Artist-run media documenting art and culture

Tag: Art market

  • 5 artworks to discover now from Art Basel in Switzerland

    5 artworks to discover now from Art Basel in Switzerland

    A version of this article was also published in print by Art+ Magazine, Issue 86, 2023, Philippines.

    Many art goers in Asia may be more familiar with Art Basel Hong Kong, but the art fair’s origins are in the charming city of Basel in Switzerland, which started 53 years ago. Opening its first year with only 90 galleries, the Art Basel brand has grown significantly over the years, creating a global reach and influence. 

    The art fair in Switzerland and Hong Kong have very similar concepts, but being in Basel during this time is a 360-degree experience, with hundreds of events, exhibitions and site-specific works being launched across the city. The 2023 edition took place from 15-18 June 2023 with 284 galleries and a wide array of programmes for different audiences. 

    A must-see section is Unlimited, which focuses on curated, large-scale installations that will otherwise look out of place in a typical gallery display. It is housed in a 16,000 square-meter exhibition space. Unlike the Galleries sector, which is laid out as a series of booths with changing displays, Unlimited invites viewers to interact not just with the work but the physicality of the space. Monumental sculptures, live performances, larger-than-life paintings and video projections are just some of the surprises that await fair goers. Curated by Giovanni Carmine, Unlimited this year featured 76 artworks by emerging and named artists from across the world. Themes predominantly explored artistic responses to politics, climate change, technology, and major global crises. 

    Malaya del Rosario, art manager based between the Philippines and Switzerland, roamed Unlimited’s grounds and has selected five unforgettable works to discover.

    1. Rirkrit Tiravanija, untitled (curry for the soul of the forgotten) (2015)

    Presented in an enclosed space, Rirkrit Tiravanija’s work features a three-channel video projection as well as actual objects. In front of the screens are low, plastic stools. At the center of the room is a bronze cauldron, a replica of the one in the video, on top of a flattened cardboard. It is meant to feel like someone is in the middle of cooking a meal on an open fire. 

    Tiravanija is known for combining film, readymade and performance in his practice. Food, and specifically, Thai cuisine, is a long-standing component in his works, often symbolising community, gathering, and the everyday. An earlier work from 1992 saw the artist feeding curry to visitors in a New York gallery as a performative piece.

    In this particular work, the artist wanted to pay tribute to ‘the forgotten,’ presumably the political activists fighting for democracy, through food. Shot in Thailand,  the film documents the ritual of cooking curry to highlight “the often-forgotten agents of social and political change in protests both domestically and around the world.” Interacting with this work in a three-dimensional setting is like being transported to a street kitchen that would feel very familiar to someone coming from Southeast Asia.

    1. Wu Chi-Tsung, Dust 002 (2023)

    Taipei-born, Wu Chi-Tsung, is very much interested in how we see the world through media and how our perceptions are easily altered by technology. The installation, Dust 002, consists primarily of a telescope, video camera and projector. Entering a darkened room, the viewer’s gaze is drawn to the telescope facing a wall, a halo around it, and fluttering specks of light. The movement is caused by magnified particles in the air, as activated by the viewers’ movements inside the room. 

    The combination of optical tricks, technology and chance is quite smart, and the result is a highly aesthetic and poetic experience for the viewer.  It demonstrates how we can so easily and inevitably impact our environment without realizing it. To fully appreciate the artwork means to take one’s time in observing the elements and delicate motions in the space.

    1. Mika Tajima, You Be My Body for Me (2023)

    Los-Angelos born Mika Tajima’s practice is driven by an inquiry into how technology and virtual spaces transform bodily and physical experiences into new forms. Interacting with Tajima’s work, Be My Body for Me, feels like walking through a rock garden, in which large, rose quartz sculptures are positioned alongside freestanding ‘smart glass’ panes. As the viewer moves around, the glass panes change opacity through electric charges. While these changes seem random, the glass panes are in fact connected to a digital algorithm. 

