Art Market Magazine
8,213 km separate Paris from Beijing. This may seem far, but it
really isn't – especially if we exclude kilometric considerations
and focus on creations of the mind, given that the two countries
have long cultivated a cultural affinity. Not a week passes in
the French capital without the huge empire-cum-superpower
turning up in the news, such as Liu Bolin seeking international
recognition in Paris like his elders before him (Lengmian and
Sanyu), or the staggering bids posted by Chinese customers
keen to buy back their heritage. They can find a whole clutch of
masterpieces here, because French collectors developed a
passion for Asian art early on. So, you might say, what's new…
in the East? Well, it's now a two-way journey, as talent-spotting
Europeans are also setting up in China to keep their finger on
the vibrant pulse of creation – like Jean-Marc Decrop, who has
devoted a new book to it, and Christine Cayol, who brings
French and Chinese talents together under the same roof with
.Content - Number 47
Some galleries cultivate an admirable discretion. This is the case with the Compagnie de la Chine et des Indes, an art gallery established since 1935 as one of the key players of the Asian art market in Paris, and even far beyond – for its clients include high calibre collectors: Arthur M. Sackler, the Rockefellers, ultra-rich Greek ship owners and top museums like the Guimet and Cernuschi, the Cleveland Museum of Art and San Francisco's Fine Arts Museum. Spread over three floors at 39 Avenue de Friedland in Paris in a building designed for the Durand-Ruels, who set up a gallery there in 1924, it has long formed the leading trio in this Paris market with Perret & Vibert and Ching Tsai Loo. When Loo (the "Kahnweiler of Asian art") arrived in Paris in 1902, Robert Rousset was only one.
Jean-François Œben will be calling the tune at this impressive dispersion of furniture, paintings and objets d'art: a prestigious sale staged at the Château d'Artigny in the Touraine, under the hammer of Philippe and Aymeric Rouillac. Louis XV's cabinetmaker made a speciality of mechanical furniture. One of the most famous examples is none other than His Majesty's rolltop desk, now in the Château de Versailles. Here a table will be up for sale for the first time.
This highly-anticipated proof of Rodin's "Danaïd" more than lived up to expectations, finally going for €592,200 after a high estimate of €200,000. This score now places it fourth in the world rankings for the sculptor's Danaïds, and first among the small Type I versions, of which it is an example. It is a sand casting typical of those produced by the François Rudier foundry for the artist between 1895 and 1898. Georges Grappe, a curator at the Musée Rodin between 1925 and 1944, dated "The Danaïd" to 1885.
With one foot in Asia, the other in Europe, Jean-Marc Decrop has lived in Hong Kong since the Nineties. An internationally recognised expert in contemporary Chinese art at the CNES (national chamber of specialist experts), he has helped to build up a number of high-profile collections, including that of Baron Guy Ullens. The Yallay Space Gallery, which he founded in 2013 in Hong Kong with Savio Rossi, promotes both Asian and Middle Eastern art. Previously, he was the artistic consultant to a number of galleries in Beijing, Taipei and Paris (Loft Gallery).
Christine Cayol lives in Beijing, where in 2009, she founded Yishu 8: a house designed for living well and creating. Here, in this recently restored former Franco-Chinese university building, French and Chinese artists come together in an Asian Villa Medici, which offers its residents a haven of creative harmony. Philosophy graduate Christine Cayol also runs the "Synthesis" firm in Paris, which specialises in support services to senior managers. She talked to us during one of her trips to the capital.
Ink is a fundamental part of life for Gao Xingjian (born in 1940). An eminent writer who received the Nobel Prize for Literature in 2000, Gao Xingjian is also a major painter who treads a majestic path between abstraction and figuration, without neglecting the metaphysical roots of the Chinese tradition. While Belgium's Royal Museums of Fine Arts host a long-term exhibition of six bespoke monumental works by the artist, the Musée d'Ixelles is inviting visitors on a more intimate journey to the crux of
In the limelight since January, Mons, chosen as European Capital of Culture 2015, is hosting numerous exhibitions and festivities throughout the year. "The city is not very well-known, but our ambition is justified," says Yves Vasseur, the project's artistic director. It has to be said that it was a risky gamble, faced with cities like Liège, which has a far more dynamic cultural policy. But with over €40 million committed, Mons has spared no expense to accomplish "an urban metamorphosis which is also a metamorphosis of minds," says Yves Vasseur proudly.
May 2015 Edition
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