With the economy taking its tolls, how is it affecting the art fairs taking place in Asia this year?
Text & Photo: Anthony Tao | Translation: dilettante
Those were the days when artists’ work were collected and exhibited by acclaimed art museums only, and holding solo exhibition at major venue is the way to increase an artist’s profile and status. Following the global art boom in the 1990s, fine art fair (as a new way to present art) materialized to counteract auction houses. Art fair has become the wrestling ring for galleries of all sizes, as well as an event providing an overview for contemporary art lovers each year. When the market was escalating, the prices of artists-of-the-moment were making records; however, the economy tsunami has already affected the latest London Frieze art fair and Miami Art Basel to a more-than-evident degree. It was made clear that the European and US art markets are in alarming status.
As the first large scale Asian art fair since the economy tsunami, ‘Art Fair Tokyo’ still boosts 143 participating galleries and the highest number in the four years. ‘Tokia’, its newly-added second venue, is tailored for avant-garde galleries less than five years in operation. Apart from the official art fair, ‘Satellite Fair’ (as part of the ‘101 Contemporary Art Fair’ in second year running) is also taking place, showing forward thinking art pieces.
Tokyo, as a city, has set its goal to build up a reputation as an ‘art city’ by making ‘Tokyo Art Week’ official. The week is filled with previews and exhibitions of various sizes. Shinwa and Augur (the most established auction houses in Japan) are holding auctions too.
ART FAIR TOKYO
If your interest is solely on contemporary art, then it may come as a slight disappointment that many participants are showing traditional Japanese painting, antique and ceramics. There are many small art pieces this year, possibly for economy-related reasons. They are friendlier in size as well as price. The most impressive one is by Kenichiro Ishiguro, which is without a doubt the best with his surreal touch. From post-industrialism run down factories, engines, meters, to a female form lying on a bed next to a pile of S&M appliances with a toxic mask on. The artist explains that it is his take on contemporary decadence. It may as well be a silent protest on the state of the modern world.
Another highlight is ZAnPon from Osaka. With experience working with SONY and Uniqlo under his belt, his new work is an extension of ‘Superflat’. ZAnPon’s pop art is certainly memorizing, a fanatical weave of lines, colours and shapes.
Ayako Rokkaku, a frequent figure in numerous art fairs, is known for rubbing colours on canvases with her hands to create art work. Almost a performance art in itself, she is easily the center of attention every time. The likable teenage girl images and palette of red, yellow, green and blue are core elements of her work. The artist, however, is surprisingly cool.
101 TOKYO
Officially for contemporary art only, this is the second running of 101 Tokyo. The event took place in an abandoned primary school last year — the venue was like an installation in itself. Apparently quite a few collectors and galleries complained on the arrangement last year, therefore 101 Tokyo takes place in a proper venue this time round. For that same reason, many new galleries turn their back on 101 Tokyo to take part in Art Tokia instead. The venue is larger in size this year, but it is not as characteristic as last time. Having said that, the consistency of 101 Tokyo is the most worrying factor. Many galleries show art work inspired by Japanese animation. Favoured by Otaku may be, this aesthetic seems tired and dated.
To fight against the consistency issue and with Art Fair Tokyo, 101 Tokyo packs the four days event with punches of events such as ‘101 Tokyo Gallery’ exhibition (showing work loaned from seven established Japanese galleries), ‘Fresh’ (showing up-and-coming artists), many performances and after parties.
Art Statements, the only participating gallery from Hong Kong, continue to show Amano Yoshitaka’s work. His canvases, treated with the car painting and coating technique, elevate the artist’s work to a polish splendor that is second to none. It is interesting that Amano is recognised as an illustrator to such a degree that his flare in fine art is not known even among the Japanese.
ART FAIR TOKYO
www.artfairtokyo.com
101 TOKYO
www.101tokyo.com