    The rose quartz, on the other hand, pinkish and massive, seems to represent human torsos. Upon closer inspection, one will notice holes cutting through the sculptures, acting as pressure point openings. Tajima’s choice to use this material is due to its inherent technological capabilities. “The punctured diagram of acupuncture pressure points on rose quartz brings together ancient materials, techniques, and the enigmatic symbols of human energy, life, and the urge to control the unknowable,” explains Tajima. 

    1. Kaloki Nyamai, Dining in Chaos (2023)

    Kaloki Nyamai’s triptych of gigantic paintings are hard to miss. Hanging gracefully as unstretched pieces of canvas across the monumental exhibition hall, they powerfully represent Nyamai’s interest in painting as a sculptural medium. Depicting vignettes taken from the artist’s Kenyan heritage, they are unforgettable not only for their scale but their bright colours and eye-catching imagery. 

    Using acrylic, sisal rope, and dye transfer on paper over canvas, all three paintings show human figures doing seemingly leisurely activities against a backdrop of social unrest. Despite this context, the paintings successfully depict a beautiful kind of chaos – organic, textured, contrasting, full of movement. 

    Referring to the title, ‘Dining in Chaos’ the artwork asks a simple yet provocative question: When a major disruption occurs, “does one stop abruptly, or carry on dining?” 

    1. Martha Jungwirth’s Memorial II (Triptychon) (2021)

    Martha Jungwirth’s work, Memorial II (Triptychon), is a nearly nine-meter-long frieze-like painting. Made up of oil on paper on canvas, it features animal-like elements painted through rapid paint brushstrokes. The three-part image is mostly sparse, raw and unprimed, making the figures look like they are floating in space.  

    The work is inspired by animals affected by modern environmental disasters and sculpted creatures found in ‘King Tut’s (Tutankahmun’s) tomb in Egypt a century ago. Looking through this long canvas, the painting acts like a window to the past. It portrays a lone creature on the left panel contemplating its uncertain destiny, while streaks elsewhere suggest exposed ribcages or animals’ wiry legs. Jungwirth’s expressive and poetic approach seamlessly connects ancient civilizations to contemporary environmental issues and eternal life and death questions. 

    Born in 1940 Vienna, Jungwirth has developed a unique abstraction grounded in observation and the body. Her work spans over six decades, occupying an intuitive space beyond spoken language and object obtrusiveness. 

    With so many high-impact artworks, Unlimited has proven to be the pulse for global art trends and an excellent platform for artists we need to know now.

  • Art Scenes and their mechanism

    Art Scenes and their mechanism

    Art scenes may be considered exciting places to experience art or to be seen as an artist, but the term art scene is often being used quite liberally (by myself included). But having a workable definition of art scenes can actually be quite useful in understanding the mechanisms of art, art activity, and the stage on which it unfolds.

    I picked up this topic because I wanted to write about my personal experiences of various art scenes, but I made a fatal error, I assumed that we all have the same understanding of what art scenes are. Furthermore, it seems to me there are many different uses and definitions of the term art scene, so I’ve read up on a few interesting perspectives to add on to my own perception of the term.

    In this article I deal with art scenes in terms of the art activity in a specific location, and try to map out some of the key art participants. By defining the mechanisms of art scenes I’ll try to compare the art scenes of two very different cities (Paris and Manila) in order to understand their function and difference.

    Perspectives: art scene as a polyseme

    The term art scene can be considered a polyseme, in the sense that it has multiple meanings depending on who uses it. For example, an artist might use the term to map out where to be seen, an art historian or curator might use it to track art styles, trends, or movements, and a gallerist might use it in terms of positioning art sales. They might all be referring to the same scene, so what are art scenes?

    As nicely described by the two philosophy scholars Josef Kovalčik and Max Ryynänen (2018), art scenes are commonly considered places from which artists and their works are associated, but could also be used to describe an environment an artist has “spun out of”. This is exemplified by artists such as Picasso being Spanish-born but making a name in the Paris art scene, or Marina Abramovic being a product of the experimental Balkan art scene. Thereby, we associate artists to certain art scenes with the belief that the art scene has played an important role in their work. According to Kovalčik and Ryynänen, the possibilities and limitations of certain art scenes are influenced by many factors such as political control, aesthetics, and the existence of an audience for the works. They also discuss the aspect of artists from peripheral areas (in terms of low art activity or no existing art scene) moving to central art scenes where “things are happening”. This aspect often plays a key part in artist’s biographies, where the artist’s roots are described as well as what happened when she/he moved to a particular city?

