (£436,000) or as a “sculpture”, featuring his signature for 625,000 euro (£545,500). “I was very interested in having this luxurious object competing with art,” he told the BBC. “A normal vessel would lose value over the years, but with art it’s the opposite. I hope the collector will stay in dialogue with me and create some journeys into the art world with that boat.”

 

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High profile collectors and celebrities, such as Russian entrepreneur Evgeny Lebedev and model Elle Macpherson, attended the VIP day. There is a more vibrant feel to many of this year’s artworks, which may have been a deliberate ploy to cheer up visitors amid the economic gloom.

 

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Pierre Huyghe’s aquarium is a live ecosystem that will host a “specific narrative created for the fair”. Particular seawater creatures are selected as the players in Huyghe’s aquatic performance. Organisers said the aquarium will “create an intimate psychological world that will form a point of contrast with the atmosphere throughout the rest of the fair”.

 

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Frieze co-founder Matthew Slotover said more galleries than ever before applied this year and the “Frame” section, which is dedicated to young galleries that display solo artists, is much more extensive than in previous years. Several works have already been acquired as gifts to the Tate Collection, thanks to The Outset /Frieze Art Fair Fund to benefit the Tate Collection.

 

NEWS

 

Frieze Art Fair 2011 Stand Prize: Winner Announced

 

12/10/11

 

The Frieze Art Fair Stand Prize sponsored by Champagne Pommery has been awarded to Gavin Brown’s enterprise.

 

The judges agreed that the stand articulated a long-term commitment to and understanding of the artists represented.

 

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