    Kovalčik and Ryynänen also list the participants of art scenes such as the artists, curators, gallerists, critics, mediators, museum professionals, and collectors, where if often occurs that individuals have several roles. They argue that all the participants are somewhat conscious of each other. Higher cultural institutions and galleries are often aware of grass-root spaces and activities, and are sometimes referred to as scenes themselves (e.g. the museum scene, grass-root scene etc.). These scenes, based on geography, make up a network where works and thoughts are shared inside a system.

    Another interesting perspective on art scenes is described in the essay The Logic of Scenes by artist and writer David Burrow published in Deleuze and Contemporary Art (2010). Particularly, Burrow describes a perspective on the European avant-garde and its focus on communal experimentation, and how the European avant-garde opened up the potential of matter, bodies, and groups. The interesting here is how the avant-garde artworks brought forth new arrangements of life and practices. The logic of scenes advocates that artworks, writings, performances etc. along with the actions and declarations by individuals and groups play an important role in these new arrangements, and could push for new orientations. It further describes how art both emerges out of a scene and helps produce a scene. Art scenes in this definition are coined as “a distribution of presentations” wherein the art activity is marked by encounters and articulations. Art scenes are here not defined as professional networks, but rather informal presentations of events, and differ from formal organisations of art. They are shaped by their local and specific nature, they have no specific size, nor do they have a specific duration (Zepke et al. 2010; Burrows: 157-176).

    What I take from the definitions by Burrow, Kovalčik, and Ryynänen, is the sense of association and communal component of art scenes. Art scenes have the dual quality of being formed by artists as well as nurturing artists, and this creates a network for art professionals. Being associated with an art scene can be used as a tool to promote art, but it can also be used in finding a scene “out there” that fits your interest, whether you’re an art professional or an art explorer. So with that in mind, we can also distinguish between informal and formal art scenes, depending on their uses by the art participants.

    My take on art scenes

    Photo: outside PI Artworks London, 2016

    As mentioned, I’ve been personally using the term art scene to determine art activity in a particular location. Practically I’ve been using the term in my efforts to explore and identify which art activities are going on where, and who’s involved? Furthermore, I’ve been using it to identify what does the art activity say about the specific location at which it takes place. In other words, I’ve been using art scenes as an identifier for art activity anchored to a local culture of a place.

    In my experience there are three general elements that play a key part in defining the practices within art scenes, namely tradition, convention, and resources.

    Traditions matter in terms of how things have been done in the past. Every tradition was at one point invented, which I think we tend to forget. Traditions are created out of needs at a certain point in time, and are continued either because the need continues to exist or because the tradition has become a habit.

    Conventions matter in terms of how things are done now. It’s more immediate. It’s relevant in terms of how we are addressing problems or challenges now, and in terms of what is perceived best practice.

    Resources matter in terms of local cultural policies, how are things financed, how social capital among participants is strengthened, what resources are physically available, and of course the utilisation and keeping of knowledge.

    A comparison of two art scenes: Paris and Manila

    Photo: outside Louvre Pyramid Paris, 2014

    Considering Paris and Manila, two very different art scenes and cultures. I have lived, studied, or worked in both cities, and it’s amazing to experience the different dynamics between the two. It’s important to note, that this comparison is not a scoreboard of which scene is better than the other. That wouldn’t make any sense and I have no interest in doing that. The emphasis is really on the practices, and what the different dynamics are.

    Considering Paris, a city with a long tradition of art schools, public and private museums, established districts of art galleries, known artist collectives, annual art fairs, and regularly operating auction houses. The art scene in Paris consists of a strong support system of art professionals such as trained artists, educated curators and historians, art writers, experienced venue managers, and cultural policy makers who are voicing how to change conventions to keep up with time, e.g. the challenges of art sales moving to online platforms, new tax policies for art stored in tax havens, repatriation of looted art, or whatever else the topic might be.

    Paris has developed its art scene through traditions of doing things, e.g. artists get educated at art schools, the art is exhibited in galleries and maybe later in larger venues once the artist has been acknowledge by the art community, the artist gets commissioned by local governments to do bigger works, and so on.

    Paris might also have to change its conventions to deal with current challenges, e.g. museums having to find new ways of attracting crowds as young people are loosing interest, the lax regulation on art sale means many artists are missing out on their compensation from the droit de suite (art resale right) etc.

    Finally, the city’s resources are unfortunately not constant. Resources have to be observed and maintained. If a city wishes to finance a vibrant and attractive cultural scene, then these expenses will have to come from somewhere. Knowledge as a resource also requires maintenance, such as passing on valuable know-how before it’s lost.

    Photo: Art14 London, 2014

    Then if we look at Manila. A top 10 city among the world’s most densely populated cities pr. square kilometre, and approximately twice has densely populated as Paris. However, the population is much younger. Median age in France is 41,7 and the Philippines 25,7 (2020). I would argue this difference matters. Less space and younger people does change the culture and dynamic of a city.

    Manila also have a younger tradition of art schools, a few public and private museums, no dedicated districts of art galleries but rather clusters of a couple of fine art galleries, few formal art collectives, a few annual art fairs, and occasional art auctions.

    Manila doesn’t have as long a tradition of established practices (major revolutions haven’t made it easier to establish continuity though), but I would argue there is a stronger sense of freedom on how to go about things (can be both good and bad). The freedom of not being tied to traditional practices makes Manila a scene that constantly has to change its conventions, a carte blanche if you will. A way of looking at it is, this gives the city a unique position to adapt to best practices of establishing well-managed institutions, programming art education, funding art projects etc. For example, I find it interesting that the Philippines doesn’t have an actual Ministry of Culture (at least as of now 2020), and the current governing body for culture and arts commissioning NCCA (National Commission for Culture and the Arts) was established as late as 1992. Keyword again: young!

    Manila is certainly a place where you can talk about scenes within a scene. The gallery scene is fairly new, yet growing every year. The art hub scene is so booming, that I can’t even keep up. The art crowd and participants might predominantly be young (my assumption), but people are curious and eager to try things out. I feel there’s an urge among art participants to be relevant and to be represented in the art world, and why wouldn’t you applaud this drive.

    Traditions of practice can be useful in terms of planning and supporting the arts, but it’s not vital for the existence of an art scene. The challenges attached to conventions and resources are a different matter, and they will always need to be updated regardless of traditions.

    Staging art

    So, if we accept the premise that art participants make up the art scene, each with their different role to play, the art scene becomes a stage for multiple-purpose interactions. Multiple-purpose in the sense that the participants utilise art scenes for different purposes. Artists might use the art scene to gain exposure and sell art to make a living. Curators might use it to nurture their network or gather inspiration and ideas for exhibits. Venue managers might use the scene to find artists and curators to collaborate with, or gather information on prices of artworks. A bit simplified, but it’s just to say that art scenes can be considered stages where these art participants meet and form networks.

    Another important factor in staging art is of course the tool of media. Media in its broadest sense is a way of channeling art activity to an audience, a way of learning, a way of gaining exposure as an artist, but not to forget that media can also influence and colour people’s opinion.

    In order to gain exposure, artists will have to engage in some sort of media activity, or even better, have some else manage it for them. Art scenes will probably be there regardless of media interaction, but media does help in creating awareness of particular art scene.

    In my opinion, nothing can really replace first-hand experiences of art, whether we talk about art works or art scenes. Ideally you’ll physically go out and experience art in person, but of course you can’t be everywhere all the time, and media channels (whether its TV, social media, art magazines etc.) are great ways to learn what’s going on in the world.

    For further reading

    • Kovalčik J. & Ryynänen M., “The Art Scenes.” Published in journal Contemporary Aesthetics, Vol 16, 2018.
    • Burrow D. “An Art Scene as Big as the Ritz: The Logic of Scenes”, published in Zepke S. et al., Deleuze and Contemporary Art, Edinburgh, Edinburgh University Press, 2010.